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voodoochili · 4 years ago

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My 75 Favorite Albums of 2020

Every year produces excellent music and 2020 was no exception. The exceptional thing about this year, though, is the loss of livelihood so many musicians suffered as a result of the pandemic. To better celebrate all I’ve listened to and loved this year, I’ve expanded my albums list from 50 to 75 albums and included a highlight track from each in the Spotify playlist below. If you like what you hear, why not throw the artist a few dollars on Bandcamp?

Check the Spotify playlist HERE.

Without further ado, my favorite albums of 2020. Happy New Year, and happy listening!

10. Playboi Carti - Whole Lotta Red: Carti’s long-awaited opus has only been out for a week, which is probably not a long enough time to give an album as sprawling and surprising as this one a full critical evaluation. But I do know when I’m hearing something that’s unlike anything I’ve ever heard: this album rearranges hip-hop at the molecular level.

Whole Lotta Red is overstuffed with invention, the glitchy, expansive production giving Carti ample opportunity to glom onto the contours of the beat and experiment with his voice. That voice is the album’s main attraction: it squeaks, it squeals, it roars, it spits, it shudders, and organizes itself into irresistibly ignorant mantras (my current favorite is “Lamborghini parked outside, it’s purple like lean”).

Across its 24 tracks (which feels like too many, sure, but only the 5-minute long Kid Cudi-infected droner “Metamorphosis” overstays its welcome), Carti plays with listener expectations, annihilating rap songwriting conventions (why do you need verse-chorus structure if every line is a hook) as he defiantly proclaims his desire to be unlike anybody else. Though it bears some resemblance in sound and subject matter to Future’s Monster (and much of the production owes a debt to the work of Lil Uzi Vert’s favored Working Of Dying collective), Whole Lotta Red firmly establishes Carti as a totemic figure connecting mainstream and underground sounds.

9. BbyMutha - Muthaland: BbyMutha is a natural born spitter, armed with a drawly stutter-stepping flow that routinely annihilates unconventional instrumentals. She glows with supreme confidence and comfort in her own skin, especially when she’s dripping with disdain with those who’d dare refuse her the respect she deserves. A 25-track opus that earns every minute of its runtime, Muthaland is an engrossing immersion into Mutha’s world, balancing a fascination with the occult (“Sorry I don’t fuck with n****s who don’t fuck with Satan”) with grounding interjections from close friends and her four children. Boasting rockstar fantasies like “Heavy Metal,” bad girl anthems like “Nice Guy,” and dancefloor-ready jams like “Cocaine Catwalk,” Muthaland is a tour-de-force by one of rap’s singular voices, and if she’s really finished with music as she’s claimed (rappers never really retire, but Mutha has indicated she wants to focus full time on her Apothecary), the game will greatly miss her incisive punchlines and crudely empowering perspective.

8. Westerman - Your Hero Is Not Dead: In 2020, Mid-’80s sophistipop grew into one of my favorite comfort foods. Westerman’s Your Hero Is Not Dead struck me directly in the sophistipop sweet spot, evoking the attention-to-detail and synth-heavy craftsmanship of that era and pairing it with harmonic complexity and a piercing emotionalism that recalls his idol Neil Young. On songs like “Blue Comanche” and “The Line,” Westerman constructs tales as twisty as his melodies, economically exploring how people relate to each other at the beginning and end of romantic relationships. Westerman complements his tasteful palette of synth sounds with intricate and lyrical guitar playing, most notably on the sighing, gorgeous instrumental “Float Over,” which softly segues into the title track to end the album on a gently-rising high note.

7. WizKid - Made In Lagos: The focal point of the sub-Saharan Afrobeats renaissance, Lagos is having one of the most exciting musical moments of any city since Kingston in the early ‘70s. WizKid is one of the scene’s biggest stars, with an ability to combine the sonic tapestry of his hometown with Caribbean-influenced beats and vocal styles. Made In Lagos is a masterwork of sound design, bringing creamy bass, chicken-scratch speckles of guitar, tasteful interjections of saxophone and brass, and an intoxicating mix of acoustic and electronic percussion, all offered in service to an immaculate vibe that matches the album cover’s shiny, monochromatic color scheme. Made with lockdown in mind, the album eschews uptempo dancefloor workouts in favor of stress-relief and romance. WizKid plays the perfect host, tamping down his melodic flights of fancy and embracing a song-serving smoothness. He’s a warm and inviting presence throughout, laying out the red carpet for a cross-continental cast of collaborators like H.E.R., Skepta, Burna Boy, and Damian Marley. The result is a truly global pop masterpiece, capable of brightening even the dourest day of a miserable year.

6. Ka - Descendants of Cain: Firefighter by day and rapper/producer by night, Ka is a master of allusion. He organizes his thoughts into themed collections of metaphor, illustrating the bleak realities of street life with gnomic symbolism. On Descendants Of Cain, Ka’s strongest work to date, the enigmatic rapper expresses himself through a litany of biblical references, drawing parallels between ancient parables (he goes far deeper than the Cain/’caine double entendre that rappers have been using for decades) and the stark code of morality with which he lives his life. The 48-year-old hermit produced the project himself, creating an immersive sonic realm, crafting expansive, noir-ish backing tracks populated by late-night saxophones, sparkling pianos, and the occasional shot of sweeping strings. Once again, Ka’s music comes almost entirely without drums (certainly without “beats” in the traditional hip-hop sense–every once in a while, he adds an open hi-hat or a subdued shaker), the artist preferring to let his music swirl around his half-whispered words of wisdom. The album ends on a tearful, sentimental note with “I Love (Mimi, Moms, Kev),” in which the artist ditches the biblical lyrical conceit and expresses his love for his wife, his mom, and his best friend atop light percussion and a warm soul sample.

5. SAULT - Untitled (Rise): Rise is the second part of a diptych that SAULT recorded in response to the movement that exploded in the wake of George Floyd’s death. Black Is, the first part, is a great album (you’ll find it in the lower reaches of my 2020 list), but the mysterious UK collective fulfilled their immense potential with Rise, a propulsive, powerful, and danceable album that doubles as a thought-provoking examination of the nature of freedom and liberation. The album tackles weighty topics–police violence, fake-woke “allies,” protest, cultural appropriation–but handles them with an inspiring effervescence and a propulsion meant to usher right-thinking people into the streets. The music itself is an intoxicating marvel, combining elements from every trendy musical movement from the early ‘80s (post-disco, post-punk, house, hip-hop, whatever the hell ESG was) into a percussive and surprisingly cohesive cocktail. The album immediately makes its greatness known with its first four songs, one of the strongest opening runs of any album in recent memory: the swaggering, funky, keep-your-head-up anthem “Strong,” which features a drum solo from SAULT architect Inflo, the soaring, club-ready vamp “Fearless,” concept-establishing, string-heavy interlude “Rise,” and especially “I Just Want to Dance,” the best song ESG never wrote.

4. Fiona Apple - Fetch The Bolt Cutters: Fetch The Bolt Cutters arrived with the kind of universal acclaim that can make some people suspicious. The Pitchfork review got a lot of attention, not just for its perfect score but for its bold statement that “no music has ever sounded quite like it.”

That statement might’ve been slightly hyperbolic. Fetch The Bolt Cutters has the kind of propulsive left-hand piano figures, chest-thumping percussion, and impassioned vocal performances that we haven’t heard since...the last Fiona Apple album. But the album deserves its experimental reputation. These songs mess around with song structure and melody in ways that resemble avant-garde singers like Meredith Monk, use overlapping vocals that occasionally evoke the works of post-modern composers like Luciano Berio, and echoing modernist composers like Edgard Varese in the way she wrings pathos out of rhythmic elements.

Though Fetch might be a slight step down from The Idler Wheel, it’s an invigorating listen, packed with the soul-baring confessionals that only Fiona is capable of executing. Combining literary wordplay with plainspoken directness, Fiona forces the listener to confront her trauma and contemplate her diagnoses of patriarchal ills. The songs are uniformly excellent–especially opener “I Want You To Love Me,” the most “traditional” song on the record, and “Shameika,” a burrowing childhood rumination with a happy ending–but Fetch The Bolt Cutters stands out to me as a collection of amazing moments: when the jig-like “For Her” fades into an unforgettably painful cadence (“Good mornin’, good mornin’/You raped me in the same bed your daughter was born in”), Fiona’s ground-shaking vocal intensity at the end of “Newspaper,” her dogs howling over the outro of “Fetch The Bolt Cutters,” the winking repetition of the title phrase on “Ladies.” Her albums display more than enough ambition to forgive the long gestation periods, but hopefully we won’t have to wait another 8 years for Fiona to bare her soul once again.

3. Drakeo The Ruler - Thank You For Using GTL: Embroiled in a Kafkaesque legal saga that shines a light on the worst aspects of our horrendous justice system, Drakeo The Ruler spent more than three years wrongly incarcerated for a crime he not only did not commit, but for which he was acquitted (for more info on Drakeo’s ordeal, read Jeff Weiss). He’s now mercifully a free man, mostly due to the work of his lawyer, but at least partially because of publicity generated by Thank You For Using GTL. Recorded over the phone from prison during the height of the pandemic, it’s a miracle that an album created under such sub-optimal conditions sounds as excellent as it does, but credit producer JoogSzn–who not only supplied the creeping, head-nodding backing tracks but recorded Drakeo’s phoned-in vocals–and engineer MixedByNavin for the project’s astonishing fidelity. Drakeo and Joog spent hours on the phone to record the album, in the process paying thousands of dollars to GTL, the predatory telecom company of choice for the L.A. corrections system, whose mechanical interjections serve as a constant reminder of the injustice that made the album necessary. Of course, a good story is a good story, but that alone doesn’t get an album on 2020’s most prestigious Best Albums list (mine). It’s a classic rap album, perhaps the best ever released by an incarcerated rapper, and a thumb directly in the nose of the D.A. and the LAPD. The album is a lyrical marvel, packed with winding wordplay and outlandish flexes, as Mr. Mosley takes aim at 6ix9ine, cackles at sorry-ass Instagram haters, and sneers at American-made cars (“To be honest, a Hellcat isn’t a foreign”). Each song has a carefully considered concept, the rapper’s punchlines building upon one another to make an airtight case for his status as L.A.’s top dog. He contrasts his own whip-crashing lifestyle with flashy wannabes on “GTA VI” and “Backflip or Sumn,” mourns a favorite department store on “RIP Barneys,” and proves he still doesn’t rap beef on “Maestro’s Tension.” The album’s masterstroke comes with “Fictional,” the final track, in which Drakeo exposes the prosecution’s use of his lyrics as evidence in criminal proceedings as the farce it is: “It might sound real, but it’s fictional/I love that my imagination gets to you.” Drakeo’s story was a rare bright spot in 2020, and a rare one with a happy ending. Just last week, the rapper released Because Y’All Asked, a studio-recorded version of Thank You For Using GTL, giving the album’s songs the clarity they deserve. But I think I’ll mostly return to the original, which will live on as an excellent album and a vital document of post-George Floyd America.

2. Pa Salieu - Send Them to Coventry: Hailing from the middle of nowhere–or, more accurately city in the English Midlands only known in the states for its middling Premier League team–Gambian-British artist Pa Salieu served up the most distinctive, visceral, and daring rap debut of the year. His style fuses elements of grime, drill, afro-trap, dancehall, and the darker edges of U.S. hip-hop into a percussive slurry, injected with the urgency of his struggle to survive. The magic of the album comes from the way Pa’s fluid flows interact with the shimmering and foreboding production (Felix Joseph and Aod lead the cast of the project’s sound architects), which is perfectly suited for cold city nights. He slips effortlessly into the pocket, toe-tagging the beats with a combination of aggression and trance-like meditation and uttering casually powerful pronouncements (“I'd make a killa riddim offa any riddim/The grind can never stop 'til I'm wrapped in linen”) that make you believe he’s Britain’s next great rapper. Pa keeps the vibe consistent throughout, but the moments that stand out are the moments when he locks into an unbreakable groove over no-frills production, like on singles “Block Boy,” “Betty,” and “B***K.” The artist’s wry sense of humor and brash confidence keeps the album from feeling bleak, but Send Them To Coventry wisely ends on “Energy,” a warm and bright ode to keeping your creative spark safe from the prying forces of fame and fortune.

1. Kassa Overall - I Think I’m Good: “I think I’m good”–a phrase that’s ran through my head throughout this shitstorm of a year. Sure, I postponed a wedding, cancelled trips, and saw my friends and family much less often than I would like, but I count myself among the lucky ones. Still breathing, still sane. Though it was recorded and released before the pandemic started, Kassa Overall’s I Think I’m Good became a lodestar of sorts for me. It’s a brilliantly introspective and deeply personal album about existing in enclosed spaces–whether a jail cell, an NYC subway car, or the inescapable prison of your own body.

Kassa Overall made his name as a jazz drummer, touring with icons like Geri Allen, but his solo music incorporates elements of hip-hop, classical, and trap to create a wholly original milieu. The album features contributions from over 30 accomplished voices, ranging from luminary Vijay Iyer, to Kassa’s saxophonist brother Carlos Overall, to virtuosic pianist Sullivan Fortner, to venerated activist Angela Davis. But all the disparate elements come together in service of Kassa’s deeply personal and engrossing vision.

Taking partial inspiration from Kassa’s struggle with manic depression, the music fluctuates between meditative calm and unbearable tension, mimicking the patter of an unquiet mind. Album opener “Visible Walls,” is a mesmerizing prayer for salvation soundtracked by fluttering harps, piercing woodwinds, and heartbeat percussion. “Find Me” buries a plea for help within a cacophony of sampled voices and rattling piano notes. Fortner’s piano guides us through the hauntingly devastating “Halfway House” and the Chopin-indebted “Darkness In Mind,” each highlighting a different stage of grief (despair and acceptance, respectively). The arc of I Think I’m Good concludes with the hopeful “Got Me A Plan” and “Was She Happy (For Geri Allen),” a Vijay Iyer-assisted tribute to his late friend and mentor.

It’s ironic that an album that so deeply explores the feeling of isolation vibrates with such a collaborative spirit. I Think I’m Good feels like an answered prayer–a community coming together to check on a beloved friend who’s gone through a tough time: “You good, man?” “I think so.”

Here’s the rest of my list.

