#listen i don't give a fuck that this show ended 2012

[purple-mushroom-cap]

actually, yeah, let's talk about how frustrated I am about bbc merlin's execution of their plot. let's talk about how the concept of magic was heavily queercoded and everyone in turmoil about the magic didn't have satisfying endings or even a happy one. let's talk about how incredibly queer coded morgana was. let's talk about how bbc's solution to avoiding the queerbaiting "bury your gays" trope was subverted by burying every character. let's talk about merlin losing every single fucking person he loved and then killing off arthur right after merlin "comes out to him."

[marimayscarlett]

Hi! I absolutely love all of your detailed posts about Richard, they make my day when you post them, I was wondering if you could make a compilation of very wholesome moments with fans? I'm afraid that Rammstein will never come back to the US and I'll miss my chance of meeting him in person and I'd love to see some sweet fan interactions ❤️ Dankeschön ❤️❤️

Hi 🤍

Please excuse my late reply to this, but I love this ask! It's known that Richard can be very warmhearted towards fans and gives out bone-crushing hugs left and right - I found several accounts of fans who met him and will accumulate these in the following post 😊 (sources are linked at the end of the post.)

First some stories of fans who shared their experiences on the internet:

One fan met him before a concert, he gave the fan a hug and they say that to this day, they haven't forgotten the feeling of this hug.

Here's an account of a fan who met Richard at a resort in Mexico: "Richard never acted like we were imposing on his time or being a hindrance, even though he was with a table of friends. As soon as we were in eye contact range, his entire demeanor changed. He lit up like a Christmas tree and stood to shake our hands, stood close to us to chat for a few minutes - five minutes, tops, and gave us hugs as we left before shaking our hands again."

After a concert: "The hug I got was bone crushing. I was right in front of him. Cried my way through Frühling [...]. He checked on me and asked me if I was ok. Said i was fine and even the amount of times I'd seen them play, i got so caught up in the emotion. Richard told me they were the most moving moments for him at least and pulled me into a huge hug that if i think about it, i can still feel. Sounds weird but when you get a hug like that you dont forget it."

Richard seems to be a bit camera-shy while being out and about (declining selfies most of the time), but offers/asks for hugs himself as a return, as told by a fan who met him at the Chicago Airport. The fan apologized after asking for a selfie, yet Richard immediately asked her to give him a hug afterwards.

At a concert at the Palace of Auburn Hills in Detroit back, May 2012: "For some reason, I thought of making a sign that said "Pick für mich, bitte". We were right at the barricade and I decided to flash the sign. I don't even know what I expected out of it. Well, Richard fucking Kruspe went to his mic stand, got a pick, went to the security guard in front of the railing and told him to give me the pick. The guard and I had chatted prior to their performance, so he looked at me with a "way to go, kid" look. People around me cheered. Best concert memory ever. Nothing but a class act."

Another fan reports him being quite talkative and attentive during parties - apparently really listening to the other person and showing real interest. He really likes to talk about music and guitars and seemingly likes hearing the opinions of fans.

Meeting the band in front of their hotel: "His hug was the tightest, and he smells SO GOOD, I wanted to ask what was his perfume. I told him I loved Emigrate, he gave me the biggest smile and thanked me."

Then we have voice from withing the fandom on here - the lovely and helpful @anwiel13 said this about meeting him at a Meet&Greet (thank you again for sharing this! 🤍):

"Once he entered the room, we immediately know it. Not that he did something, but he really has this big personality, in very good way. He was smiling all the time, unless taking photos, than we was all his gothic deep stare self. He was also super nice to two girls, who were absolutely nervous, telling him how much they love him. We all know he hear this all the time, but he really looked like he is listening them and make them feel not like crazy fangirls annoying him with their feelings. If that's make sense. He hugged one girl when she asked him and again, did not looked like she's annoying him with this. He left very quickly after taking photos and signed our things. Overall, he was very nice and caring. I heard somebody complain about him being all snobby and annoyed during some M&G, but he was nothing like this during the one in Prague."

Plus I have found two 'essay'-posts on here describing fan-experiences at Meet&Greets and afterparties:

Here Richard is described as really warmhearted, smiling and patient with the fans:

A very wholesome interaction (with a cute Paulchard momet) with a fan who brought selfmade fan art with her:

And since of course I found some experiences with other band members on my research-way, here are my favourites of some of the other guys 😊:

At an afterparty: "I spent a long time talking to Flake who is beautifully underappreciated. He's such a wise man with an incredibly dark sense of humour. [...] Flakes English isn't great but he seemed to really appreciate that someone would talk to him in German and happy to help me figure out words I wasn't familiar with and vice versa. I really appreciated it as he did slow down his natural German speaking speed to help me continue a conversation in German as native speaking speed was just a little too fast."

At a meet and greet: "Schneider gave me such Dom-Daddy vibes that I would have got on my knees if he asked. He was so friendly, asked about myself and I was able to give him a letter from my best friend who had spoken to him years before, and he was so happy to take it."

At an afterparty of Till's solo tour (London concert): "I went to see Lindemann in London and was invited to the after party and ended up trying to open a bottle of wine with a set of keys with Till and then ended up drinking vodka and chatting to him for a few hours. Such a humble human and one of my biggest role models in life - he made me want to become a fire performer and he said I looked great doing what I do."

"Did a meet & greet on the 2019 tour and a bunch of the after parties. Doom is an incredible dancer and Paul and Richard give the best hugs." (I've read several times that Schneider seemingly kills it on the dance floor 👀)

Sources: 1 2 3 4 5 6

All in all, it's always amazing reading about fans having nice experiences with them - but let's not forget (since some people do exactly this), the band members are also just human beings like you and me, don't owe the fans smiles and good moods, and it's not a crime to have a bad day once in a while (with less enthusiastic interaction with fans) or just wanting some peace or being in a hurry, since they all do have private lives🤝🏼

[dexdpup]

So I often spend a lot of time dabbling into the fine art of crying uncontrollably over Music. For years these have mostly been selective songs, collected from various discographies from artists all over the World.

But Damn it holy fucking shit Sleep Token is not good for my poor tear ducts.

It started about two years ago, when I randomly overheard my then best friend talking to a friend about this song they just discovered, and how it "made them feel unholy things".

This song, was Jaws.

I didn't give much thought to it initially, but decided to check it out anyways. I was doing a lot of rp at the time, and while writing a 4000 word essay on a character stabbing another violently I had put on Jaws as background noise. Aaaand than the Chorus happened:

Show me those pretty white jaws

Show me where the delicate stops

Show me what you've lost

And why you're always taking it slow

Show me what wounds you've got show me love

So I don't know about you, but this didn't make me horny, it broke me. I am of the conviction that Trauma makes you get a perspective on life, that either elevates experiencing emotion, or completely destroys it. When I heard Vessel sing these words I straight up froze in my seat and stopped writing.

I just listened. For... An hour? The same song in a loop. To me this was a song about a person attempting to rebuild another from the trauma they experienced - most likely sexual. A song of a human being falling for the deep rooted scars left in the fragile minds of a stranger.

The person who is traumatized is coping with it in their own ways, the "eyes of a predator" not referring to lust, but the natural desire to protect oneself.

When vessel talks of "prey unattended" he is referring to the victim left behind by their abuser. But this lyrical Persona Vessel represents here is in no way a saviour in the sense of trying to heal their muse, it feels more like someone trying to capitalize on the trauma to further their own cause.

Now I do not claim that my interpretation of the song is right or better than another. But it is how I heard it, that day. That's what my ears picked up and my brain read into it.

And this... Hit. Like a truck. I was sucked into Sundowning and TPWBYT (with TMBTE not released yet) and didn't stop listening for many hours. I cried my eyes out multiple times, Atlantic, Alkaline, Bloodsport, Higher, Levitate, the Love you want. All of this was something i hadn't yet experienced.

Fast forward around half a year and its TMBTE time! The album released and my emotions were shattered by Chokehold and Are you really ok. I sobbed a bit, but I wasn't hit as hard as back when I first listened. And than, Ascencionism happened.

It broke me.

I was crying like I never had before, releasing more emotion than I thought I had in me. Another song that I instantly, deeply connected to my trauma. A hatred for my abuser I still find whenever I hear vessel scream:

You're gonna watch me ascend

A desire to payback, but most importantly the desire to disappear into nothingness. I was numb for the Title track. It was only when Euclid ended that I realised I had found the band that I would connect my mental health to all over again. Just like 2012 when I first discovered MCR and Fallout Boy. I was stumped and honestly... Happy.

Fast forward another year, I am writing this about a week after their show in Nürnberg. My second time there and I can inly say one thing.

I worship Sleep.

[self-indulgent-paw-patrol]

Ask game for Chase?

The pupper ever!! Also two other people asked for Chase while I was already working on it XD I'm sorry it's taking me literally days to get them all done, I'm having trouble to think properly on what to say for some stuff in these

My first impression - I'm not tanking this. His car is blue and white, he's a cop and HIS NAME IS CHASE. HMMMM WHERE HAVE I SEEN THIS BEFORE, OH I WONDER--

My impression now - He's precious. No, really. A+ for effort in everything he does but he should learn to relax a little more, just a liiiiiiiittle more

Favorite thing about that character - He's always willing to try new things out of his comfort zone and he always gives it his best, plus his loyalty levels are off the charts

Least favorite thing - He's too much of a people pleaser Istg-- Chase, sweetheart, you're supposed to be a figure of authority XD And this will sound like a dumb thing to dislike but I dislike the fact he's a German Shepherd. I think it's too obvious a breed for police dogs and he doesn't LOOK like one at all for me. When I first saw him without his gear, I was like "Wait is he a Belgian Malinois??? Omg please yes that would be cool to not have a German Shepherd as a Police Dog for ONCE" but yeah my dreams were crushed quickly on my first Google Search on him

Favorite line/scene - It's not specifically the line, but mostly the scene: Have you EVER seen Chase refuse a job or go against Ryder???