11. Yves Tumor - Heaven To A Tortured Mind 12. Shackleton & Waclaw Zimpel - Primal Forms 13. Bob Dylan - Rough & Rowdy Ways 14. Duval Timothy - Help 15. Lil Uzi Vert - Eternal Atake 16. Moodymann - Taken Away 17. Secret Drum Band - Chuva 18. J Hus - Big Conspiracy 19. Headie One & Fred Again - GANG 20. Tiwa Savage - Celia 21. Andras - Joyful 22. Bill Callahan - Gold Record 23. King Von - Welcome To O’Block 24. Flo Milli - Ho, Why Is You Here? 25. Chubby & The Gang - Speed Kills 26. Madeline Kenney - Sucker’s Lunch 27. Empty Country - Empty Country 28. Smino - She Already Decided 29. Destroyer - Have We Met 30. Yves Jarvis - Sundry Rock Song Stock 31. Ela Minus - Acts Of Rebellion 32. Creeper - Sex, Death & The Infinite Void 33. Alabaster DePlume - To Cy & Lee: Instrumentals, Vol. 1 34. Good Sad Happy Bad - Shades 35. The 1975 - Notes On a Conditional Form 36. Kate NV - Room For The Moon 37. $ilkmoney - Attack of the Future Shocked, Flesh Covered, Meatbags of the 85 38. Eddie Chacon - Pleasure, Joy and Happiness 39. Kenny Segal & Serengeti - Ajai 40. Bad Bunny - YHLQMDLG 41. Kahlil Blu - DOG 42. Califone - Echo Mine 43. Boldy James - The Price of Tea in China/Manger On McNichols/The Versace Tape 44. Bufiman - Albumsi 45. Moses Boyd - Dark Matter 46. Thanya Iyer - KIND 47. Jyoti - Mama You Can Bet! 48. Obongjayar - Which Way Is Forward? 49. Rio Da Yung OG - City On My Back 50. Young Jesus - Welcome To Conceptual Beach 51. Owen Pallett - Island 52. Oceanator - Things I Never Said 53. Shootergang Kony - Red Paint Reverend 54. Shabason, Krgovich & Harris - Philadelphia 55. Six Organs of Admittance - Companion Rises 56. Lido Pimienta - Miss Colombia 57. Kelly Lee Owens - Inner Song 58. Polo G - The GOAT 59. Actress - Karma & Desire 60. Phoebe Bridgers - Punisher 61. Porridge Radio - Every Bad 62. Yg Teck - Eyes Won’t Close 63. Mozzy - Beyond Bulletproof 64. Ratboys - Printer’s Devil 65. R.A.P. Ferreira - Purple Moonlight Pages 66. Ulver - Flowers of Evil 67. Rina Sawayama - SAWAYAMA 68. SAULT - Untitled (Black Is) 69. Ezra Feinberg - Recumbent Speech 70. Davido - A Better Time 71. Hailu Mergia - Yene Mircha 72. HAIM - Women In Music Pt. III 73. Half Waif - The Caretaker 74. Key Glock - Yellow Tape 75. KeiyAa - Forever Your Girl

#kassa overall #pa salieu #drakeo the ruler #fiona apple #sault #ka #wizkid #westerman #playboi carti #bbymutha

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scoopsohboy · 5 years ago

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I Got You Babe || Platonic Richie x Beverly

A/N: This is my first attempt at writing fanfiction in YEARS and my first time ever writing “It” fanfiction. I have a BIG series in mind based in the universe of this fic but, I knew I needed to get this piece written down first. This whole series is inspired by this moodboard post created by asthmaticeddie. Go check it out, Kay is so talented and lovely! My fic would likely be Eddie POV, so I would never get to actually write this scene! So I’m doing it anyway!

Summary: Richie gets into a fight at a party. Bev has to pick up the pieces.

Warnings: Mentions of violence, blood and spit, slight internalized homophobia. Angst that becomes fluff.

Word Count: 1508

Richie had fucked up.

That much was painfully obvious to on-lookers who watched Bev as she escorted him from the party. She flashed her brightest smile whilst moving her newfound responsibility by the collar of his Hawaiian shirt through the throngs of people. Her cheeks were a stark red, a harmonious gradient from her cherry lips to her fiery locks.

She shot a quick look back to where her friends stood, mere feet away from the incident. Eddie and Ben were watching the pair storm away, concern plastered all over their faces. Meanwhile, Bill, Stan, and Mike clearly had a handle on damage control, talking Bowers and Co. down from rushing at Richie. Who, by the way, was just asking to get choke-slammed through a coffee table at this point. The punch across the face was an appropriate escalation.

"Take a picture, it'll last longer!" Richie shouts bitterly, before throwing his empty beer can in their general direction. Bev picks up her pace and tightens her grip.

Despite how it feels as if this crowded college party is never ending, the pair finally make it to the front door. Somehow, Stan had managed to follow the pair through the crowd and put a comforting hand on her shoulder. It didn't fix anything but, the gesture reminded her to inhale, in addition to exhaling. Imagine that. Richie opted to sit on the front porch while he waited for his roommate.

"He's messy tonight," Beverly grumbles, running her hands across her face and up into her hair.

"I don't know what you're talking about," Stanley observes, head cocked, eyes following Richie as he begins to spit excess blood and saliva onto the ground, "He looks normal enough to me," this elicits a soft, tired chuckle from Beverly and Stan cracks a smile, "Seriously, though, do you want any help with him?"

"No, no, Stan the Man, you're good. He's just gonna make it his goal to bother you the entire time anyway."

"Fair," he pulls Bev into a side hug, as they stand in the doorway, watching Richie hock a glob of blood and spit on the pavement once again, "And hey, if you make it through the night, tomorrow we'll get breakfast on me." She hummed her appreciation of his proposal, giving his side one last squeeze before stepping into the threshold of Trashmouth Wrangling.

"Bevvie!" Richie cheered as she stormed past him and towards the car, "We should stop at the store!" He caught up to her within two strides, trying to hold her hand.

“No,” Beverly declared, knowing she was already in for a long night. Richie pouted, before spitting yet again, “Stop it. Get in the car."

Spit.

"Don’t spit again, Richie!"

Spit.

"I swear to God! Stop! Spitting!”

Spit.

She hit her much taller friend on the back of his curly haired head, as he laughed against the cool October night. Upon impact, Richie’s glasses slid down the bridge of his nose, as crooked as the smile playing on his lips. He leaned clumsily against his friend’s dingy Ford Freestyle, the freezing touch of the vehicle cooling him down. His intoxicated laugh had echoed off into whatever residential neighborhood the pair had found themselves in this time. He looked off down the street, expectantly, as if he was waiting for someone to return his drunken call. The quirking edges of his smile faltered as he turned to beam down at the angry redhead. Her perfectly and intentionally sculpted brows arched at his childish display, “You done?”

He smiles wider, full of teeth. He spits on the pavement again before spiraling into hysterical laughter. He had no spit or blood left in his mouth at this point. Just defiance. Beverly extends both of her hands forward and shoves her friend, “How fucking old are you?!” her cry is shrill as she goes to get in the driver’s seat. Richie, knowing that he’s already pushing his luck, gets in the passenger’s seat unprompted. He even buckles his seat belt without a glare required. He leans far back in his seat, “Old enough,”

“Can you not quote Superbad at me right now? I don’t even know how to get out this fucking neighborhood!" Beverly begs, fiddling with the GPS her aunt had gifted her before the semester had begun.

"Are you mad at me?" Richie asks.

"Yeah, Rich, I'm fucking pissed," the engine revs alive as they pull away from the curb.

"Why? I held on to your hair tie all night, like you asked," he holds his wrist out dramatically, providing evidence. The redhead rolls her eyes, softening slightly. Slightly.

"I'm mad because you couldn't just let that piece of shit have the last word. Just this once!" Bev lectures, "Everything was going fine! We managed to pull Mike out of the library for one Friday night! Ben was socializing while he got us drinks!"

"Bill was going to makeout with you," Richie quips.

"You know what, Trashmouth, maybe he was!"

"He was not. Too nervous,"

"Ah! Irrelevant!" Beverly's face had done this lovely little trick it does when dealing with intoxicated Tozier, where it fluctuates from pale to bright pink to the brink of purple, rinse and repeat, "You did enough showing off for Eddie before Bowers showed up. This didn't do you any favors. I don't think beaten to a pulp is exactly his type,"

This struck a nerve.

Richie fell silent in his seat, suddenly very intrigued by the rolling foliage that whipped passed the window. His hands gripped the sides of his seat, fingers picking at the torn upholstery there. Bev didn't push it; she would remember to yell at him for that later. She glanced over at the lanky man every few minutes, looking smaller every time she did so. His busted lip was pursed into a thin line and his posture was frail, hunched. His chest rose and fell rapidly, the only part of him that was active.

Bev broke the silence, "He's probably worried about you, ya know."

"Why would he be?"

"Rich. I'm your roommate. I'm your friend. Do you think I don't have eyes?" A whine escaped from his lips and he shut his eyes tight at the realization that his secret wasn't much of a secret anymore. She gave her friend a wry smile that was practically audible, as she reached her hand across the center console to hold his, "Or a functioning gaydar?"

The duo laugh at this, Richie letting out a breath he hadn't realized he'd been holding, "Please," he begged, "never use that term," despite how it had alleviated tension between them, it built up a bubble inside him, how quickly this new "quirk" about him gave her the ability to shove him into a box. Bev nods. Richie begins to fiddle with the radio. Despite being drunk off his ass, he was still too sober to be having this conversation.

"Richie...it's not like anyone of us Losers would judge you. Eddie's out and proud-"

"And that's good for Eddie," he cuts her off, wanting to change this conversation as rapidly as he's flipping the channels.

"I just...don't see why you don't just come out and go for it? I have no idea if he likes you back...you're a little polarizing like that. But what is the harm in trying?" Bev wonders, genuine support and a longing to understand in her voice.

"I don't know if there's anything for me to come out as," Richie admits, leaving the radio alone, "I mean...I think Eddie's great. Well...probably more than great. Definitely more than great," he ignores the giggles that emit from Bev, "But...am I really...gay? I couldn't tell you. I've made out with Stan's sister enough back home-" he cuts himself off to respond to Bev's scandalous expression, "you don't know shit-" she throws her head back and laughs, "that there's no way I can't like girls. Do I even need to come out? What does that even mean? Can't I just date who I want? Can't I just make out with who I want at a gross college party, no questions asked?"

Bev shrugs in response, her attitude towards Richie having made a complete 180 since their car ride began, "You got me there," she pulls his hand up to her mouth and let's a kiss linger there until the red light turns green, "We're almost home, Richie, just relax. We can keep talking about this and cuddle on the couch. Or not. Either way, this stays between you and me, bub,"

"What a fuckin' sap," he playfully teases, before turning the volume dial on the radio nearly all the way up. Through the speakers of this behemoth of a car twangs the familiar, funky chords of Sonny and Cher's "I Got You Babe". The two share a look. A look of love and exhaustion and understanding...of the fact that they were about to scream-sing this song until the very last note. This song was a promise. Melodramatic and disco-based. But a promise nonetheless.

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brownstonearmy · 4 years ago

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2020-06-07: The Butt Of A Joke, Part 1

July 30 (Thursday morning)

As the party assesses their service requests for the day, Constable Silas Blackheart walks in with a request of his own for the hard workers at SHART HQ. Vandals stole the butt from the statue depicting the town's founder a few days ago, only for it to suddenly reappear in its usual position in the Brownstone Park grotto. Now the statue loudly excretes real turds whenever anyone approaches.

Silas suspects that some of the students at Wentenbocker are behind the theft and potential enchantment of the statue's posterior, but lacks the jurisdiction to launch a formal investigation there. He pleads with the party to investigate on his behalf, since this is a sanitation anomaly and SHART is specifically given the authority to solve such things. The party takes the case and sets out for Brownstone Park to assess the situation.

Brownstone park is located about 3 blocks southwest of SHART HQ, so it's an easy walk. The grotto with the founder's statue is the most prominent feature in this small park, though now it is accompanied by the pungent odor of Some Business (tm). As the party approaches, the statue loudly pinches another loaf, which plops onto a growing pile behind the statue.

While Spleenifer collects a tithe from the statue for holy reasons, Q (going by Disco today) notices a visible seam at the statue's hips and another just below the statue's ribcage. The butt of the statue is almost imperceptibly floating between the torso and legs without touching either part. Lucky makes note of the gender neutral depiction of the Brownstone statue and is curious about why no historian seems to be able to remember what the founder looked like. How common face blindness is among dwarves, anyway?

Spleenifer's proficiency with myriad tithes allows her to pinpoint the Founder Feces as originating from something from an omnivorous non-humanoid, specifically something that feasts on rotten things. Yep, something's suspicious here, and a trip to Wentenbocker is in order.

Once inside the academy's walls, the party meets with the headmaster, Cavander Olisanth. Master Olisanth mentions that he knows of some students who might participate in pranks that might result in colon concoctions, but he cannot simply compel all the students to present themselves for an investigation. Master Olisanth needs names in order to do that, but he gives the party wide berth to conduct their own investigations. He gives them permission to search the aviary, the herbarium, the dorms, and any other accessible commons areas. If the party has questions and can't find the headmaster, he directs them to seek out one of the senior students, an elf named Ariatha Nelson.

The aviary is the first location our party of heroes investigates. They climb a winding staircase to see a woman tending several hutches of ravens. Lucky realizes that ravens are omnivorous carrion feeders, and non-humanoid to boot, so maybe these birds have something to do with the statue? The woman turns around and is startled by the party's sudden appearance. Disco and Lucky both recognize the woman as one of the spellcasters Brynnan employed to send the party to the plane of Mechanus.

The woman's name is Todd (short for Tatyana), and she is considerably less hostile this time around. When asked about the newly-empowered statue, the only name Todd mentions as potentially being behind it is Rooney, the tattooed wizard that also helped Brynnan toss the party through the portal to Mechanus. Rooney isn't here right now, but Todd happens to have a key to her room. That key, and the keys to a lot of other rooms. Just don't ask how she got the key, or the nature of Todd and Rooney's relationship.

Rooney and Brynnan were pretty close, even after Brynnan's expulsion. Lately, though, Rooney's been spending all of her free time reading or going off-campus to... somewhere. The party notices something unusual about the book selection in Rooney's sparsely furnished quarters: the only books that appear to have gotten recent use are not arcane in nature. The books contain discussions about the histories of esoteric gods, the founding of Brownstone, and conspiracies about a powerful artifact hidden in a statue.

Todd is happy to escort the party around the academy for their investigations, and shows them the student's common room. A large and comfortable-looking sofa rests along one wall, while another door bears a large warning sign. "WARNING! Extradimensional space!" it says. "Bags of holding and other extradimensional spaces will explode beyond this point."

Naturally, this is a place the party wants to investigate. Disco opens up the door and sees another dorm room, but the combination of a bed with no sheets on it and some cross-stitch tapestries on the wall indicate to Disco that this might have been Brynnan's old room from before he was expelled. Grabbing a nearby chair, Disco slides the chair into the extradimensional dorm room to see what happens. When the only thing that occurs is a chair being moved into another room, Disco deems it safe to enter.

They perform an impressive display of stealth to skulk around the room and ascertain that no one else is in this room. But after entering, Disco feels as though they are being watched. They cast detect magic and see a faint aura of magic coming from something in the desk, as well as feeling something with an air of divination magic coming from somewhere behind Disco. Inside the desk is a small magical portrait depicting an animated dancer going through a series of impressive dance moves (100GP).

Disco pockets the portrait and leaves the room, concluding that there is nothing else of value in the area. But as soon as they cross the threshold, funky music blasts through the commons area and a group of dancers materialize in front of the party. The power of dance looks like it's going to be the only way out of this situation; let the dance-off begin!

An MC announces the rules that both teams will abide by and the dance moves start flying like Cirque du Soleil. For those of you playing along at home, the rules we're using for the dance-off will be posted shortly. Here's the rundown of who's on the opposing team:

Blue-skinned dragonborn in mercenary garb

Fedora-wearing gnome with a trenchcoat

Brown haired elf in flowing clothing with a ribbon tied to her rapier

Working-class laborer with a painted face and a leather apron

The gnome goes first in initiative order, and pantomimes an stylish investigation with an imaginary magnifying glass. Disco, whose name is incredibly appropriate today, responds in kind with dropping ass. Spleenifer, who is a lady of holy words, is unfamiliar with the concept of dropping ass, because it's not something that is often taught in warrior nun school.

Lucky conjures up some backup dancers with arcana, triggering a wild magic surge that causes a really heckin' cool vortex of air and makes Lucky's crew look super epic. It's so epic that it results in the gnome being the first dancer to get eliminated.

The dragonborn tries to ride that donkey with Animal Handling, but the donkey proves to be too stubborn to hit Lucky. Spleenifer uses her Athletics prowess to lawnmower the dragonborn. Since lawnmowers that aren't livestock-based don't really exist in the world of Dungeons and Dragons, the concept of lawnmowing is more abstractly interpreted as placing one's face on the floor with one's buttocks in the air and charging forward. Such a move proves to be both unexpected and successful.

Disco fan dances dragonborn into elimination with their sleight of hand, and Lucky uses her deception to moonwalk all over the ribbon-dancing elf. Spleenifer uses her persuasion to convince the opposing elf to go ballroom dancing with her, and then causes the elf to lose her composure with a few well-placed poop rhymes.

The laborer strikes back at Spleenifer with an intimidating Haka to eliminate her. But just because she's been eliminated doesn't mean she can't help out. Spleenifer chooses to help Disco as a backup dancer to give them a small bonus. Disco then uses their persuasion to convince the laborer to join a line dance, but the laborer jumps in on the wrong beat.

When it gets to Lucky's next turn, she starts off headbanging. However after a couple head bangs, she uses sleight of hand to secretly throw a handful of glitter to create a distraction. When it clears, she is performing a more classical dance. Several more times, she throws out glitter bombs and changes her dance style. It's too much for the last remaining dancer to take.

With the last dancer defeated, most of the magic fades from the portrait and the losing dancers get sucked back into the portrait. The adventure concludes for the evening, so stay tuned next time for more!

#adventure log #shits and giggles #dungeons and dragons #fishdavidson #dance-off #statue

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taubenbeats · 2 years ago

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For this edition of Taubenbeats Biweekly I wanna start off with this compilation from Through the Soil that released last week. Nice mixture of lofi, shoegaze, and indie rock, there are lots of fun new artists on it. Through the Soil is a DIY collective that puts out these compilations and the proceeds from the sale help nonprofits. Appropriately for Pride Weekend the proceeds go to the Trevor Project, which works to help prevent suicides by LGBTQ youth. So have a listen and consider snagging the Digital Album on Bandcamp for $5.

Welp, that was a nice thought, I had a post prepared to go and thought I'd get it out. Pride had other plans and my weekend was all for the queers.

Anywho, let's move on to the music I enjoyed for the past few weeks (albums and singles combined)!

Hell Is Here - Cryalot, Sarah from Kero Kero Bonito's DJ name, created this hyperpoppy, dark, noisy single. All I know is I want more. She even created a playlist of inspirations: https://open.spotify.com/playlist/5X92BydySAyRjHddWpndVm?si=4c4e030eb610463c

Fool's Gold - Built to Spill has put together some solid singles in the lead-up to their new album. Good riffs, good lyrics, super chill vocals.

New Summers - Great summer-y disco track. Just right amount of upbeat.

I Was Killing It Man - Debut single from a band called Doki Doki. Not much else to say but a really solid punk track. Appears to be a true debut, can't find anything else by em.

(album) Twenty Twenty Twenty One - I enjoy almost all of Spencer Krug's work, Moonface is usually my favorite. This album is another long one, but very well produced/written.

(album) Neon Girl Soundtrack -- Checkout Parts 1 and 2. Glitchy, industrial high BPM. Supposedly the game is really good too.

L'hotel Serein - Really enjoy this one. I like 17 min long jam tracks as much as the next deadhead, but I also like when these guys put out a dirty classic blues track.

We're Not In Orbit Yet - Haven't heard some good Broken Bells in a minute. Has a somber, kind of spacey vibe. For those that don't know Broken Bells is a pairing of one of the Shins and the producer Danger Mouse.

Hymn 35 (Revisited) - I don't get enough Folk anymore, so I'm still going to enjoy a revisit if it's from Joe Pug. Great voice and use of harmonica always.

(album) The Long Way, The Slow Way - Really enjoyed this debut LP from Camp Trash. Pop punk/Pop rock with touches of emo. Reminds me of sounds from middle school. Lake Erie Boys is a good track to start with, also enjoyed Pursuit and Enough Explaining.

New Money - Funky hip hop track from 21 Savage and Calvin Harris.

(album) Minions - The singles were mostly released individually are now grouped together properly. Usually you don't want to like this but the covers all just work for the artists assigned to them. Standouts were BROCKHAMPTON doing Hollywood Swinging, You're No Good by Weyes Blood, and my favorite of the whole thing, Bang Bang by Caroline Polachek.

(album) Great Lake Influence - Sango's production is super tight and clean on this one and the whole album breezed by for me, every track just flowed into the next one. Has some bit-tune-ness to it and mixes the fast driving snare beat with some fast heavy bass.

(album) Home, before and after - As I said with the Loveology single, I'm not usually into Regina Spektor. This album from her is wonderful though. I love most of the softer tracks, but the production and louder sounds on Coin or Spacetime Fairytale are equally impressive. Up the Mountain is my least favorite and as the second track could turn people off. I recommend sticking through it, the second of the album is hit after hit in my mind.

Cherry - Daphni is apparently Caribou and this sounds like a house version of Caribou. Let's just say I am HERE for that.

(album) Lavender Days - Leaning into a laidback folk sound, Caamp's new album is pretty chill.

Albums I still need to digest, but I have no doubt are good: MUNA's MUNA, Moor Mother's Jazz Codes, and Zola Jesus' Arkhon.

#Bandcamp

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obtusemedia · 5 years ago

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The 50 greatest albums of the 2010s

These 50 albums are the records that stuck with me the most in this past decade. There are albums here that grew on me slowly over time, and others that I instantly clicked with. Some of these records are constantly on repeat; some I only pull off the shelf at a certain time of year, or when I’m in a certain mood.

Regardless of why I love them, these are my 50 favorite albums of the 2010s.

#50: In Colour by Jamie xx (2015)

Instrumental electronic music is really not my thing, but In Colour is one of the few exceptions.

Jamie xx — also a member of indie icons The xx — has said In Colour is meant to evoke the emotions of a night out in London’s nightclubs, but not work as typical dance music that would actually be played in those clubs. That description is dead on.

With the exception of the bouncy Young Thug and Popcaan collab “I Know There’s Gonna Be (Good Times),” which serves as a fun break from the album’s moody atmospheres, none of these songs are danceable. Standouts like “SeeSaw” and “Girl” sound like the half-remembered soundtrack of a blacked-out night, with haunting whispers of vocals throughout. And the more pop-centric, heartbreaking ballads with fellow The xx members Romy and Oliver Sim prove Jamie can write stellar conventional tunes as well.

Best songs: “Loud Places,” “I Know There’s Gonna Be (Good Times)”

#49: Days Are Gone by HAIM (2013)

In their influential debut album Days Are Gone, the Haim sisters fused together ‘70s/’80s radio-friendly pop-rock, early ‘90s pop melodies and a modern Instagram sheen to create a collection of 11 instant indie-pop classics.

The San Fernando Valley-based sisters — Este, Danielle, and Alana — have both the songwriting and instrumental chops necessary to create the closest thing Millennials will get to a Fleetwood Mac album. Each song has approximately 40 hooks, plus some smooth guitar licks, just-funky-enough grooves and analog keyboards to get the job done.

Given that 2013′s pop scene was more about disco throwbacks and Miley Cyrus riding construction equipment, it’s unsurprising yet a bummer that should-be hits like “The Wire” or “Forever” never became mega-smashes. But HAIM’s retro pop sound on Days Are Gone would serve as a playbook for the rest of the 2010s for pop stars seeking an indie edge and more pop-inclined indie artists alike.

Best songs: “The Wire,” “Days Are Gone”

#48: Teens of Style by Car Seat Headrest (2015)

Teens of Style is almost more of a sampler record than a proper album. Released after Car Seat Headrest signed to the legendary indie label Matador, the record consists of select songs from Will Toledo’s low-fi Bandcamp recordings, re-recorded.

But let’s be honest — those Bandcamp albums are rooooough. Toledo could write great tunes, but the sound quality was so bad that the songs sounded like they were recorded with a Game Boy Color. The re-recording was necessary.

The tracks here are still appropriately fuzzy, with Toledo singing them through a distorted vocal filter. But with actual production values, the massive guitars and energetic choruses of grunge bangers like “Times To Die,” “Something Soon,” and “The Drum” come to the surface. And it also features one of Toledo’s best songs, the Pet Sounds-meets-Pavement power ballad “Strangers.” It’s a must-listen for any ‘90s nostalgists or sad bastards.

Best songs: “Strangers,” “Something Soon”

#47: AM by Arctic Monkeys (2013)

This was an interesting experiment that seemed doomed to fail: Taking an aggressively British rock band whose previous formula had gotten stale, and transforming them into slick, swaggering American rock gods. But somehow, AM works. Alex Turner channeled a greasy charm in his winking croon, nearly developing a Western drawl. And although the production is significantly smoother, the Arctic Monkeys didn’t forget how to RAWK — the clanging guitars of “R U Mine?” and “Arabella” will wake you right up.

Yes, AM is one of those Urban Outfitters-core albums that was a favorite amongst suburban faux-hipsters. It’s not nearly as cool as it thinks it is. But it’s still the closest thing the ‘10s have to a classic rock masterpiece.

Best songs: “R U Mine?,” “Do I Wanna Know?”

#46: Charli by Charli XCX (2019)

This decade has seen two versions of London pop visionary Charli XCX: The glitched-out weirdo behind “Vroom Vroom” and “Track 10,″ and the snotty popstar who sang the hook on an Iggy Azalea hit and wrote a bubblegum track for a teen romance. What makes Charli such a fun listen is it’s her only project that masterfully balances her two sides.

Do you prefer radio-friendly hook machine Charli? Here’s some synthy duets with Troye Sivan and Lizzo. If you want the experimental side of Charli, there’s the jagged “Click” and a song that sounds like it samples the THX theme. And the best songs take a little from both of Charli’s strengths (like the two tracks below).

Best songs: “Gone,” “Cross You Out”

#45: Harry Styles by Harry Styles (2017)

When Harry Styles, arguably One Direction’s most beloved member, announced his first solo album, I can’t imagine many fans expected it to be so...dad rock.

Styles’ self-titled debut goes down easy, with its gentle guitars and singer-songwriter odes to love. It’s the kind of record that’s easy to scoff at — the pretty one in a boy band tries his hand at ~serious~ music — but remember, critics didn’t love Paul McCartney’s first couple solo albums either. Harry Styles’ impeccable pop-rock songwriting will cement its legacy,

Best songs: “Sign of the Times,” “Two Ghosts”

#44: Mylo Xyloto by Coldplay (2011)

Mylo Xyloto is unabashedly corny, and that’s what makes it great. You’d expect a Coldplay album to already have a high level of cheese, but Mylo Xyloto takes it to another level. Unlike the similarly poppy A Head Full Of Dreams a few years later, Xyloto’s head-first dive into synths and dance beats is actually memorable. There’s technically a loose connecting story tying the songs together, but all you need to enjoy the album is a love for massive, world-conquering choruses and a love of Chris Martin’s heart-on-sleeve emotions.

Best songs: “Every Teardrop is a Waterfall,” “Charlie Brown”

#43: Everybody Works by Jay Som (2017)

Plenty of great dream-pop albums were released this decade, but none of them feature as many variations on that style as Jay Som’s Everybody Works. All of Oakland singer-songwriter Melina Duterte’s songs are hazy and catchy, but she still manages to dabble in the sounds of grunge (“1 Billion Dogs”), Latin pop (“One More Time, Please”) and even early ‘00s soccer-mom pop (“The Bus Song”). And other than an overly-long closing track, Duterte nails everything she tries. Everybody Works is a little slight, but the music is too hypnotizing to resist.

Best songs: “The Bus Song,” “(BedHead)”

#42: The Suburbs by Arcade Fire (2010)

The Suburbs is an album that seems to sprawl out forever, just like its namesake. And with apologies to The Hold Steady, this album is the closest thing Millennials got to creating a Springsteen classic of their own.

The classic-rock and new-wave influences that Arcade Fire melded create a feeling of both comfort and dread, perfectly encapsulating the feelings of someone trapped in endless housing developments and strip malls. The tension builds and builds, until it all gloriously climaxes with the ‘80s pop throwback “Sprawl II” — a triumphant anthem about feeling trapped. Arcade Fire’s follow-ups to The Suburbs might have dimmed the band’s reputation, but their Grammy-winning masterpiece still holds up.

Best songs: “Sprawl II” “Suburban War”

#41: Era Extraña by Neon Indian (2011)

The first sign that Neon Indian wouldn’t be a flash-in-the-pan unlike many of his chillwave peers, Era Extraña is a glitchy new wave pop masterpiece. Tracks like “Halogen (I Could Be A Shadow),” “Hex Girlfriend” and “Suns Irrupt” sound less like traditional synthpop songs than hallucinatory memories, yet they’ll never leave your head. And Texas keyboard wizard Alan Palomo’s biggest crossover hit is also on this album, the burbling gem “Polish Girl.” Jump into any point in the album — it’s likely a stellar tune stuffed with analog synth riffs.

Best songs: “Halogen (I Could Be A Shadow),” “Fallout”

#40: MASSEDUCTION by St. Vincent (2017)

Indie hero St. Vincent made a sharp pivot into pop with MASSEDUCTION, her fifth album and first collaboration with super-producer Jack Antonoff. But given her art-rock leanings, this wasn’t going to be a typical pop album.

MASSEDUCTION is a gonzo record that manages to balance tearjerking ballads like “Happy Birthday, Johnny” and “Slow Disco” with new-wave freakouts like “Fear The Future” and “Sugarboy.” I’d call it one of those pop albums with an undercurrent of darkness under the shiny sheen, but the darkness on this album is more than an undercurrent. Panic is the overwhelming emotion throughout MASSEDUCTION, and Annie Clark was the perfect artist to convey that feeling through her weirdo pop jams.

Best songs: “Los Ageless,” “Happy Birthday, Johnny”

#39: Gossamer by Passion Pit (2012)

Gossamer sounded cutting-edge in 2012, with its warped vocal samples and fizzy synthpop production. Unfortunately, that production has already aged badly less than a decade later.

But that doesn’t mean that Michael Angelakos’ songwriting has suffered with time. His morose, depressed lyrics still sync masterfully with the sugary synthpop that backs them up. And even though Angelakos is writing about dour topics like the Great Recession, bipolar disorder and suicide, he doesn’t forget the hooks. Songs like “Carried Away,” “Cry Like A Ghost” and of course, the big hit “Take A Walk,” could easily slide into Top 40 radio if they weren’t so grim lyrically. And I’m sure once early ‘10s production comes back in vogue in a decade or two, Gossamer will once again sound fresh.

Best songs: “Take A Walk,” “I’ll Be Alright”

#38: Atrocity Exhibition by Danny Brown (2016)

Danny Brown’s music always seemed a little unhinged. But Atrocity Exhibition — one of the decade’s most unique, haunting albums — is a true look into his demented mind. The production is warped and fried, and the Detroit rapper’s inimitable whacked-out flow is pushed to its breaking point. The result is a record that sounds both cartoonishly fun and absolutely terrifying.

Brown’s hedonistic-yet-chaotic lifestyle detailed in Atrocity Exhibition is wildly entertaining to listen to, but it’s not a world you want to live in. It sounds like both dropping acid and getting curb-stomped at the same time. And it’s a sonic achievement I’m not sure Brown will be able to top.

Best songs: “Ain’t It Funny,” “When It Rain”

#37: Born This Way by Lady Gaga (2011)

Listen, I love Gaga. She’s my favorite pop star of all time, point blank. But she only has one perfect album: 2009′s sharp, concise The Fame Monster, which missed the decade cutoff by only two months. Every other record Gaga’s released has at least a few filler tracks. But Born This Way’s highs are so dizzyingly high that it’s impossible to not recognize this album.

Imagine if Gaga kept Born This Way to only 10 tracks or so, cut out the fluff. It would be wall-to-wall early 10s pop masterpieces: “Marry The Night.” “Born This Way.” “You And I.” And of course, “The Edge Of Glory.” And that’s not even counting the many solid deep cuts sprinkled throughout — there’s a biker song about riding goddamn unicorns. How could you hate that?

Born This Way is still an exhausting listen in its full, but that’s partly because it’s so exhilarating that you couldn’t possibly have any energy left afterwards.

Best songs: “The Edge of Glory,” “You And I”

#36: To Pimp a Butterfly by Kendrick Lamar (2015)

Like Gaga, Kendrick Lamar is one of the decade’s great visionaries, but he also tends to overstuff his albums (with one exception, we’ll get to it later). And To Pimp a Butterfly definitely has some filler in its back half. But when Lamar is firing on all cylinders, the album reaches heights that 99% of albums couldn’t even dream of.