I know he ended up changing his mind after that talk with Ryder, but IN THIS MOMENT, he stood his ground and said NO. It's even in his body language: His ears are slightly back, his expression is serious like "don't even try arguing with me on this", his tail isn't relaxed, his paw stomping on the floor to make his point. Notice his frown even deepens as the elevator door closes just before it goes down. This is SO IMPORTANT to me you have no idea, especially considering how much of a people pleaser Chase is and how he holds Ryder as the most important person in his life. We know Chase would do anything for Ryder. But at this exact moment? He was decided to NOT do something for Ryder. This is such a powerful, yet overlooked and underrated scene, as well as character development. It encapsulates perfectly how there's so much more to Chase than any of us knew so far.

Favorite interaction that character has with another - Mighty Movie Skase moment #2 (I think? I counted at least 4 big moments) when Chase goes to check on Skye when she was sulking on the back of the Aircraft Carrier. Her problems there are totally out of his league, he literally cannot relate to anything she's currently going or went through in the past- still he tries to show support the only way he can at the moment, by being there for her, by listening to her. He's a keeper, Skye, go for it XD

A character that I wish that character would interact with more - Marshall and Zuma. They used to play a lot before, but now...? I'm still at the 8th season and I'm seriously missing those fun and slice of life moments

Another character from another fandom that reminds me of that character - Leonardo, Teenage Mutant Ninja Turtles, specifically 2012 series

A headcanon about that character - I think Chase was one of those kind of puppies who just didn't know when to fucking STOP. 24/7 playful baby. Also a natural explorer, always sniffing everything, licking everything, maybe biting, touching, scratching, growling, barking at anything new for a while. Ever curious, always being the puppy to go ahead of the others, "exploring the waters to open the way and make sure it's safe for the others to come after him". On a second note, I've seen one too many people returning adopted puppies for this reason here where I live, because "they're a handful and I wasn't expecting this" 🤦🏽‍♀️

A song that reminds of that character - "Nothing Can Stop Me Now"

An unpopular opinion about that character - Idk why all the hate, even if you're ACAB, it's not like Chase even does a cop job at all XD Have you seen him arresting someone outside from movie verse? If anything, you'd WANT your cops to be like him LMAO

Favorite picture - Y'know how in the first movie Chase was in absolute awe when he saw his new car for the very first time? YEAH, like, he KNOWS Ryder designs and gets them crazy cool stuff, and it doesn't stop him from getting UTTERLY AMAZED every time. Tbh I had the same reaction as them all when I saw that sick af Mustang-looking police cruiser like HOLY SHIT YOU GET THE COOLEST TOYS-- AND YOU GET TO CATAPULT THEM DOWN THE HOT WHEELS RAMP AT TOP SPEED TOO??? Win for life.

[farasen]

This was already said in the Replies but my 'we listen but we Don't judge' opinion is that Jojo in the show is kinda a weirdo. the Natascha clothes thing, the Kiss he gives Vanessa... I dunno why the show makers decided to include that. 2012 I guess. And I'm happy the Fandom ignores it. On the opposite end of the Spectrum: I always thought Leon would grow up to be a hetero Fuckboy. Its just his Vibes to me. Do you have any 'we listen but we don't judge' Thoughts of your own?

They did him dirty, my goat Jojo would never

As to my own thoughts... Speaking of the show, my biggest issue with it is probably the way they present Vanessa. I've already talked about it in my previous post, so I'll just put it briefly: starting an episode focused on female's problems with a phrase "I hate girls" from a girl (!!!), make her outright say that boys are better at football, and then present her as a good role model for girls is NOT how you write a feminist episode.

Also the way they've watered down Kong's progress. Literally change episode 6 and 8 places and it would make more sense.

And if we take films and books(?) in consideration: OMG I DON'T FUCKING CARE FOR THEIR RELATIONSHIP DRAMAS, THESE JEALOUSY AND BORDERLINE CHEATING SCENARIOS ARE PISSING ME OFF.

[the-sprog]

Listen I love DCxDP crossovers as much as the next person, but every time I see people write John Constantine offer as a solution summoning something I cringe internally a little bit. John is all up for self-sacrificing and doing things you shouldn't but he does not fuck with other creatures he knows shit-all about.

On the other end, do you know who does fuck with creatures they know shit all about?? And keep summoning things and making deals with things they shouldn't be summoning or making deals with? And also doing this most of the times with the express intentions of dealing with the dead?

The Winchester Brothers.

Where are my season 15 fix-it fics where Dean does not give up, he does not say "oh well Castiel died after confessing his love for me I guess that's it" or where Sam does not say "well my brother died during a run of the mill vampire Hunt -not even because of the vampires but because of a rusty nail. Let me just abandon him forever after everything we've gone through and finally actually listen to him and get myself a family with my blurry wife and random son"

And instead they do again summon something that is completely separate from everything else they've dealt with before and they actually managed to contact Danny who somehow is the king of the Ghost Zone or whatever fucking shit you want. Maybe you can make the empty nocturne! That would be really fucking cool :O so Danny somehow gets convinced to bring back Castiel or Dean or both.

Ok now I'm actually thinking about it.