The album’s eight-song first half is a stunning masterwork of songs that have wildly different tones and emotions, yet still manage to piece together a running theme of the confusing, troubled black experience in modern America. And even the rougher second half has furious cuts like “Hood Politics” and “The Blacker The Berry.”

I have to give Lamar all the props for having a grand vision with To Pimp a Butterfly. The best albums require a sky-high vision. But, like with Born This Way, if it had been trimmed by three or four songs, it could’ve been top-10 of the decade.

Best songs: “The Blacker The Berry,” “King Kunta”

#35: 1989 by Taylor Swift (2014)

There was a lot of anger when Taylor Swift won the Album Of The Year Grammy for 1989 over To Pimp a Butterfly. But, at the risk of sounding like I have no taste — maybe the Grammys actually got it right?

I know Red is the fan and critic favorite of Swift’s albums, but I’ve always found it to be wildly inconsistent (despite some incredible high points). 1989, meanwhile, doesn’t waste a single second. It’s a perfect pop album, delivering the gargantuan hooks and leaving before it lingers around too long. It’s one of those records where nearly every track could’ve been a hit single. And even if it isn’t Swift’s peak lyrically, it’s certainly her peak in terms of mastering pop music craft and production.

Best songs: “Style,” “Blank Space”

#34: I like it when you sleep, because you are so beautiful yet so unaware of it by The 1975 (2016)

This might be the most frustrating album on the list. On I like it..., a massive leap of a sophomore album from The 1975, there are so many untouchable pop classics: “The Sound.” “Somebody Else.” “Love Me.” “UGH!” “A Change of Heart.” “She’s American.”

But there are also some mind-boggling choices, like adding two lengthy, pointless instrumental interludes and ending the record on a couple of painfully boring acoustic guitar numbers — not The 1975′s strong suit. But the ‘80s retro flair of I like it... is so charming, and its sheer scope so ambitious, that I still find myself returning to the record over and over again. It was the album where The 1975 proved they were more than just pretty British bad boys, but true Millennial pop icons.

Best songs: “Somebody Else,” “A Change of Heart”

#33: They Want My Soul by Spoon (2014)

They Want My Soul is an album by Spoon, the world’s most consistent rock band since 1998. So naturally, it’s good — all Spoon albums are.

But They Want My Soul is a perfect back-to-basics record, returning to that classic crisp, uber-catchy indie rock sound that Spoon perfected in the prior decade. There’s a few new production flourishes, but for the most part, the Austin band just deliver an updated version of the goods. Why fix something that ain’t broken?

Best songs: “Do You,” “Rainy Taxi”

#32: House of Balloons by The Weeknd (2011)

Before he started pumping out Michael Jackson pastiches, The Weekend was mysterious and depraved as hell. His introduction to the world, House of Balloons, is still just as haunting and impactful as it was in 2011. Abel Tesfaye’s helium vocals contrast masterfully with his dark lyrics and the nocturnal, grimy production.

House of Balloons is certainly an album that needs to be listened to at certain points of the day/year — listening to it at noon on a sunny July day is just wrong. Wait until it’s nighttime and when the temperature drops — Tesfaye is from Toronto, after all — and embrace the darkness.

Best songs: “House Of Balloons / Glass Table Girls,” “The Party & The After Party”

#31: Soft Sounds From Another Planet by Japanese Breakfast (2017)

Japanese Breakfast — AKA Eugene indie rocker Michelle Zauner — is Oregon’s finest musical project of the century (no, bands that moved to Portland don’t count; sorry Modest Mouse, The Shins and Sleater-Kinney). And Soft Sounds From Another Planet is both her high-water mark and proof that Zauner has the potential to become an all-time indie great.

The songs on Soft Sounds take the classic dream-pop/shoegaze sound and tweak it a bit, fusing it with alt-rock and sci-fi new wave. The album’s centerpiece, “Boyish,” sounds like a gorgeous prom ballad from the ‘50s. But Zauner herself is who brings Japanese Breakfast’s songs to light. Her deeply personal and emotional songwriting strikes a chord, and her flexible vocals cut through the cloudy production like a foglight.

Best songs: “12 Steps,” “The Body Is a Blade”

#30: Run The Jewels 2 by Run The Jewels (2014)

RTJ2 starts with Killer Mike screaming in the studio. That furious, profane and chaotic energy carries throughout RTJ2, an apocalyptic hip-hop masterpiece.

Killer Mike and El-P had no shortage of political targets to spray their anger at with, from corrupt, violent cops to an unjust capitalist system. Songs like “Early” and “Crown” are tragic, paranoid retellings of police brutality that would leave even Fox News viewers sympathetic. But the key to RTJ2 is that Mike and El are still clearly having a blast. When they rip apart their enemies, they do so with glee, and El’s energetic dystopian production was at its peak with this record.

Best songs: “Oh My Darling Don’t Cry,” “Early”

#29: IGOR by Tyler, The Creator (2019)

IGOR is one of those albums that creates its own sonic universe. The blend of fuzzed-out synths, aggro hip-hop and sweet retro soul that Tyler, The Creator cooked up on this album is truly one of a kind.

The former enfant terrible of rap put his raw emotions to use by telling the story of a brutal story of unrequited love. Tyler perfectly captured the rollercoaster of emotions of that scenario, from queasiness to vengeful anger to dejection to finally acceptance. Every second is packed with hooks, ear-grabbing production and the relatable narrative.

Flower Boy might have been the world’s introduction to a more thoughtful Tyler. But IGOR is when that potential was fully realized.

Best songs: “EARFQUAKE,” “A BOY IS A GUN*”

#28: Guppy by Charly Bliss (2017)

What if ‘90s rockers, instead of heroin, were addicted to Pixy Sticks? That’s what Guppy sounds like: Angsty lyrics and crunchy guitars, but all in the service of incredibly energetic and catchy pop-rock songs. Lead singer Eva Hendricks’ piercing, squeaky vocals just add to the rush of excitement each song has — it sounds like a literal child is singing sometimes.

Guppy isn’t going to be for everyone; not every person wants to down a king size bag of Sour Patch Kids in one sitting. But for a fun sugar rush with some legitimate heft, you can’t do much better than Charly Bliss’ electric debut album.

Best songs: “Westermarck,” “Scare U”

#27: Carrie & Lowell by Sufjan Stevens (2015)

On the exact opposite end of the emotional and energy spectrum from Guppy sits Carrie & Lowell. Sufjan Stevens’ acoustic masterpiece is about the death of his mother, and the complicated feelings that arose from that moment. It’s a haunting, dark collection of songs that grapple with Stevens’ relationships with his deceased mother and God.

Fair warning: Carrie & Lowell is insanely sad. If you’re not in the mood for some downer songs, you’ll likely switch it off. But sometimes, we all need a good tear-jerker. And if you squint at it right, it might be the greatest Christian album of all time (that’s a stretch, I realize...but I’m sticking with it).

Best songs: “The Only Thing,” “Fourth of July”

#26: Late Night Feelings by Mark Ronson (2019)

When was the last time that a producer-driven album was this good? Or more miraculously, this cohesive?

Late Night Feelings is exactly what you think it is based on the title: a collection of nocturnal songs about heartbreak. Ronson mostly abandoned his trademark ‘80s and ‘70s retro sounds for a more modern pop sound (for the most part), with each track perfect for a night drive. And he gathered a murderer’s row of female singers and songwriters to accompany him. He got megastars like Miley Cyrus and Camilla Cabello to deliver some of their best-ever work, and gave indie darlings Angel Olsen and Lykki Li massive platforms to work their magic. Late Night Feelings is a blueprint for any other pop producers who want their album to be more than just a grab bag of singles and filler.

Best songs: “True Blue,” “Find U Again”

#25: Bloom by Beach House (2012)

Picking the best Beach House album is like picking the best Skittles flavor — they’re pretty much all great, and there’s not too much difference between any of them. But pound for pound, Bloom is the best Beach House record in my book, delivering as much hazy dreampop goodness as one could handle. More than perhaps any other record the Baltimore duo released, it’s all-killer-no-filler; the perfect bridge between the band’s early guitar-driven sound and their more recent reliance on keyboards. Even the secret closing track is great! But the album’s strongest section is its first four songs, arguably all of which could be a top-10 Beach House song. “Myth” in particular is the moment when it became clear that the duo had established themselves as perhaps dreampop’s greatest act.

Best songs: “Myth,” “Other People”

#24: Take Care by Drake (2011)

Almost all of Drake’s albums are famously overlong and stuffed with filler. Take Care, the Canadian icon’s sad-boy masterpiece, only commits one of those sins: It’s a bit on the long side, but nearly all of the 19 tracks are great.

Take Care is probably best known for the tear-jerkings moments when Drake allowed himself to get aggressively mopey, such as the drunk-dial lament of “Marvins Room,” the mournful R&B of “Doing It Wrong.” But there’s plenty of fiery bangers amongst the tears — who hasn’t used “Lord Knows” or “HYFR” to get hyped? Take Care was the foundation that built Drake’s 2010s empire, and will likely be remembered as his ultimate classic record.

Best songs: “Marvins Room,” “Lord Knows”

#23: Currents by Tame Impala (2015)

If Take Care is the definitive hip-hop sad-boy album of the decade, Currents is certainly its indie rock counterpart. Aussie psych-rock wizard Kevin Parker took Tame Impala into synthier territory on this album, jamming as many '80s Casio riffs as possible next to his guitar grooves. Some Tame Impala fans might have decried the poppier sound on this album at the time, but I believe Currents will go down as Parker’s finest moment.

Best songs: “The Less I Know The Better,” “Let It Happen”

#22: Take Me Apart by Kelela (2017)

The perfect marriage of off-kilter, nocturnal indie pop and R&B, Take Me Apart is one of the top-tier night-driving albums of the decade. The production, led by indie heavyweights Ariel Reichstaid and Arca, along with Kelela herself, is masterful. It calls back to ‘80s and ‘90s R&B sounds while sounding like an alien transmission. And Kelela is the perfect vocalist for this style, managing to sound both sensual and robotic. Take Me Apart should’ve been a blockbuster hit, but for now, it stands as R&B’s most underrated album of the ‘10s.

Best songs: “LMK,” “Truth or Dare”

#21: Hurry Up, We’re Dreaming by M83 (2011)

You can’t casually listen to Hurry Up, We’re Dreaming. From the second you press play on the majestic opener “Intro,” you have to buckle up for a breathtaking 73-minute experience. Calling M83′s bombastic synthpop/post-rock mix “cinematic” has become a cliché at this point, but there’s no better descriptor for it. Especially when Hurry Up, We’re Dreaming is nearly the length of a feature film. Standouts like “Midnight City,” “Wait,” and “Outro” haven’t lost their luster after years of overplay, and there’s plenty of deep cuts to discover with each listen. Even the frog-themed acid trip is enjoyable! It’s no wonder Anthony Gonzalez followed up this album with the goofy and low-stakes Junk — there was no way he’ll ever be able top the bombastic, nostalgic glory of Hurry Up, We’re Dreaming.

Best songs: “Midnight City,” “Intro”

#20: Norman Fucking Rockwell! by Lana Del Rey (2019)

It’s about damn time that Lana Del Rey, one of the decade’s most iconic and influential figures, started getting some critical acclaim. And it makes sense that the rave reviews started arriving with Norman Fucking Rockwell! this summer. It’s easily her most singer-songwriter-y album, stuffed with clever turns of phrase and devastating lines. NFR is also Lana’s most somber album, with a focus on depression, romantic dissatisfaction and the death of the American Dream. And yet, it ends on a note of tentative hope, mirroring the disposition of many nervous Millennials and Gen Zers. It’s not my favorite album of hers, but undoubtedly, Rockwell is the moment when Lana established herself as a generational icon.

Best songs: “The greatest,” “Mariners Apartment Complex”

#19: Lemonade by Beyoncé (2016)

Some may prefer Beyoncé’s more R&B-focused self-titled surprise album, but I’m always going to point to Lemonade as her towering achievement. Beyoncé created a blueprint for a flawless breakup album here: There’s songs detailing her disbelief at Jay-Z’s affair, a group of fiery kiss-off anthems, some somber ballads about her grief, and finally, a triumphant moment of reconciliation. And throughout the story, Beyoncé masterfully samples a variety of genres, from reggae to hard rock to even country. And just when you think the album ends on a perfect note, Beyoncé tacked on her greatest-ever single, “Formation.” I’m always a sucker for albums that tell a complete story, and Lemonade was an instant classic in that format.

Best songs: “Formation,” “Don’t Hurt Yourself”

#18: Antisocialites by Alvvays (2017)

In contrast to Lemonade, Alvvays’ sophomore record Antisocialites only sticks with one musical style: ghostly, uber-catchy dream pop. It’s like Chromatics, but for the daytime. Good thing the Toronto group are masters of that sound.

Their early-R.E.M.-meets-Beach House vibe was never been better than on Antisocialites, where every song is a melancholy gem. None of the songs are overly ambitious, but that’s not a problem when Alvvays’ simplistic beauty is irresistible regardless.

Best songs: “In Undertow,” “Dreams Tonite”

#17: DAYTONA by Pusha-T (2018)

Virginia hip-hop legend Pusha-T somehow made sounding in his comfort zone sound like the coolest thing in the world with his magnum opus, DAYTONA. At only seven songs and 21 minutes, the record is a textbook example of a tight and focused classic. Push’s coke-dealer bars and Kanye West’s dusty, sample-heavy production fit perfectly. The album at times almost sounds like a nihilistic The College Dropout. Late-era Kanye is nobody’s favorite, but DAYTONA proved that he and Push are still one of hip-hop’s best teams.

Best songs: “If You Know You Know,” “Santeria”

#16: Sometimes I Sit and Think, and Sometimes I Just Sit by Courtney Barnett (2015)

Courtney Barnett cemented herself as one of the finest songwriters of her generation with her debut record, Sometimes I Sit and Think, and Sometimes I Just Sit. Barnett’s dry Aussie wit rarely feels too snarky, she just has a matter-of-fact view of the world that’s refreshing and unique. The album plays like a series of indie rock vignettes, with gloomier songs about coral reef destruction and imposter syndrome balanced out by goofy rock bangers like “Aqua Profunda!,” in which Barnett describes trying to impress a hot woman at the pool and accidentally passing out in the process. Sometimes is a truly fun, one-of-a-kind album that’s a perfect summer road trip listen.

Best songs: “Pedestrian At Best,” “Elevator Operator”

#15: A Brief Inquiry Into Online Relationships by The 1975 (2018)

As much as I adore The 1975′s three albums, all three of them unfortunately have a few fatal flaws. Their self-titled debut is consistent, but never transcendent. Their sophomore album is brilliant — except for the few painfully boring acoustic ballads and instrumental tracks. The Manchester group’s third effort is their closest to perfection, despite one or two pointless numbers (looking at you, “Surrounded By Heads and Bodies”). Matty Healy and co.’s thirst for genre experimentation is rampant here, with songs aping *inhales deeply* Oasis-esque arena rock bombast, wiry post-punk, tropical pop, gospel, cheesy ‘80s synthpop, melodramatic R&B, wonky electronica, and even jazz. And considering they nail all of those efforts, and threw in the generation-defining political anthem “Love It If We Made It” just for kicks...yeah, I’d say this album, and The 1975, are pretty damn incredible.

Best songs: “Love It If We Made It,” “It’s Not Living (If It’s Not With You)”

#14: Clean by Soccer Mommy (2018)

Clean is on the opposite end of the ambition spectrum from The 1975 — it’s mostly standard indie rock and singer-songwriter folk. But what Soccer Mommy, AKA Nashville artist Sophie Allison, did within those narrow confines was magnificent. Allison spent 10 tracks detailing heartbreak, anger and jealousy with spare, relatable lyrics. And the lilting, gorgeous melodies she paired them with on tragically beautiful songs like “Scorpio Rising” and “Wildflowers” could reduce anyone to tears. Clean is both a display of raw potential and a memorable statement in its own right.

Best songs: “Scorpio Rising,” “Cool”

#13: Blonde by Frank Ocean (2016)

I could never get into Channel Orange (besides “Pyramids”... that song goes HARD), but Blonde hypnotized me immediately. Maybe I just prefer Frank Ocean’s weirder side, as Blonde has very few concessions to the radio. It’s an atmospheric trip through Ocean’s mind, and the closest R&B got to dreampop this decade. It doesn’t all work for me— “Futura Free” is a weak closer, and the interludes like “Facebook Story” are pointless — but when whe record on point, it’s the best work of Ocean’s career. If you don’t feel goosebumps when listening to the silky smooth “White Ferrari” or when the harmonies come out at the end of “Self Control,” I’m not sure what to tell you.

Best songs: “Ivy,” “Self Control”

#12: Strange Desire by Bleachers (2014)

Jack Antonoff is likely the decade’s greatest pop producer, producing career-defining masterpieces for multiple artists on this list. But he still left some of his best tunes for himself. Strange Desire, the debut album for his side band, Bleachers, is a gloriously bombastic ‘80s pop fever dream. It sounds like a John Hughes movie soundtrack infused with Pop Rocks.

Antonoff isn’t the world’s greatest singer, but his utter commitment to the cheese of his tunes makes up for that entirely. A more jaded person will probably listen to Strange Desire, shake their head, chuckle and move on. But as a proud cornball, I love this ridiculous, passionate pop album, random Yoko Ono cameos and all.

Best songs: “Rollercoaster,” “Like A River Runs”

#11: Night Time, My Time by Sky Ferreira (2013)

New wave and grunge shouldn’t go together. They’re diametrically opposed: one is bright and quirky, the other is morose and grimy. But in her debut album — and sadly, her only album so far — alt-pop genius Sky Ferreira melded the two genres seamlessly. Ferreira’s vocals and angsty attitude are a natural fit for alt-rock’s clanging guitars and angry lyrics, but she can also play the synthpop diva when needed. And on some of the albums’ best tracks, like “Heavy Metal Heart” and “Ain’t Your Right,” she comes off as a Seattle-friendly revamp of ‘80s stars like Pat Benatar or Joan Jett. It’s truly tragic that Ferreira’s second album has been in development hell, as Night Time, My Time is the kind of assured, rugged debut that signals the start of a brilliant career.

Best songs: “I Blame Myself,” “24 Hours”

#10: Ultraviolence by Lana Del Rey (2014)

Lana Del Rey is certainly one of the 2010s’ defining artists. But which album is her best work? It depends on your taste: the critics seem to prefer the more subdued, songwriter-y Norman Fucking Rockwell! The album with the strongest singles and most striking style is certainly her polarizing debut, Born To Die. And for those who have difficulty sleeping, I’m sure the boring-as-hell Honeymoon helps with that. (There’s also Lust For Life...that one’s fine, I guess.)

But for me, Ultraviolence is still Lana’s pinnacle. From the album-opening psych-rock freak-out “Cruel World” to the tear-inducing melodramatic album closer “The Other Woman,” it’s her most complete album. Her tragic retro California vision is fully realized here, as it explores the dark side of her persona. Even when the music sounds triumphant, like on the James Bond-esque “Shades of Cool” or G-Funk-evoking “West Coast,” there’s a strong undercurrent of misery. And Lana’s haunting vocals sell even the most ridiculous lyrics here. Most artists would sound silly singing “Pretty When I Cry,” but Lana sells the hell out of it.

And if you still don’t get the Cult of Lana after hearing Ultraviolence — well, as she sings on “Brooklyn Baby,” “If you don’t like it, you can beat it.”

Best songs: “Shades of Cool,” “The Other Woman”

#9: Yeezus by Kanye West (2013)

Do you realize how difficult it is for an album to still sound abrasive, shocking and futuristic nearly seven years after its release? I remember a time when “Like A G6″ sounded like the future — now it’s just a goofy early-’10s hit. But I imagine Yeezus, Kanye West’s likely final masterpiece (sorry, Life of Pablo stans), will continue to freak out and delight future generations.

Working with fellow producing legends Rick Rubin (!) and Daft Punk (!!!), West decided to finally embrace how much of Middle America saw him with Yeezus. If crowd-pleasers like My Beautiful Dark Twisted Fantasy and Watch The Throne wouldn’t change some people’s minds, then fine — he was more than happy to play the villain.

Yeezus’ distorted, pitch-black production still sounds fantastic today, and is a perfect fit for the album’s bitter, furious attitude. But despite all of West’s tirades, he still found time to let his humor shine through, giving us scores of funny moments, including his greatest-ever one-liner: “HURRY UP WITH MY DAMN CROISSANTS!!” And even if you missed the Old Kanye, there’s something here for you too: the soulfully profane “Bound 2,″ a crass love letter to Kim Kardashian with a gorgeous chipmunk soul sample.

This album is absolutely not for everybody, but its alienating and combustable nature is what makes Yeezus a masterwork to this day.

Best songs: “New Slaves,” “I Am A God”

#8: MY WOMAN by Angel Olsen (2016)

Angel Olsen, the greatest singer-songwriter of her generation, rarely sits still. Her three best albums all have a sharply different feel: 2014′s Burn Your Fire For No Witness is more traditional, sticking with fuzzy indie rock and hauntingly spare acoustic ballads. Her most recent album, All Mirrors, is the opposite — a maximalist, theatrical outpouring of emotions with a full orchestra on most tracks. But Olsen’s greatest work so far is the album she recorded between those two. If Burn Your Fire is a tad too minimalist, and All Mirrors is a bit too over-the-top, then MY WOMAN fits snugly between those two extremes.

But production is not what makes Olsen a genius, although she typically has good taste in it — it’s her songwriting. MY WOMAN has some of her sharpest pop-leaning tracks in the first half, like the fiery “Shut Up Kiss Me” and country slow-dance “Never Be Mine,” then some sprawling slow-burn ballads in the second half. In particular, “Sister” is a folk-rock rollercoaster that works perfectly for driving on a long trip alone, with the hushed opening gradually turning into an expansive, cinematic climax with an incredible guitar solo. And that song’s lyrics are a relatable document of self-disappointment and resentment.

From Courtney Barnett to Soccer Mommy, the late ‘10s have seen an explosion of insanely talented singer-songwriters. But none had the ambition, scope and operatic vocals of Olsen and MY WOMAN.

Best songs: “Shut Up Kiss Me,” “Sister”

#7: good kid, m.A.A.d. city by Kendrick Lamar (2012)

Arguably the greatest hip-hop concept album of all time, good kid, m.A.A.d. city is still Kendrick Lamar’s most consistent work to date. Lamar, who normally has a problem with overstuffing his records, only has one filler track here — the drowsy “Real” — and everything else either moves his narrative forward in a compelling manner, or it’s an unstoppable banger (or both!).

The storytelling techniques Lamar uses to tell his autobiographical coming-of-age tale in Compton, complete with drugs, gangs and lots of anxiety, are fascinating and clever. Lamar raps as though he’s in that moment, adding in lots of random, world-building details about his life and twisting his voice in various ways to fit the scene. Even the voicemail and audio recording clips aren’t a distraction, but a clever way to add context to his story without dragging things down.

With his elastic flow and the record’s eclectic production, Lamar is able to have the listener feel exactly how he felt in certain teenage moments. From the dreamlike, gauzy high points of “Money Trees” and “Poetic Justice” to the adrenaline-pumping chaos of “m.A.A.d. City” and “The Art of Peer Pressure” to the murky low points of “Swimming Pools” and “Sing About Me, I’m Dying Of Thirst,” he absolutely nails each and every specific emotion.

But unlike many concept albums, a majority of good kid’s songs still sound fantastic out of context. “Swimming Pools” may be a song about alcoholism disguised as a party anthem ... but it’s a pretty damn great party anthem. And the triumphant finale, the Dr. Dre-featuring “Compton,” doesn’t have anything to do with the narrative, but it’s still insanely fun.

With good kid, Lamar managed to have his audience eat their veggies while not even knowing it. It’s both incredibly ambitious, yet still restrained just enough to not feel too heavy. You couldn’t ask anything more of a major-label debut.

Best songs: “m.A.A.d city,” “The Art of Peer Pressure”

#6: Modern Vampires of the City by Vampire Weekend (2013)

Modern Vampires of the City bored me when I first heard it. I was so excited for its release, right before my high school graduation. I’d listened to Vampire Weekend’s debut album and their sophomore record, Contra, over and over again, and was thrilled for another collection of peppy, preppy indie rock. That’s not what Vampire Weekend gave us with Modern Vampires.

Their decision to take a more somber and mature tone with Modern Vampires turned out to be the smart one, as the album is a major grower. On first listen, its ballad-heavy tracklist doesn’t grab you, but Ezra Koenig’s contemplative lyrics and Rostam Batmanglij’s stunning production reveal themselves on repeat listens. From the swaying breakup anthem “Hannah Hunt,” to the baroque, vulnerable “Step,” this album is when the two were at their peak creative partnership.

Koenig was about to turn 30 during this album’s writing, and you can tell he felt mortality creeping up. The album’s most blunt song about death, “Don’t Lie,” uses iconography of headstones and ticking clocks to show Koenig’s nervousness on the subject. Faith plays a major thematic role as well. But despite these heavy topics, the band managed to deliver a gorgeous, eminently listenable experience. It’s the prime soundtrack for any anxious 20-something fully entering adulthood.

Best songs: “Hannah Hunt,” “Step”

#5: VEGA INTL. Night School by Neon Indian (2015)

Remember how I said that Tyler, The Creator’s IGOR created a unique world of its own? So does VEGA INTL. Night School. And its neon-drenched, warped ‘80s nostalgia trip is a world I could live in forever.

The magnum opus both of Neon Indian and the entire chillwave movement, VEGA is unlike anything else. Ideally, one listens to it while driving down Los Angeles streets after 9 p.m., when the roads are mostly empty but the heat and the light pollution still fill the air. Neon Indian mastermind Alan Palomo stuffed VEGA with melted synths and off-kilter grooves that sound like a 1986 Jazzercise tape stuck in a microwave. The lyrics don’t mean much, but they convey this winking retro sleaze that Prince mastered back in the day.

But all the quirky production choices in the world don’t make a great record unless you’ve got the tunes to back it up. And Palomo brought the tunes. Every single song here is insanely catchy or has a killer dance beat or both. It’s like Thriller for an alternative dystopic universe — every song could’ve been a single. In fact, the tropical haze of “Annie” predicted a wave of similar-sounding (and worse) pop hits in 2016 and 2017.

It’s a shame Palomo hasn’t been able to follow up VEGA with a new album since 2015. Perhaps he knew he couldn’t top this instant, subgenre-defining masterpiece.

Best songs: “Slumlord,” “Dear Skorpio Magazine”

#4: Emotion by Carly Rae Jepsen (2015)

‘80s nostalgia was all the rage in the 2010s. And with apologies to Bruno Mars, Lady Gaga, Neon Indian, Daft Punk, The 1975 and many more who dabbled in Reagan-era throwbacks, that sound has a modern queen. And her name is Carly Rae Jepsen.

Emotion is such a perfect ‘80s pop album that it might be better than just about every actual ‘80s pop album (except Purple Rain and Thriller – I’m not that contrarian). Each song is deliriously catchy and stuffed with more hooks than should be legal. From the braying sax intro of the legendary album opener “Run Away With Me” to the glittering synths and slap bass of the energetic closer “When I Needed You,” every moment is euphoric.

Of course, we can’t talk about Emotion without discussing that technically, it flopped as far as sales go. Did Jepsen take too long to follow up the mega-smash “Call Me Maybe”? Did the label not promote it enough? Was the public just determined to define the British Columbia singer as a one-hit-wonder? Personally, I think it’s the latter — “Call Me Maybe” just sounds like the kind of goofy novelty song that comes as the singer’s only hit.

But Emotion is a defiant middle finger to anyone to who wants to define Jepsen by one song. At least a third of this album is better than “Call Me Maybe,” and the rest is on the same level. If you love synthpop, and you still haven’t heard Emotion, please do yourself a favor. Spend some time with the defining bubblegum pop album of the 21st century — I promise you won’t be disappointed.

Best songs: “Run Away With Me,” “Your Type”

#3: Melodrama by Lorde (2017)

On the surface, Melodrama and Emotion have a lot in common. Both Lorde and Carly Rae Jepsen took a long time to follow up their gargantuan, decade-defining hits with new albums. Both struggled to get a follow-up hit on their sophomore records (although at least Lorde had a second hit off her debut — remember “Team”?). And these two sophomore records happen to be the best two pop albums of the decade.

But that’s where the similarities end. Just like how “Royals” is an entirely different animal than “Call Me Maybe,” Melodrama is brilliant for very different reasons than Emotion.

In some ways, it makes sense that Melodrama didn’t pump out any hit singles. It’s a whispery, nocturnal concept album that doesn’t sound anything like 2017′s hits. Even the catchier tunes, like “Homemade Dynamite” or “Perfect Places,” have an undercurrent of nihilistic hopelessness to it, and not in the trendy “rich and sad” style that made Lil Uzi Vert and Post Malone stars. It’s more “holy shit, we’re coming of age while the world is burning down and we can’t do a thing about it.”

Earlier, I said Angel Olsen was the best songwriter of the decade. That’s still true, but Lorde is right behind her. Her lyrics are rich with detail and emotional resonance on Melodrama, relatably describing both a breakup and the subsequent partying in an unsuccessful attempt to forget about that breakup. “Liability” might be the decade’s most heartbreaking ballad — and this decade included an entire album about Sufjan Stevens’ dead mom.

“Royals” and Lorde’s debut album, Pure Heroine, showed a lot of promise. But it’s unfortunately all too common for budding pop artists to not meet those expectations. But with Melodrama, Lorde shattered the sky-high expectations she delivered for herself. We thought she could be another solid pop star. It turns out she’s actually the first Gen Z generational icon, and deservedly so.

Best songs: “Green Light,” “Liability”

#2: Teens of Denial by Car Seat Headrest (2016)

Like many Millennials and Gen Zers, I occasionally struggle with depression and anxiety. And although I can’t entirely relate to every moment on the album, there wasn’t a record this decade that encapsulated those emotions better than Teens of Denial, the decade’s greatest indie rock album.

Car Seat Headrest frontman/songwriter Will Toledo’s lyrics are painfully personal and embarrassing. It’s not entirely clear if these lyrics are based on his experiences or if he’s just an insightful storyteller, but Teens of Denial is powerful either way. The album’s loose narrative is about a guy who is not only depressed, but is surrounded by a world that seemingly heightens his depression at every step.

This is most bluntly shown on the roaring, angsty opening track “Fill In The Blank” — where the chorus is literally someone telling him, “You have no right to be depressed/you haven’t tried hard enough to like it” — as well as the snarky faux-campfire singalong “Drugs With Friends,” where a bad trip results in the protagonist realizing he’s terrified of his peers and then he imagines Jesus himself casting shame upon him. But half the time, the protagonist brings his problems upon himself, most notably with getting a DUI in the epic, U2-meets-Nirvana arena-grunge anthem “Drunk Drivers/Killer Whales.”

Much of the record is Toledo (or his character) wallowing in sadness, which admittedly doesn’t sound like a great time. But like Toledo’s predecessor in Seattle angsty rock, Kurt Cobain, these songs of profound sadness are told via some incredibly catchy, singable (and moshable!) tunes. And Toledo’s vocals are perfect for this style of music, as his voice is both off-kilter and shredded, but still genuinely melodic when the song requires it.

Teens of Denial is an unforgettable experience, something that has to be listened to from start to finish. You might enjoy it more if you find its themes relatable, but the songwriting and ‘90s retro rock sounds are so incredible that almost anyone could find it irresistible if they’re willing to get angsty for an hour.