You can even make it adult Danny by simply following the Supernatural timeline. Danny gets his powers in 2004, when he's 14, the Winchesters start looking for their dad in 2005, and they're... 20 something. Castiel joins the brigade in 2009 (I thought he showed up in season 5 lmao it's been a while since I've watched it), Chuck starts writing the books- fuck I don't know. 2012? Was it season 7? **Looks it up** fuck nope he starts writing when they start, that's my mistake. I meant when does he show up. And that's together with Castiel. Wow. Give me Danny who is an in universe Supernatural fan. He's the prime target audience! Starts reading after he gets his powers because we'll they're ghost hunters but the ghosts are actually evil. So it's fine. And they're fictional anyway so no big deal.

But then Chuck stops writing (end of season 5) and Danny is extremely disappointed.

He doesn't learn the truth until 2018 (season 13) when Jack wakes up The Shadow and consequently shakes the Infinite Realms. Nocturne has to be somehow connected. Maybe they're not The Shadow themself, but a subordinate? Like Frostbite is the leader while the yetis are his citizens. And The Empty is the realm they live in.

Now Danny is slightly terrified because it means all the things that go bump in the night are real. Which is a scary as fuck thought. And also wonders why they've never had hunters in Amity, or why he and the other ghosts are different from the ones in the books.

But he can't really do anything. To help.

Hunters definitely have checked out the town. There's no way they'd fly under the radar. But either there are already hunters INSIDE Amity And they've staked their claim on the town, no outside hunters allowed. Or there's something wrong w the entire place that makes it so that people don't really realize anything is wrong with it. I til they're inside it. But when outside nothing :/ all normal.

I feel like it wouldn't be Dean who summons him though. As much as I love him, they are aware that pretty much only God could pull out Cas and Jack wasn't going to do it any time soon.

But Dean dying like that? No Sam is not going to let his story end like that. But they've pretty much exhausted all options. What's he gonna do? Make another deal w a demon that's going to ultimately make more of a mess? Who's gonna make a deal w a Winchester anyway?

I don't know how Sam would find a way to contact Danny. The Fentons were the first to make contact with the Zone, so the bunker's unlikely to have any resources. Bobby's gone, so that's a bust. He'd have to find something new. Something no other hunter has interacted with, ever.

Again.

Because let's be real. The Winchesters already did that plenty.

Maybe he stumbles upon Amity by accident and sees it as an opportunity, idk.

Sam's kinda more willing to give monsters the benefit of the doubt. They know angels are not all bad, they had werewolf friends, and so on and so forth.

So sure he might start off listening to the Fentons at first, but if he were to interact with Danny (as Phantom ofc) one on one he'd probably see that they're wrong.

Danny would freak out of course. On one hand, fuck man. He's a fan. That's so cool.

On the other, he knows nothing will stop the Winchesters. He's deader than dead if Sam was there to hunt him.

But alas, he'd do anything to help him get his brother (and Cas, as a treat) back. Who's gonna stop him? God? Jack? Idk man I feel like he'd let them have this one lmao. Or still Danny could definitely argue that he's the king of all afterlives, so what he does to his subjects is none of his business (since God (or at least Chuck couldn't) can't interfere w The Empty, only the afterlives he controls. So heaven and hell. Not even purgatory iirc)

[dasboligrafo]

Illinoise -- May 24, 2025 @ St James Theatre

Oh my god, what to say about this one. Remember my theatre rating system (how many times I cried, over 5?) By the system, this show is...what percentage is infinity out of 5?

Basically, the lights went down, the (absolutely fantastic) band swelled out the first few bars of "Concerning the UFO Sighting," and I started silently weeping and I. Could. Not. Stop. for the remainder of the show. Despite being, generally, a huge crybaby, I could not have predicted that reaction.

I passed on seeing this show at the Armory (I have a string of terrible decisions involving the Armory...I still have not seen Lehman Trilogy after passing on seeing it on opening night, among so many others.) I will say I'm not sure that was, for once, necessarily the wrong decision, just because it's hard for me to imagine seeing this show there, especially from high up in the seats. I suppose it depends on the showz but that space can feel quite alienating. The St James is a pretty small theatre and I doubt there are any really bad seats in the house as a result. I'm sure the show got sanitized, some edges polished unto anodyne for Broadway. It doesn't matter. It was so fucking moving.

Before taking my seat, I grabbed my summer theatre treat of choice (the $50 big white wine, with ice. Pure class) and the lady who sold me the drink, while perfectly friendly, asked me what I knew about the show in that sort of tacky way I get asked about stuff in New York by younger white people who assume they must know more than me than whatever interest of theirs I'm about to engage in. (I guess, interpreting charitably, I look like a tourist to them.) I mumbled something about Justin Peck and NYCB, not even trying to get to -- listen, Lady, Sufjan was the music we listened to in college, so by extension, it is the LAST popular music I am aware exists. Sufjan is very much the soundtrack of my life.

Only I didn't really realize that, apparently, until I saw the show? Although I listen to Seven Swans a few times a year, I didn't realize, prior to "Illinoise," that I know every word to "Illinois."

The thing about "Illinois" is that, like all great generational works of art (there, I said it), you can receive it entirely differently depending on your age at the time you encounter it. So when I heard "Illinois" as young dumbass, I thought it was music about yearning; about the things you want so badly and might never realize and/or might not be able to front the cost. And now as an old(er) dumbass I find the record is about regret, about the things you give up and the mistakes you make ("I made a lot of mistakes...") making those choices or letting them happen to you, and about how the choices haunt you, even as you're making them. And I didn't understand that then, although the *second* word sung on the record is "revenant."

The *magic* of this record is that it is spiritual concept folk-rock opera music, still managing to connect, in an age devoid of spiritualism and shy of conceptual pop music, with an incredibly broad audience. To clarify, I'm talking about the current age; when the record came out, you could still make a concept album. I believe that age ended around 2012, Kendrick Lamar excepted. I don't know when the age of spiritualism ended, I think it was before I was conscious of contemporary art works. If you go to a Sufjan Stevens concert, or to "Illinoise" for that matter, you will be treated to the sight of literal children -- people under 15 years old -- singing all the lyrics. And crying millennials, naturally. My boomer friend told me "Chicago" is his and his (gen z) daughter's song, dating to when he drove her to Chicago for graduate school.

And oh, yes, it is a sublime piece of Americana purporting to exalt the state of Illinois and its millions of inhabitants and events, past and present, and actually examining, at the most personal level, how faith can fail to deliver you, and still impart your life with grace.

The magic of "Illinoise" is that it is a concept ballet masquerading as Broadway, of all things, i.e. an expression of universalism and accessible theatrical cliche where the text is, incredibly, a tale-as-old-as-time style campfire story anthology (hello, Decameron! I've got your story framing device here....) WITH NO DIALOGUE, about leaving your (gay) lover behind to experience the pleasure and promise of the big city and how you will feel regret and gratitude forever for the gift of having him, the gift of moving on, the gift and curse of free choice, the curse of loss.

When I think about "Illinois" only barely disguising its core concern with Christianity ("to recreate us...all things go, all things go" only a couple misunderstood syllables away from "to the Creator..." for example) and outright telling us what it's about in other places ("I made a lot to mistakes," "If I was crying, in the van, with my friend, it was for freedom from myself and from the land," etc)...this beautiful directness and lack of high-minded artifice was always already destined to be on Broadway. I didn't mind that the show is, at times, frankly...quite literal. I experienced "Illinoise" as the rare miracle of a message arriving packaged in its perfect medium. I feel so fortunate to have seen it.

Coda: I thought the dancing was fantastic, easily my favorite Justin Peck choreo this year. Genuinely accessible, technically proficient, appropriate to its text and moving.

[bonesandthebees]

21, 24, and 11 :D

hi icy!!

11. three favourite songs from movie or TV series soundtrack

OH WHAT A QUESTION FOR ME oh god oh fuck I have to only pick 3 shitttt. I am such a soundtrack fan arghhh. okay. I'll limit myself to one track per movie/tv series

the way he looks at me - trent reznor and atticus ross (gone girl soundtrack)

I love the entire gone girl soundtrack but this one is especially haunting. I'd been listening to it for months on end and somehow it took me that long to notice that in this track in particular, you can hear the sounds of someone choking layered under the music. if you've seen the movie, the point where this song plays makes this choking sound effect especially disturbing

container park - the chemical brothers (hanna soundtrack)

ngl this movie is kind of mid but the soundtrack is one of my all time favorites it goes so hard, choosing just one song was so difficult

okay this last one. don't make fun of me. I'm linking the youtube video because spotify doesn't have the proper movie version

bella's lullaby - carter burwell (twilight)

look if there's one thing I think most of us can agree on regarding twilight is that the soundtrack goes hard. I first watched twilight when I was 10 years old and this track has always been one of my favorite things from it. it's just such a gorgeous piano composition

ok putting the rest under the cut so this ask doesn't get too long on the dash

24. three favourite old songs

okay while there are a lot of definitions of 'old' (like is 80s considered old? 90s? 70s?) I'll decide to really go old school and stick to 60s songs because I do have a fondness for 60s music

california soul - marlena shaw

my mom used to play this all the time when I was a kid and for some reason I hated it (I have no clue why, I think because my mom just played it on repeat and I got annoyed) until one day I loved it

compared to what - roberta flack

heard this in a movie and it's been one of my favorites ever since

son of a preacher man - dusty springfield

and this is another one my mom showed me :)

21. three songs of your childhood

pumped up kicks - foster the people

if you were listening to the radio in 201-2012 you know why this is here

it wasn't me - shaggy

gonna be so honest I don't know why me and my 11-12 year old friends listened to this song so much given the subject matter but it definitely gives me a big bout of childhood nostalgia

counting stars - onerepublic

similar to pumped up kicks, if you were listening to the radio in the early 2010s you know why this is here

ask game!