Best songs: “Drunk Drivers/Killer Whales,” “Destroyed By Hippie Powers”

#1: My Beautiful Dark Twisted Fantasy by Kanye West (2010)

The first words sung in My Beautiful Dark Twisted Fantasy are, “Can we get much higher?” The answer is no. This album is the peak not only of Kanye West’s confusing career; not only of the decade; but of the entire genre of hip-hop.

My Beautiful Dark Twisted Fantasy is one of those all-time classic untouchable albums that will soon be required listening for any budding music nerd, up there with Sgt. Pepper, Born To Run, Purple Rain, OK Computer and The Blueprint. To name it as my favorite album of the 2010s is a painfully obvious, and possibly even dull pick. Pitchfork, which gave the album an insanely rare 10/10 upon release, had it at #2 on their decade-end list — possibly to be cheeky, possibly as retribution for West’s recent heinous actions.

Kanye West is an extremely flawed man, as we all know. I don’t need to recap his wrongdoings. But in some ways, his numerous mistakes just make Dark Twisted Fantasy even more resonant today. The album is partly about Kanye being a deeply troubled person, being aware of that, and yet being unable to change that no matter how hard he tries. He didn’t embrace his megalomaniacal tendencies like on Yeezus, but instead the album feels like an anguished cry for help. The three-minute autotune outro to the album’s breathtaking centerpiece, “Runaway,” literally sounds like that. And even the brag-rap bangers, like “Monster,” “So Appalled” and “Hell of a Life” have a menace to them.

Dark Twisted Fantasy is West at the full extent of his powers. Every single one of his strengths is amplified here. His lyrics, always a little corny and random, are entertainingly and quotably so. He brought out magical performances from guest stars, from Rick Ross’ smooth-as-hell verse on “Devil In A New Dress” to Nicki Minaj’s unhinged, career-best performance on “Monster.” There’s never been better production on a hip-hop album — impressive, considering the record jumps from style to style frequently.

But most importantly, Dark Twisted Fantasy is insanely ambitious. West had a vision, he exiled himself to Hawaii with his team, and he put his nose to the grindstone. It was when his music was the only thing he cared about — not his shoes, not the Kardashians, not Donald Trump. And that dedication was rewarded with a true masterpiece. West will never get any higher than this. And arguably, nor will music in the 21st century.

Best songs: “Runaway,” “Gorgeous”

#best albums of 2010s #rock #hip hop #pop #indie

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thesinglesjukebox · 7 years ago

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CALVIN HARRIS FT. PHARRELL WILLIAMS, KATY PERRY & BIG SEAN - FEELS [3.45] NONE OF THE...

Lauren Gilbert: why. [0]

Will Rivitz: "Feels" is a nice, if unexciting, bit of pop-reggae, featuring nice, if unexciting, features from Pharrell and Katy Perry, and at the very least everything is pleasant enough OH GOODY HERE COMES BIG SEAN LUMBERING IN TO TRAINWRECK THE SONG. [2]

Thomas Inskeep: "Feels" isn't even a word, goddammit. And heaven knows I do not wanna catch anything Katy Perry's singing about. But Pharrell is perfect for this poppy, summery cod-reggae groove of Harris's, and Big Sean does what he's paid to do, ably. This is one of the lesser tracks on Harris's wonderful Funk Wav Bounces, Volume 1, but a great palate-cleanser on top 40 radio from the flood of trop-house. [6]

Cassy Gress: Sounds like Calvin stole the synth line from someone's 1994 Sandals Resort home video. In this analogy, Pharrell is the sweaty customer whose Aloha shirt is buttoned down just one button too far, Katy works at the gift shop and left her feels on the kitchen counter at home while rushing out the door in the morning, and Big Sean is the lifeguard who signed up for this because of all the hot chicks in bikinis but is honestly getting kinda tired of the whole thing. [3]

Alfred Soto: Pharrell should've been the director of a health and wellness center at a local public university, where his admonitory chants would've had spinning classes in stitches. Think of Big Sean as the local comic relief, a riot at bar mitzvahs and Sundays in the park. And Katy Perry? The star making the entrance. [3]

Joshua Minsoo Kim: The feature list is enough to crown this the worst of the four singles, but at this point, Harris's new shtick has also become exceedingly tedious. Like being on vacation for a bit too long, the novelty has worn off and I'm ready for this all to end. I already had Funk Wav fatigue when "Rollin" dropped, so it's appropriate that "Feels" gives off unsavory tourist trap vibes. [4]

Will Adams: What started off as a promising exploration of sleek, summery disco has resulted in a truly boring album in which Harris reprints the same template ten times. Now all the fun has died, so I'm left to find my own fun in "Feels": Katy Perry's terrible diction causing me to hear "don't be afraid to catch fish," the prospect of retroactive crediting due to the bass line's strong resemblance to "Let's Groove," or Big Sean turning out to be the best part of the song. Eh, I suppose none of those are really that fun. Never mind. [5]

Katherine St Asaph: Pharrell loses the good parts of "Get Lucky" and makes the substitute of gallons of oil and smarm, Calvin Harris contributes JezzBall sound effects, Katy Perry contributes 5 per cent of her voice (a small number indeed), Big Sean is present; the feels I feel are horrifyingly close to Donald Trump watching Daft Punk. [2]

Jonathan Bradley: Atavistic Brits with a taste for trans-Atlantic funk: Calvin Harris has A-list guests, but in retrospect, Jay Kay's hats were a lot more fun. Pharrell Williams, a soul presence who needs a reason other than vocal chops to justify his appearance on a track, doesn't improve on "Get Lucky" by having him over a ghosted Jamiroquai beat rather than Daft Punk. "Slide" coasted on easygoing charm, which is the exact opposite of Katy Perry's pouted "don't be afraid to catch feels." And Big Sean's a suitable addition to the playbill in that he combines Pharrell's enervated presence with Perry's aggravating one: oleaginous and awkward simultaneously, he's Julius Kelp and Buddy Love at the same time. [3]

Maxwell Cavaseno: I'd say "Go figure that the least funky of the recent Calvin Harris singles has Katy Perry on it," but frankly I imagine a great amount of the fault is old Half-Pipe P. 2017 Pharrell is a giant case of "yo why the fuck are you here" as Pharrell refuses to actually provide hip-hop beats and only sporadically raps, pretending to instead be some pseudo-muso-soulman with a perpetually trash singing voice that shouldn't have been allowed to expand beyond hooks and novelty songs. More and more, Chad Hugo's tenure behind Williams's best work seems to define the hollowness of his former collaborator in the 2010s. That shouldn't be what defines this song, except Katy Perry's spot is essentially transparent and the idea that Big Sean could demonstrate a personality for staying power in listeners seems laughable. Ultimately the weakest result out of a fine period for Harris. [3]

Austin Brown: "Slide" and "Rollin," the two gems thus far from Calvin Harris's Funk Wav rebrand, work for how they ride the line between the party and the afterparty, the flirting and the second guessing that follows. "Feels," on the other hand, works because it's cockily oblivious to introspection, but not in a braggadocious way. Instead it's transparently dorky, from the parakeet single cover, to Katy Perry somehow selling the line "don't be afraid to catch feels" in the year of our Lord 2017, to one of the Big Sean-est Big Sean verses in years. With the fizzy bass and overwhelming sense of perk, it's superficial and crass -- but it's also undeniably self-aware in the way the best Judd Apatow films are. [7]

[Read, comment and vote on The Singles Jukebox ]

#Calvin Harris #Pharrell Williams #Katy Perry #Big Sean #Feels

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ohjjang · 4 years ago

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BTS Live Interview KBS News9 2020.09.10

🐨 We're so happy to have completed our debut stage. We'll continue to do our best as BTS.

👥 Bangtan! Thank you! We'll do our best!

🐱 It's good to dream big, right? I'd like to be No. 1 on the Billboard Hot 100. I'd also like to be No. 1 on the Billboard 200.

🗣 The Billboard music award goes to... BTS!

(No. 1 on the Billboard Album Chart in 2018)

(No. 1 on the Billboard Single Chart in 2020)

(No. 1 for two weeks in a row in 2020)

🐥 We never expected it but we're so happy to hear that we made No. 1 on the Hot 100. We're all in awe. It's hard to express it in words.

📺 KBS News9

🐹 Hello. I'm BTS' worldwide handsome, Jin.

🐱 Hello, I'm BTS Suga.

🐥 Hello, I'm BTS Jimin.

🐨 Hello, I'm BTS RM. Nice to meet you.

🐿 Hello! I'm your hope, J-Hope.

🐯 Hello... Hello, I'm your hope, V.

🐰 Hello, I'm Jungkook.

👩🏻‍💼 I'm sure you were here for "Music Bank," but how do you feel being in the newsroom?

🐿 It's really cool here.

🐹 It's really solemn here. It has a serious vibe.

🐱 It's our first time in the newsroom.

🐨 I think this is the coolest place in KBS.

🐿 To be honest, it's quite fascinating.

👩🏻‍💼 Jimin, does it feel real yet?

🐥 Oh, it doesn't feel real. When something good like this happens, we should be meeting with the fans in person and hug, cry, and celebrate together. It's a shame because of the current situation. But it's an honor to be here on KBS. I hope the fans will be happy.

👩🏻‍💼 It's really difficult for a non-English speaking artist to enter the Hot 100, right?

👥 That's right.

👩🏻‍💼 Why do you think "Dynamite" was so successful? How was it able to have a universal appeal?

🐱 Well, the situation isn't good in Korea and overseas, right? So when we first came up with this song, we wanted to do what we're good at, what we were able to do, in order to provide strength for our fans. That was our biggest motivation. And fortunately, our fans really loved the song, which is what brought this amazing result. That's what I believe.

👩🏻‍💼 It's a really exciting and funky disco track. Did you choose that genre on purpose because things are so tough right now?

🐨 In these tough times... When you're feeling down and depressed, there are many ways to relieve that, right? We chose to go with our field of expertise. It's a disco-pop that everyone's familiar with. We wanted it to just be cheery. And we felt like we needed something that was hopeful. That's why we chose this genre.

👩🏻‍💼 Do you feel like you're world stars now? V, how do you feel?

🐯 First of all... It does feel more real than before. Friends of our families say that they're part of ARMY. And even many of our friends have become ARMY. We're really encouraged every time we hear that.

🐿 So many people cheered loudly for us when we entered the newsroom.

🐨 They congratulated us.

🐿 I think that makes us realize our popularity a little.

🐯 It makes us wonder how we are this popular.

🐱 It wasn't like this at "Music Bank."

👩🏻‍💼 From what I know, you had hard times in the beginning. I heard there were times when you'd go hungry.

🐹 Yes. Even for us... We used to catch fruit flies with a vacuum cleaner. We'd have rotten bananas that attracted lots of fruit flies. There were times we survived on chicken breasts. It's a relief that things worked out for us.

👩🏻‍💼 What has changed between then and now?

🐯 Our lunch boxes...

🐹 Back then, when we weren't earning much, there was a limit to what we could eat. But now we can eat whatever we want. We can have two slices of steak if we want. That's where we're at.

🐥 Our minds... I think we have more peace of mind. We felt rushed back then and felt we needed tenacity. But now, we can relax more.

👩🏻‍💼 Then what hasn't changed between then and now? Something you've kept all this time. Jungkook, what do you think?

🐰 We've changed a lot in terms of our appearances and personalities. But the one thing that hasn't changed is our love for the fans and our attitude towards music. I think that still remains true.

👩🏻‍💼 I'd say your teamwork hasn't changed either. This year is the 7th year for the 7 of you. Your album has "7" in the title as well. This would be impossible without teamwork.

👩🏻‍💼 Do you have a secret to your successful teamwork? Does the eldest keep everyone in line?

🐱 No, not at all.

👩🏻‍💼 Or perhaps the leader?

🐨 I think we all just really get along. I think that's how we maintain our positive teamwork. And if anything comes up, we always gather and have meetings. We're always trying to gather ideas for a positive outcome. I think that's why...

🐿 I think we respect each other and are considerate of each other. I think that's how we were able to get to this point.

🐨 I mention this comparison often. I believe we're all in the same boat facing different directions. The 7 of us grew up in different environments and we live life enjoying different things. It's impossible to be completely alike. But the fact that we're in the same boat. If we have that clearly in mind... And also, if we're too close, that can cause problems. So at times, we're like family and other times, we're like partners. We maintain an appropriate distance from each other to respect one another. I'd say that's the secret to our teamwork.

👩🏻‍💼 J-Hope, you mentioned May 18, the Gwangju Uprising in your lyrics. Suga, you've incorporated daechwita and gukak in your music too. Do those ideas come from your discussions? From sharing your feelings and thoughts?

🐿 That's right. Being able to tell the stories that we want to through music is in itself such a great honor as artists. In my case, I felt it was a part of history that we should never forget. And I thought it was good to express that through my music. Daechwita!

👩🏻‍💼 I'm sure all of your songs are precious. But is there a song that you particularly love? In particular?

🐱 "Dynamite."

🐨 "Dynamite"!

🐿 "Dynamite."

🐹 For me, it's "I NEED U." That's the first song that got us 1st place.

👩🏻‍💼 In western pop culture, it has been difficult for Asian artists to be in the spotlight. It was hard to be mainstream. But now you're right in the center and the entire world relates to you. What's your secret?

🐨 To be honest, I don't know if we're there yet. However, The Billboard Hot 100 is very symbolic. And being No. 1 for two weeks in a row is something we never expected. So I personally think... First off, the song "Dynamite" was probably more approachable because it broke down the language barrier. And as mentioned earlier, disco-pop is a familiar genre. Even for the older generation. So it's easy to listen to and at this point in time, it provides hope. It provides comfort through being simple and upbeat. I believe these factors played a big part. And more than anything, I'd say people are most curious about this. It's how we got this far. They ask us that a lot and are curious about it. But what I want to say is that we've been on the Billboard Charts since 2015. And I think we've been achieving milestones since. It's not like we had a set strategy from back then. We didn't calculate how to climb up the Billboard Charts. We were able to overcome the language barrier and other national and ethnic boundaries through the truths that we conveyed. That's what reached the many people and turned them into our fans. These things all came together and the resulting explosion was "Dynamite."

👩🏻‍💼 Don't you have ARMY to thank as well, Jimin?

🐥 We have so much to thank them for. Since the early days, I think we had a strong bond with the fans. Even when our team was really small, it's the same in our music and performances, I think it always felt like we were together. Even in this moment, we're so thankful. We want to quickly meet them and thank them in person.

👩🏻‍💼 I really studied a lot so I wouldn't get told off by ARMY. I noticed you always thank the fans whenever you receive an award. Just as Jimin said, you seem so close with the fans. Where does that tight relationship come from? Would you like to comment on that, V? That tight bond with ARMY.

🐯 First of all, it's because they were with us since the difficult times. That'd be the foremost reason. Also, our sad times, happy times, the times we were congratulated, everything was shared with ARMY. So the people that know us best are by far always ARMY.

👩🏻‍💼 To all the youths around the world that have to live with COVID-19. Is there a unique BTS challenge you can propose? (Jung Eungyeong) Who would like to answer that?

🐥 V? Since he has unique ideas.

🐨 Since you're so creative.

🐯 This is my personal opinion. Right now, there are so many things we can't do because of COVID-19. So once COVID-19 passes... Once it's completely over... Then what is... What is the very first thing you want to do? The thing you want to do the most. You could write that down or express it in some way. Perhaps draw it. That would be my challenge suggestion.

🐿 It's a dream challenge.

🐰 A dream challenge.

🐯 Dream challenge.

👩🏻‍💼 We're all spending so much time at home because of COVID-19. You guys are doing a lot of activities online. J-Hope, you made beaded wristbands. You made gimbap too. Is there anything else you'd like to try?

🐿 Yes, I did do many things, right? Well, I don't know. I'd like to do things that I haven't tried yet. I'm not very good with my hands. So I'd like to make a lot of things. For example, carving wood and making something pretty. I'd like to try a lot of those things. And share them with the fans.