[autobot-ratchet]

MTMTE 7-8 (plus the 2012 Annual)

MTMTE 7

oh it's fucking cringelord time lmfAO I know we saw Tarn in the Hoist spotlight but here he is for the first time for real and I am going to roast this man alive every time I see him

oh my gooooOOOD, bro, I am immediately rolling my eyes just at the way he talks, this dude thinks he's a fuckin Bond villain, wine glass in one hand, petting his fancy cat with the other. I cannot believe how many people wanted to fuck this, could not POSSIBLY be me I could never be that embarrassing

aww poor Swerve, he never meant for Rung to get hurt

eeyyy it's the Scavengers, hell of a way for them to meet Fulcrum lmAO

I like how the person who's taking the thumb drive Red Alert left with Rung's body is definitely Drift but they made his shadow look more generic and didn't give it his giant thighs because then it would be too recognizable

I wonder, are all the weird, organic/machine hybrid experiments on this symbol ship, like, prototypes of Skorponok's organic decepticon he ends up making? I don't remember if that's ever explicitly stated but like. What else could all this weird shit be

eyyyyy it's Grimlock, I forgot that the Scavengers pick him up this early

MTMTE 8

honestly, good for the Scavengers for deciding “fuck the DJD, let's fight 'em” they're right and they should say it

first thing Grimlock does upon waking up is punch Tarn in the dick, attaboy lmAO

ooouughfgg I forgot that Chomedome learns what Skids's traumatic memory is this early in the story. Honestly, I forgot that a ton of things get set up way early in the story, hell, Skids starts asking people if they like music almost immediately after showing up

fucking GOOD for Fulcrum, telling Tarn to shut up and listen to his speech, god knows we've had to sit through at least two of Tarn's pretentious speeches so far, one per the two issues he's been in

ngl I kinda forgot about Flywheels entirely lmAO when he first showed up, I was like “I don't remember this guy being one of the Scavengers” but now I know it's because he fucking dies after one issue

MTMTE Annual 2012

I love how casually we're just shrinking down and fighting microscopic bad guys in Ultra Magnus's mouth. I also love how he has to smile to save himself from death. We're less than 10 pages in

aww Tailgate... he tries so hard to be friends with Cyclonus

poor Drift is so excited to see the Circle of Light again... he really does just never see any of them again, save for Axe's body way later on

fgdsjks and poor Magnus getting bullied by the crew, leave him alone he's sensitive

Poor Tailgate too, his little graduation ceremony gets all fucked. At least Cyclonus was there in secret

and poor Swerve as well, he feels so bad about accidentally shooting Rung

honestly I love this insight on Ore, I love when this comic gets to delve into characters who aren't part of the main squad, especially posthumously, it always makes me wonder what could've been if they got to stick around

ah yes, this was the issue that got me genuinely interested in Drift lmAO straight up, him getting angry enough to punch out Whirl had me like “Ooh? Spicy? Pretty boy's got some spice to him? Tell me more” and then he went on to become my favorite lmfAO

“Primus- Warrior God!” lol. Lmao even

oof oh Skids don't say those things..... it's so fucked how even though he does not remember The Traumatic Event, it's still pretty clearly coloring his perception of things on a subconscious level

ooh, interesting that Drift's the one who stops Chromedome from finding proof of god. Because he believes faith is more important or because he's scared of there being a definitive answer?

“you don't have to believe in a higher power to be overawed by the world around you” I love that, that's how I feel about it too. More than any kind of god, I believe in nature, this world, and the people on it. I think there's definitely something out there that's beyond our comprehension that made us, that made the universe as we know it, but that thing being an old bearded white man??? not so much that lmAO I don't know what the fuck made us and neither does anyone else, and in the meantime, we're stuck here on this planet with each other so we should focus on making life not completely miserable and worry about what comes after later

fuckin good for Swerve, telling Rodimus “No”

god this annual is so good lmAO it's about humanity! Yeah, yeah, they're robots but you get it! It's about choosing kindness, despite everything! It's about understanding, or at least making the effort to understand! It's about faith, in god, in the people around you, in everything! FUCK!!!!!!!!

I gotta admit, I'd been a bit worried bc throughout this re-read I haven't felt much strong emotion. That was always something I was worried about before finally reading the comic again, that fandom had drained me so much that I was no longer capable of feeling genuine enthusiasm for things I used to love, especially once I started going through my MTMTE tag chronologically and seeing how intensely I used to feel about it. I was genuinely worried that those feelings were gone forever but nah, this issue made me feel at least a fraction of that passion again, and while I don't know if it'll ever get as strong as it used to be, at least it's not gone and I know it'll grow the more I re-read

[linernotesandseasons]

My 23 Favorite Albums of 2023

Well… It’s 2024! Here we are. Here are my 23 favorite albums from 2023. Here is a lot of rambly, super personal & emotional writing about why & how I love every one of these albums. 2023 was a harder year personally, so a lot of these albums (and especially my writing about them) leans heavier & sadder, but I’ll try to explain the brightness in my writing. I have been making this end of the year favorites list every year since 2012, so this is the 13th annual! Every year I fall deeper in love with music. 2023 marked my first full year working in marketing for music venues full time. 2023 also marked my first full year of being single since like 2001. So like, since when I was in my early teens! Over 20 years ago! Lots of growth and lots of change. I went to 162 live shows this year! 162! I saw over half of these artists live in 2023! These albums were all life saving & life giving to me, in ways that I am still coming to understand. Thanks to my friends for reading, and to all the artists for creating, I won’t forget any of these albums. Without further ado, in no particular order (unless you know the English alphabet) here are my 23 (or 30-I actually included one bonus album-cuz The National released two albums-and 6 bonus EPs!) favorite albums of 2023!

2023 Favorites Playlist

AMERICAN TRAPPIST   /   Poison Reverse

In 2023, I took countless walks through my beloved Cheesman Park here in Denver, CO. I walked at sunrise, at sunset, in summer afternoons & on winter nights. On many of those walks I cried, and on some I listened to music. Most of the albums on this list were companions on my Cheesman Park walks at some point during the year. One of my deepest companions was the new album Poison Reverse from one of my all-time favorite bands American Trappist. The songs on this album contain hard, deep, inspiring truths & they have helped me immensely on the early steps of my personal journey to believing that things can get better. I spent a lot of conversations with friends new & old talking about how fucked the world is and if we believed things could get better. That idea, both personally for myself (and big picture for the world) was at the heart of much of my brain gardening over the last year. Do I truly believe that I can get better? And do I truly believe the world can get better? I’ll come back to this idea a few times across the next 23 albums, but first, let's do a shallow deep dive into why Poison Reverse & American Trappist mean so much to me!

It feels comforting to start this list with this album. Out of the 12 years I’ve been making this list, this is the 5th (!) time I’ve written about a Joe Michelini album! Michelini fronted New Jersey folk-punk rockers River CIty Extension during the peak of the stomp clap folk revival in the early-mid aughts. At times an 8 piece mini-orchestra, RCE released two of my fav records of all time with 2010’s The Unmistakable Man and 2012’s Don't Let The Sun Go Down On Your Anger, both of which are regrettably not on spotify anymore. When they broke up in 2015, Michelini began releasing music under the American Trappist moniker and has since released four of my favorite albums of the last eight years! I called 2016’s American Trappist “angsty & heartfelt, religious & romantic!” 2018’s Tentanda Via “Springsteen-y boardwalk rock & roll!” and 2020’s The Gate “a goddamn dark, noisy masterpiece!” You can also read about the handmade, super personal Anthology Mixtape I made for myself during early Covid 2020, and the New Red Shoelaces Mixtape I traded Joe for an advance copy of The Gate! Safe to say, I have a long, growing & evolving history with these songs, but let’s talk about Poison Reverse!

Album opener “Split Horizon” brings back all the early 2000s indie vibes, a brooding acoustic riff and 2.5 minutes of Michelini quietly intention setting “Far from the edge I’m lost, taking my necklace off / making a pact with loss to never be whole / closer to death again, willing myself back in, begging for punishment / & I wanna grow old someday, giving myself away / I won’t make the same mistakes back on the ground.” From there “Seg Fault” explodes into an epic Michelini guitar solo at 1:55 and wakes up some demons. From the psychobilly punk of ”What Did You Wish For” to the raucous, queer energy of “Lipstick” it’s apparent that this is another American Trappist classic. In their journey to finding themselves, Michelini has dealt with things as a queer, non-binary artist that I have not dealt with. Their writing explores those things fragilely, gently & majestically on Poison Reverse. Michelini opens up not only their deeper thoughts & emotions but also their physicality; unafraid to examine their physical body, its growth, its changes, what remains & what fades. This is a landmark album in their discography. A lighthouse, a beacon, a “weird, little candle.” Album centerpiece, obvious personal favorite, and song of the year contender “Temple Song'' is the flame & heartbeat. Michelini talked about this song on its release explaining “I will say by some cosmic arrangement beyond my understanding, from time to time, I have been guided to a little light, and in the best of times have possessed that light & protected that light. Let me share that with you now: a weird, little candle that won’t burn forever, but maybe enough to serve as a reminder until the next time you find rest.”

These are songs about finding yourself. About how to care for past wounds and move forward. About trying to know the truest, deepest, best version of you. About how to allow growth & change to take you in new directions. These are songs you can sing back in the mirror when you’re scared of what’s coming and you doubt your purpose. Poison Reverse is unsure of the future, but sure of the strategies and work required to get there. When Michelini was asked about the meaning of the breathtaking cover art (and album in general) they explained “To me, it is new growth in the darkness. It is dawn. It is hope… A few years ago my therapist asked me what I would have to say to my younger self and I was crying so much in the session that I couldn’t respond, but when I sat down to think about it later and drafted an e-mail to her, I wrote: ‘If you don’t believe in the potential for things to get better, nothing that comes next will be worth it.’”

“I’m still alive and I wanna dive in / It’s not enough surviving, I wanna break the spell / I’m gonna kiss the memory in the darkest part of me / I’m gonna leave the light on for everybody else…”

*

ANGIE MCMAHON   /   Light, Dark, Light Again

There is a point about halfway through Angie McMahon’s once-in-a-lifetime, masterpiece sophomore album, in the driving “Divine Fault Line” where she lifts up her head and sings directly at me over a steady guitar strum “I’m learning to love my skin, I’m learning to dive right in” she encourages me as if she knows exactly what I’m afraid to hear. “I think it’s time to sweep the eggshells clean” she continues, as I’m doing the dishes, or meal prepping in my kitchen, or cleaning my bathroom, and I cock my head and listen (like really listen) “I’m starting to dance again” Angie sings with an increasing carefree confidence “I’m using my hands again” In these 35 seconds I can see the sunrise. I can feel the Spring coming. I believe that I can change. That these days or weeks or months or years of darkness will pass. That when you’re “all fucked up and wanting to die” that maybe God is just a divine fault line and that “when you got no water left in the well” maybe that’s just “the place where breaking out begins.” 