👩🏻‍💼 I'm sure you have a lot more personal time now. I hear RM has started to work out. Jungkook is learning the guitar and Suga's learning to draw. What else are you guys doing?

🐱 After things became like this, we shared a lot of our daily lives through various platforms. So that's why we have new hobbies. In this day and age, I'd like to share and show more. I started learning the guitar recently too.

🐰 He's practicing really hard right now.

🐱 I really am. I'd like to continue sharing things like that.

🐥 We're working on our next album as well.

👩🏻‍💼 I hear you have a new album coming soon. Can you briefly tell us what it'll be like?

🐥 Actually... It's hard to say what the album will contain as of now. There are songs as good as "Dynamite" and some even better, so please look forward to it.

🐨 We already love it.

🐥 Also... It's great. After topping the Billboard Charts with "Dynamite," I thought that it would be awesome if the entire album could enter the Hot 100 😄

🐱 It's good to dream big.

🐥 It's always good to dream big. So I imagine that at times.

🐰 Our level of participation for this album is extremely high for each of our members.

👩🏻‍💼 Each of your albums have a unique message. Finding yourself, for example. What do you think the message will be for this album?

🐥 I think it'll contain a variety of messages. It's like... The things we feel whether that be sadness or joy. I think we added those raw emotions. I'll end the spoilers there.

🐨 Right now... It's like... BTS is just 7 young guys. Of course, we don't live your average normal life. But the sentiment we're feeling right now... And what we dare to believe that people need right now. We added songs that will satisfy that. So I just hope many people will listen to them. That's how I feel.

👩🏻‍💼 I have to ask Suga about your next objective. Everything Suga has said has come true. Is your next goal the Grammys?

🐱 Well, first off... Yes... I've been lucky, haven't I? I'd personally like to be nominated. Once you're nominated, you can perform a song at the Grammys. And so after we perform at the Grammys, if possible, It's only our wishful thinking but... I don't know if I can say this. But if we can win a Grammy... That would be so...

🐨 Of course, it's not up to us.

🐱 Yes, of course. But we can dream, right? It's okay for us to dream, right? That's our wish.

👩🏻‍💼 Please agree to be back if you win.

👥 Oh, of course!

🐨 It'd be an honor to be back here.

👩🏻‍💼 Then to end this interview, for the people that are struggling because of COVID-19. Whether that be ARMY or viewers all over the world. Could you say a word for them?

🐰 We mentioned the challenge earlier. I'm sure many people are going through hard times right now. It was really tough for us too. We had so many things scheduled but we couldn't do any of them. That's how serious it is right now. Many people are putting in the effort. And we're doing the best we can too. I hope you can find something within. I hope you find that silver lining so that you can find some kind of joy in this dark times. It's tough but I hope you fight on.

🐨 I have a heavy heart. I can't dare say that I understand those struggling right now. It's difficult for me to say that. To tell you about "Dynamite" from our circumstances, it would not have been born without COVID-19. So, I believe... I believe that with the bad, there's always the good. Though that could take a long time. At night, the shadows are long but the sun will surely rise. I know it's tough for so many people. But we'll do our very best so please stay hopeful. And I wish you all stay healthy. Thank you.

👥 We'll shout it out! 2, 3. Let's go!

youtube

#bts #bangtansonyeondan #btsrm #btsjin #btssuga #btsjhope #btsjimin #btsv #btsjungkook #namjoon #seokjin #yoongi #hoseok #jimin #taehyung #jungkook #InternationalPopKSensationSunshineRainbowTraditionalTransferUSBHubShrimpBTS #btsarmy #Youtube

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two-chords · 5 years ago

Text

Good Times/Rappers Delight

youtube

Good Times (1979) Chic Disco, USA

Rapper’s Delight (1979) Sugar Hill Gang Early Hip-Hop/Rap, USA key: E dorian

Euroclassical function names: tonic subdominantTagg: tonic counterpoiseRiemann: t Sscale degrees: i IVchord names: Em A

Em A |:/ / / / |/ / / / |/ / / / |/ / / /:| loop

mode: E dorian — E F# G A B C# D E melody: Drmfsl form: chorus-verse-chorus-verse-chorus chorus — AA’A’A’ verse — BB’BB’ BBCB meter: duple suggested time signature: 4|4

Is this a two-chord song? Well, just listening to the bassline, yes. The bass lays down E very clearly and walks on up to A. But then there’s the funky guitar part. And from a guitar point of view, there are four different fingerings to use, which would be thought of as four separate chords. From a classical music perspective — which isn’t the end-all-be-all and may not be entirely appropriate, but is not entirely inappropriate (oh, the conundrum!) — we have a lot of notes that serve more of a “color” function than a harmonic movement function. And that makes sense, because, let’s face it: two chords do not make for much harmonic movement anyway! We have two places to be and let’s bring some color in while we are at it.

Another way to think about it (again, still from a classical perspective) is that we are prolonging the voice leading. Every chord has multiple notes and they all want to move in the easiest way to the next chord — except for the bass, which is allowed to be the leapiest (yup, that’s the most leapy), although we love it when our bass walks places, like it does in this song. Here are the notes of the basic chords we have in root position:

B E G C# E A

What we like to hear is something more like this:

E E B C# G A E A

The lowest note leaps and everyone else moves a step or holds. Now, we add a color note:

D E B C# G A E A

The D in the E minor chord is there for color or flavor or whatever your favorite cross-sensory analogy is. (Isn’t it funny how we so rarely talk about sounds as sounds, but via other senses? Color, shape, line, texture… But I suppose we talk about loud colors, too, so there’s just a lot of crossover. I digress…) Next, we are going to slow down the movement from one chord to the next, by not moving all the voices at once. First, we are going to move the G up to A:

D D E B B C# G A A E E A

This happens right as the bass starts walking, so it’s actually an interesting situation: it’s like the chord tries to move, but gets a little stuck because wait-a-minute-what’s-going-on-in-the-bass?! Once the bass lands on A, the root of the chord changes, but one of the other voices is stuck.

D D D E B B A C# G A A A E E A A

Now this is a bit simplified. You may be asking, what happened to the E in the A chord? And chances are if you are playing this on guitar or ukulele there is an E in there. It’s just that the fifth of the chord is not essential to hearing its function; we really only need the root and the third. So I'm leaving it out to show the primary voice leading movement. Well, fine, but where’s the third? Well, it should be what the D moved down to, but it’s stuck, and the B could have gone there, but it didn’t. Then yet another interesting thing happens. So far I’ve written down a simple A chord as the goal, but that’s not what we actually get. Here’s the voicing as it comes out on my D-tuned uke, plus the bass:

D D D C# B B A A G A A F# E E E E E E A A

In jazz and popular parlance, that last chord is an A6, meaning we have an A major triad with the sixth note above A (within the scale of E dorian), which is F#. You may also notice that it’s the same pitch set as F#m7. This is important. In A6, the F# is a note for color and does not affect the function of the chord. In F#m7, the F# is the root of the chord and, therefore, determines the function. As someone who has studied classical music extensively, I do kind of hear this as an F# minor chord in first inversion (that is, with the 3rd in the bass)! And therefore, I do kind of hear this as a change in function. However, from a jazz and popular perspective, an A6 chord is not the same as an F#m7, even though they have the same pitches in them. Now, I’ve also been hearing this song since 1979 — I grew up listening to as much AM radio as I did classical music in cartoons. So I can also hear this very much as staying in the other harmonic pole, to speak in Taggian terms.

Above, I simplified the bass, but it’s also a bit more complex in the chorus (the verse contrasts this with something a lot closer to just two notes) — and why we love that bass line. It adds a little more information to how we analyze and think about our harmonies. First, during the first chord we lay down E:

E E E

Then, during the second chord we walk up the scale:

E F# G A B C# D

During the third chord, we lay down A:

A A A

And lastly, we emphasize the flavor notes:

A F# G F# A (still simplified, but here’s a transcription.)

Oh, look at that. There’s a seventh in there along with the sixth. Hmmm. But here’s the thing: play along to the song with just Em and A and it will sound fine. Not particularly funky, but definitely not off. So is it two chords or not? Again, Taggian thinking helps us out a bit. We definitely have two harmonic poles around E and A. Tagg also writes extensively about one-chord songs that aren’t really just one chord, because, although the bass might stay the same, the voices above it keep moving around and implying different harmonies. I think here we have a combination of both. Using anticipation (moving one voice to the next chord tone before the rest of the voices get there) and suspension (holding a voice over from the previous chord while the other voices move on), two static poles become far more dynamic and interesting. So on a chord chart you might read (as you do here): Em7 Em7sus4 A7sus4 A13 (like A6, but also with the minor seventh), but you can also hear that they are just very fancy versions of two basic chords. On the other hand, by putting these intermediary voice-leading steps on the beat and making them last an entire measure, they become new harmonic places-to-be in their own right. Is it two chords? Yes! Is it four chords? Yes!

#two-chords #tonicsubdominant #edorian

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buttonholedlife · 5 years ago

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Techno-loving polymath Francesca Lombardo exposes the tricks behind her idiosyncratic audio

With a myriad of very little, specialist, deep-seated and progressive-house launches on renowned tags like Crosstown Rebels, Online Poker Flat and Armada-- plus a recent, phenomenal nu-disco remix of spirit legend Teddy Pendergrass' Perform Me-- Francesca Lombardo is actually as prolific as she is actually genre-straddling. Even with being actually an established real-time performer and also DJ, she was actually intense to prevent scrutiny coming from an early grow older.

" My dad utilized to sing constantly and used to participate in a great deal of equipments for exciting. He just liked popular music!" Francesca reminisces. "I fancied popular music considering that I was actually birthed, essentially. When I was super-young, like three years of ages, I will sing facing everybody, however I would certainly conceal my face as well as ask everyone to cover their faces while I was singing, also! When I was actually five or even six, my moms and dads bought me a keyboard to view how I responded to it as well as if I would participate in. A handful of years later they got me a piano, and I started to take lessons."

Old school

In addition to learning to execute, Francesca's early desire to compose her personal music manifested early in lifestyle: "When I was actually seven or 8, I composed a tune along with verses. I don't forget the particular day; I was having fun with Barbies on the floor around my mum as well as grandmother due to the fact that my moms and dads were separated. I don't forget singing the tune and also taking it to university and I proposed our experts could possibly perform it in the course of the school play. I performed the song to my classmates as well as taught it to them, and our team finished up singing it as part of the play, which was actually tremendously great! Then when I possessed the piano, I will write tunes to pick the vocals, so I've been actually composing tracks because I was a kid."

Although her talents got her the appreciation of her family, Francesca's natural bashfulness stopped her coming from fully embracing popular music until later on in everyday life. "My mother as well as my granny resembled: 'Oh, you've received a beautiful voice, someday you are going to be actually a singer!' I presume this was really a poor thing for me, given that they kind of embeded my mind the suggestion that a person day I would certainly simply carry out that as well as I became actually timid due to the expectation. While I was maturing, I was too bashful to utilize my vocal and also it had not been up until I headed to college in my 20s that I actually felt great."

Regardless of all the advantages of doing work in package,

Francesca still

chooses the petting of equipment, deciding to mix utilizing a physical blending desk. Understanding arc Francesca relocated to Greater london to examine in 1999 and also, having actually currently been launched to psychedelic as well as electronic music through her uncle, she quickly located a house in the urban area's humming techno performance. "I started to go to rave gatherings, and also I got involved in DJ' ing myself for fun. I started to meet all these wonderful people and DJs, as well as every person had a workshop! I entered DJ' ing with my upstairs neighbor that possessed some center tools herself. I registered for a music-technology program as well as acquired a car loan coming from the banking company for ₤ 5,000, which I must repay over approximately 10 years! That allowed me to acquire everything I needed to have to begin along with-- an amp, sound speakers, a Personal Computer, a little mixer-- only the essentials. I will go and also show all these artists my songs and I had excellent ideas, yet I was actually definitely bad, mixing sensible! The songs weren't playable."

Receiving her paths around blemish was actually a concern for Francesca, that found she discovered it much easier to partner with components instead than software. "It took me an even though to strengthen. I took one more training program at an institution phoned IMW. You just reached utilize the center concerning once a month, but remaining in the workshop, as opposed to on a computer, helped me. I favored the audio engineering components as well as making use of hardware. I certainly never really made just about anything at the beginning.

" I still really did not have the appropriate noise; it took me an although. I was actually efficient creating and writing songs, however when it came to the modern technology, it only didn't seemsufficient. I must deal with it on my own and also inquire people for aid. I was actually DJ' ing and in bands meanwhile, but our experts never ever released anything. I didn't discharge my initial keep track of till 2011, eight or even nine years after I began examining popular music innovation, so it was actually a slow-moving method."

The physicality of the patch gulf is another plus for Francesca in her studio. Obtaining physical Right now after practically a years of launching her rich, typically dark dancing designings, Francesca is actually so much more certain regarding her specialized capabilities. However, she still finds she chooses to make use of components where achievable. "I like to mix and also tape-record my stuff via a cognate workdesk, since it gives a little of advantage to the sound," she excites.

" I possess it specify up so that I can use impacts as well as aspects ... I don't mind applying results in-the-box, also, yet I such as to be able to touch points! I just like to do work in the cognate domain when I am actually developing, as well, given that every thing emerges on a different stations on the work desk and I blend as I go, primarily. I have the patchbay too, thus everything is linked. It's tremendously simple. I acquired my bodily stuff established up by a pal that used to operate at Funky Scrap in London; he established it up so it is actually simple for me so I may only attach one thing by using a wire as well as then have it happen through on the workdesk. In some cases, I utilize people to mix my stuff because I don't possess allthe equipment I wish to possess and also I believe often, it's great to obtain it mixed elsewhere."

Francesca isn't in any way hesitant to disclose that she's possessed a lot of assistance over times. "I have possessed impressive instructors throughout my life, like several of my buddies. Lawrie Dunster from Arc Drug Dealer. I utilized to live over their massive workshop and he's an actually buddy of mine. So sometimes after job, I will go down to this fantastic workshop as well as create a monitor without any computer system. I additionally worked enjoy this along with Darc Marc, that likewise discharged on my label as one-half of Delos. These people, they reside in their mid-40s, so they resemble educators, you recognize! There were actually a number of others, too. I was actually privileged considering that I had these individuals around me that were delighted to teach me."

1400 "elevation =" 1050" >

Eventually, Francesca wishes to make use of only the Arturia Beatstep for shows. Growth of the makers Along with such a fondness for the hands-on components encounter as well as having currently produced songs in a pc free-environment, carries out Francesca ever before experience the wish to channel her present sequencing software program Logic Pro as well as go DAWless?

" In some cases I assume, 1 day, I will enjoy to make techno cope with no laptop pc. I possess an operator right now, which is the BeatStep Pro coming from Arturia. You can easily link it through Curriculum Vitae or through SKIRT as well as it possesses three different sequencers you can designate to different makers. It's like a MIDI operator, but with three networks of SKIRT, thus you may handle a drum structure and also regulate a lot of traits along with the other two channels. You may make your monitor just utilizing this operator. So I do that occasionally, however then I videotape it in to the pc. For my next step, I would certainly love to get a tape equipment, only a stereo one. I just recently tape-recorded a monitor with Hannes Bieger on a 24-channel recorder as well as it appeared therefore fantastic, yet I can't afford that!"

alt=" Francesca Lombardo with MPC "width =" 1400" elevation=" 1050 ">" It sounds various when you example one thing and also modify it in the MPC". Vintage atmospheres Yet another little sequencing equipment Francesca utilizes to break devoid of the restrictions of the computer system is the Akai Specialist MPC2000XL. "Certainly, now there are actually easier means to perform that example, however tobe honest, it is different: there is actually one thing that resides in the groove and also it seems various when you example one thing and also edit it in the MPC, and it's enjoyable! I prefer to utilize it extra, however time is limited in the studio. I would certainly like to perform a keep track of simply using the MPC. I placed the outcome expander in it, so I have eight outcomes plus the stereo system out-- and I substituted the saggy drive along with an SD port, so I can easily put as a lot of examples into it as I want to right now."

Normally, given her history Francesca is actually an equipment synth fan, however what are her favourites? "Of the synths that I have? Properly, obviously, the Moog Voyager. And I enjoythe Roland SH-101, the noise is wonderful, I have utilized it on very a few keep tracks of as the bass synth. I possess the Arturia MatrixBrute currently and also it is actually terrific. I still believe I need to discover exactly how to use it much better.

" You need to invest thus a lot time just knowing your equipment, it is actually so vital that you perform that otherwise, you're acquiring something and also not getting one of the most from it. It's certainly not such a problem if it is actually one thing simple like an SH-101, all these vintage synths they truly work the same, however brand new synths are far more intricate. But my favourites without a doubt are actually the Moog and the SH-101 due to their noise, they are therefore cognate and warm, I like all of them!"

=" Francesca Lombardo with Roland SH-101" distance=" 1400" elevation= "1050" > The Roland SH-101 is a center old synth for Francesca. Viral success Lombardo doesn't merely limit herself to analogue synths and possesses an exposed nerve for a digital classic, as well:" I have actually obtained an Access Songs Infection An and a Virus C," she reveals." When I resided in the workshop over Lawrie, he gave me the C. Keeping that one I did the very first launch on Crosstown-- there were a handful of audios on there that I used. I purchased the A, considering that I found one extremely cheap on Gumtree. I constantly intended to acquire yet another C because it reminded me of Lawrie's tracks, and afterwards I bought some of those at the same time! They are actually various, and also I would like to use if for real-time efficiencies. I likewise acquired the Sequential Prophet-6, the 'brand new' one, which is actually a great synth."

width= "1400" elevation=

" 1050" > Certainly not one to shy away from contemporary musical instruments, she also collaborates with the Arturia MatrixBrute. Deeply performing Vocals are actually a crucial part of much of Francesca's keep tracks of, so how does she record as well as method these? "I've received a preamp, a Universal Sound 6176 that I use, and also my much-loved mic is the RØDE NTK. I likewise possess a Mojave mic, which is actually a bit rough, yet it gives my vocal a hoarse top quality. This region is one thing that I yearn for really to put in cash in. I want to acquire a Neumann, but it's a ton of funds!

" I enjoy to record my voice when I'm alone in the center. I have actually discovered a means to make a recording that appears excellent. It's an environment on my preamp, plus the mic as well as I possess a bunch of impacts that I utilize to make my vocal seem a bit fanciful. On the incredibly early monitors like Is It Correct or Life Of Leaf, they are virtual impacts; I utilize Soundtoys a great deal. I enjoy Soundtoys: particularly Crystallizer as well as EchoBoy. Right now I have a couple of new impacts like MOD Duo, which is equipment. MOD Instruments is actually a provider from Berlin, you hook the MOD Duo up your notebook, you head to their web site and also you can easily create your very own result chain basically as well as then wait on the components. It's outrageous! It is actually such a great tool. You may make just about anything you really want!"

Tutorial: Just how Francesca Lombardo shaped the beat on her keep track of Psycho

"https://open.spotify.com/embed/track/1EGggefEWJePrvG2UN9m7d" size="one hundred %" elevation="80" frameborder="0" >< span data-mce-type="bookmark" design="display: inline-block; size: 0px; spillover: concealed; line-height: 0;" > #td _ uid_1_5dd29ce504824. td-doubleSlider-2 . td-item1 [email protected]) 0 0 no-repeat; #td _ uid_1_5dd29ce504824. td-doubleSlider-2. td-item2 uploads #td _ uid_1_5dd29ce504824. td-doubleSlider-2. td-item3 www.musictech.net 1. Along with Reasoning's Network EQ, I took the reduced regularities out of the zing and also marked out

a shrill regularity that might have been annoying and also hampered other noises 2. To create the zing audio fuller, I incorporated yet another coating of boots. This brand-new layer had much more low-end to incorporate satiation. I used

Enveloper to soften the attack on this zing to aid it mixture much more perfectly along with the very first zing 3. I likewise took some low frequencies away from the 606 toms along with one more Network EQ, then used some squeezing along with Waves V-Comp to help all of them sound snappier and also attract attention a lot more in the mix

For more of Francesca, follow her on SoundCloud, Facebook and Twitter. Find out more job interviews along with artists as well as producers right here. The article Techno-loving boy wonder Francesca Lombardo exposes the keys responsible for her idiosyncratic noise appeared initially

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deadcactuswalking · 6 years ago

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REVIEWING THE CHARTS: 3rd March 2019

This is a surprisingly chill week for after the BRIT Awards (which I commented on in real time on Twitter @cactusinthebank if you want to check that out), but there is some movement related to the ceremony so let’s just get through this.

Top 10

We have a new #1 this week, that’s right, for its first week ever, some lame Lewis Capaldi song I heard once called “Someone You Loved” is up two spots to the top spot on the UK Top 40... you can tell the charts are pretty dry right now but honestly I can’t complain that much, it’s less work for me every week. This is obviously Capaldi’s first #1, as he’s a new artist.

“Giant” by Calvin Harris and Rag ‘n’ Bone Man is also up two spots to number-two, thanks to a BRITs performance with Sam Smith and Dua Lipa.

This means that Ariana Grande had a few fallers this week, “break up with your girlfriend, i’m bored” being first, down a spot to number-three.

I’m surprised “7 rings”, also by Ariana Grande, is only down three spots to number-four.

“Don’t Call Me Up” by Mabel is still steady at number-five.

Sam Smith and Normani’s “Dancing with a Stranger” is also staying still at number-six.

“Options” by NSG featuring Tion Wayne is up two positions to number-seven. That’s cool, it’s a good song, I guess.

“Walk Me Home” by P!nk is our sole new arrival in the top 10, debuting at number-eight this week after its live premiere at the BRITs with Dan from Bastille (Because, sure, why not?) and becoming P!nk’s 43rd Top 40 hit and 21st Top 10 hit. Those numbers are crazy, and she definitely deserves to have won the Outstanding Contribution to British Music Award as well as a place on the Hollywood Walk of Fame, even if for personality alone. We’ll talk more about the song later.

Oh, and “bury a friend” by Billie Eilish down a space to number-nine.

Finally, thanks to the album and BRITs win, “Just You and I” by Tom Walker is up nine spaces to #10. Blech.

Climbers

Thanks to the massive hype behind Lady Gaga and Bradley Cooper due to the Oscars performance, the current US #1 has also increased greatly, up 10 spaces to #11 this week and potentially gaining more next week and re-entering the Top 10. Otherwise, “Talk” by Khalid with Disclosure is up seven spaces to #13, “Thotiana” by Blueface rides the meme and remix wave up eight spots to #15 (His first top 20), “i’m so tired...” by LAUV and Troye Sivan has a five-space increase to #17, entering the top 20, becoming LAUV’s first and Troye Sivan’s second top 20 hit in the UK. Thanks to the video, as I predicted, “MIDDLE CHILD” by J. Cole rebounds seven spaces up to #21, with “Grace” by Lewis Capaldi also up six spots to #24.

Fallers

Thanks to streaming cuts (In the UK, after a certain amount of weeks in the top 20 or so its streaming becomes less important to its chart placement), well, it’s safe to assume it’s due to streaming cuts because these were massive, long-running songs, Post Malone’s “Wow.” is down seven to #14, “Play” by Jax Jones and Years & Years is down seven to #22, as is “Lost Without You” by Freya Ridings to #25. “Nothing Breaks Like a Heart” by Mark Ronson and Miley Cyrus also suffers from streaming cuts, down 10 to #27, taking that bloody “Baby Shark” song with it down nine to #34. Otherwise, we have “Please Me” by Cardi B and Bruno Mars down eight to #20 despite a video being released very recently, and “Hello My Love” by Westlife is down eight to #32, yet still not quickly enough.

Dropouts

Since the album hype died down, “needy” by Ariana Grande is out from #11, “Swan Song” by Dua Lipa is out from #32 (Didn’t expect it to last that long anyway) and “Gun Lean” by Russ is out from #33 due to streaming cuts (Hip-hop thrives on streaming). Also, “Psych Out!” by AJ Tracey is out from #34, “Happier” by Marshmello and Bastille is out from #34, “365” by Zedd and Katy Perry is out from #37 (Oof), “Without Me” by Halsey is finally out from #37 and “a lot” by 21 Savage featuring uncredited vocals from J. Cole is out from #40 thanks to 21 Savage actually being freed, I guess?

Returning Entries

We have more than usual this week. Let’s start with the BRITs returns. First, due to a Calvin Harris mash-up performance featuring Dua Lipa and Rag ‘n’ Bone Man, “Promises” with Sam Smith is back at #37. I’d say “One Kiss” can’t enter because three Calvin songs are on the chart, but that’s untrue, so I guess that it just didn’t enter the top 40 – it is outside of it but I’m surprised it’s not up here, especially since it won an award. Also thanks to a performance featuring a guest verse from H.E.R., “Thursday” by Jess Glynne is back at #35. Otherwise, thanks to “needy” leaving, Ariana Grande’s “thank u, next” returns to its rightful place on the chart, at #30, where it should have been last week really, but dumb UK chart rules and all that. “High Hopes” by Panic! at the Disco is back at #39, because, I mean, sure, and “Nights Like This” by Kehlani and Ty Dolla $ign is back at #33. I wonder if he gets any of the royalties while he’s serving 15 years in prison for cocaine possession.

FEATURED SINGLE

“Faucet Failure” – Ski Mask the Slump God

Produced by ChaseTheMoney & Cubeatz - Currently charting at #100 on the Hot 100

Before we get to the new arrivals, let’s talk about a fun, goofy trap song from one of my favourite rappers currently in the game, Ski Mask the Slump God, energetic borderline comedy-rapper from Florida who brags with pop culture references constantly littered throughout. You probably know him since he’s gotten pretty big thanks to the release of his album STOKELEY, with this song in particular recently getting a music video directed by Cole Bennett of Lyrical Lemonade fame, hence it counts for this segment. Now, the trap beat is simple and bassy but the synth is almost hypnotising and I like how producer ChaseTheMoney adds what sounds like bongos and tribal percussion at random yet perfect intervals. Ski Mask often changes his flow, with a charismatic performance reflected by both his verses and ad-libs. In the first verse, he talks about how his girl wants to see his “Purple pickle up in the wind” – no comment, with some clever Thanos-related wordplay before that catchy and hilarious chorus, where he not only mentions Ash from the Pokémon anime but how he’s flyer than an ostrich, and he stands by that, I guess. The second verse is just about him buying fast food, but that fast food he’s ordering throughout builds up to a punchline where he asks where his weed his, because he was supposed to be buying “pies” (Drug lingo) instead of actual McDonalds pies. It’s pretty wacky, pretty cool, although it’s a bit short, check it out, and check out some of STOKELEY, especially “Foot Fungus”, “Nuketown” featuring Juice WRLD and “Reborn to Rebel”.

Remember days, me and X hittin’ licks!

God, I can’t seem to be able to escape this dude even in death, huh?

NEW ARRIVALS

#40 – “Black” – Dave

Produced by Fraser T. Smith

This barely charted but I’m so glad it did. This is the lead single from his upcoming album Psychodrama, and in stark contrast to “Funky Friday” with Fredo, this song focuses more on societal issues black people have had to face as the name implies. This is his seventh UK Top 40 hit, and probably his best yet. It starts with a crispy piano melody with even some nice static added to make the beat feel vintage and interesting (Yeah, it isn’t an overpolished trap beat this time). As Dave starts spitting, the drums kick in and slowly some violins creep in and make this beat really cinematic and beautiful. In the verses, Dave describes what being black is, which is being mistreated, and is having to go through struggles and going the extra mile for not the same results as white people would celebrate.

It’s workin’ twice as hard as the people you know you’re better than / ‘Cause you need to do double what they do so you can level them

Dave delves into some fantastic storytelling during the first verse, using walking a (Most likely white) elderly woman across the road without any thanks as an example of the belief in the lyric above, which also briefly references being told during his life, especially early life as a child due to the white-washed media and his living conditions in comparison to how he perceived the white children at the time in fancier, wealthier statuses, that he is more disposable than white people and cannot reach the same heights due to his race, to the point where he just accepts it, and that despite everything he’s forced to do to prove himself as a minority, he’s proud of its race and his ancestry. In the second verse, he speaks of accepting defeat and how he constantly feels the need to shout out all his friends unfairly imprisoned in jail in songs because he would feel guilty otherwise. He also discusses cultural appropriation and how he believes everyone wants to have the culture but not the colour as this means they would be considered cool, but not targeted with any of the discrimination. He ends the first verse with saying that being black is a sour flavour, but excellently switches it to sweet at the end of the second because he knows that white people will want the “flavour” but not the reality. The production furthers the intensity of his delivery and overall, this is way too good to be charting, but deserves all your love. Dave is one of the best in UK rap right now and this proves it, his album is coming out next week, check it out.

#31 – “Murder on My Mind” – YNW Melly

Produced by SMKEXCLSV - Currently charting at #14 on the Hot 100

Oh, speaking of people stuck in jail, introducing YNW Melly. Melly, or Melvin as I think his personality he decided to have on this song is, is a rapper who blew up thanks to a relatively okay collaboration with Kanye West, but since that song dropped out of the charts, people care more about this one mostly due to its confessional nature because of how he seemingly admitted on Instagram that he killed two of his very close friends (No reason provided), also from the YNW collective, and has turned himself in, although he just plead not guilty. It’s not about that, it’s about someone else he killed, I’m pretty sure, and honestly the descriptive, storytelling nature of the song is really cool, and it goes into some (Suspiciously) grim details that I appreciate because most rappers don’t care about that and just drift off topic while this is constantly focused, although his delivery could be less grating, and the beat is just really a cheap FL Studio piano melody under an overpowered bass, although the effort at making a pretty interesting bridge with the pitched-up female vocal samples are appreciated. You can tell it’s amateur, mostly because of how the final verse sounds like it just had some Audacity reverb effects added to it and the record label never changed it to make it sound more professional before having it on Spotify. For what it is, it’s okay, but I can’t really get into this. I think I like “Mixed Personalities” better, to be honest.

#8 – “Walk Me Home” – P!nk

Produced by Peter Thomas and Kyle Moorman - Currently charting at #54 on the Hot 100

Okay, now we have the big one, and I don’t care. Listen, Alecia Moore is a fantastic vocalist and one of the best singers in pop now, potentially pop history as I know it, and is one of the most successful women in the industry, with a clear personality and rebellious sense of humour that was unique. As she’s matured, she’s kept the singing and songwriting talent, but she’s just turned too bland for me to be interested anymore. This song is okay, but it doesn’t have any of the charm she used to have, and I know that’s bound to happen with age but that still doesn’t excuse this mediocre effort for me. It’s a guitar-lead track with pointless pitched-down vocal samples, way too percussion-heavy mixing and rhyming “good” with “good”. It’s a really upbeat, inspiring, motivational cheer-up track that will be a powerful “Wake up in the morning and get everything done” anthem for middle-aged mothers across the nation, but for me, I can only respect the underwhelming songwriting, in which she uses “Mm-hmms” as filler for an empty backing track, which is something I never thought P!nk would HAVE to do, just something she’d WANT to do, but she has no other option here, this instrumental is so wishy-washy and boring. It sure is listenable, guys. Let’s conclude.

Conclusion

I’d feel bad giving P!nk the Worst of the Week because it’s not a bad song, and I can see talent in YNW Melly as well, so screw it, it’s not going to the industry legend OR the nobody who became famous and immediately got charged for double murder afterwards. It’s not going to anyone. Best of the Week goes to Dave for “Black”, obviously, and see you next week.

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