Angie McMahon’s lyrics are my favorite of the year. If you asked me to pick my personal favorite album of the year, I would say Light, Dark, Light Again. In fact “Divine Fault Line’ is literally like my 7th favorite song on this album! There are at least five songs on Light that are contenders for my song of the year. Lyric snippets worthy of tattoos & late-night prayers, lines that I will return to until the day I die. 

Opening track “Saturn Returning” finds McMahon singing (as she sings many of her songs here) hair down, staring into a mirror, face to face with herself, with her growth, her survival, her story. The same way that I often chose to listen to this album in 2023. Staring in my own mirror, facing myself, my growth, my survival, my story. What begins as a simple, repeating piano riff, quickly swells to a swirling epic ballad, McMahon spitting one liners like “I’m gonna dance everyday till I’m old” and “I’m gonna love every inch of this body, the limbs that are writing each day of this story” and finally “i just wanna be wide awake when I’m 40” Holy fucking shit Angie. “Saturn” is over as quickly as it begins, surrendering its keys to the universe, 2 minutes and 44 seconds of a storm rushing through, setting the tone for an album that is as emotionally challenging as it is inspiring. These are songs about growing up, songs about youthful drunk kisses, feeling caught in older, more constraining relationships, songs exploring the real shit. Secret personal fav “Exploding” rides another steady, explosive guitar to a burning outro, singing along with McMahon wailing “I hope I am always exploding!” If good songwriting is about making up words and rhymes, then “supernoving” is a gamechanger. This collection of songs also happens to be brought to life by some of my favorite musicians and producers. Brad Cook is probably my all time favorite producer, and it’s hard not to listen to the enchanting “Staying Down Low” without hearing Canadian super-sad-star Leif Vollebekk (see ya in 2024 Leif?!) and not think of his & Angie’s whistling, duet version of her “If You Call” that soundtracked so many of my Summer nights in 2021 & 22. For all the aching, end-of-the-world emptiness on Light, there are friends, familiar faces & familiar voices. 

There are two songs on Light that I especially, deeply, deeply love, songs that will stay with me for a long time; so I want to close by talking about sister songs “Letting Go” and “Making It Through.” The twin mission statements of Light, one an uptempo, driving indie rocker; one a swirling, piano, power-emo ballad. “Letting Go” paints a picture of a dark time (“six months lying on my living room floor / sick, then well, then sick some more”) but it speaks of the growth that happens in those times (“I might be prouder of me than I ever have been”) and the catch, the hardest thing for those of us like me & Angie… The power of letting go. How to do it “without my claws scratching the surfaces.” When Angie finally repeats the closing line over & over, louder & louder, increasingly more violent & unhinged at the end of the song, it always feels like she is holding me by the shoulders and shaking me, looking me directly in my face and admonishing me “It’s OK, it’s OK, make mistakes… MAKE MISTAKES!” In a year of making mistakes, letting go, feeling my claws scratching the surfaces, and wasting time; what a comfort to talk to someone about “closing some doors, hoping to open more down the line.” This song is a force, and an all time, lifetime fucking favorite. 

Finally, at the end of the record, lies the secret to all of this. The hope, the story, the thing that gets you up out of bed. The first time I heard a snippet of this song, back in October, 10 days before the album came out, Angie posted a quick video of her playing it on a little keyboard saying it contained the mantra that made it all make sense… light, dark, light again. I remember watching tentatively and then dropping my phone almost instantly, sobbing on my bed, thinking of everyone I love, thinking of my place in the world, thinking of how to love better, how to be better… how to survive. How to make it through. There will be years for fighting, there will be years for making a difference. This year for me, was about just making it through. So I kneel late at night and early every morning, waking up with a view of the moon, and I say the same prayer that Angie sings as the album closes “Time is supposed to run out. Sun is supposed to go down. Like your mood, like your power, like your battery. Rise, fall, rise. Life, death, life again. Sky, ground, sky. Day, night, day again. Light, dark, light again. Light, dark, light again…” Thank you for this album Angie. I truly, truly love it. Light, dark… Light again.

“& when I grow up, I wanna be like a tree / & change with the seasons, helping people breathe / but all I’ve achieved lately / is making it through / just making it through… / I froze on the spot where you left me / to hold everything still worth protecting / I know now at the end of the ending / that just making it through is the lesson / just making it through…”

*

BECCA MANCARI   /   Left Hand

There is a centerpiece lyrical idea running like a river through Becca Mancari’s magically enchanting third album Left Hand. Stated most simply on the magnificent “Don’t Close Your Eyes” Becca pleads with us “Don’t close your eyes. Are you ready? Only get one life. Wake up, it’s right here. Are you ready?” When you dig deep into most of the albums on this list honestly, that idea is running underneath all of my favorite writing. It is the idea of life & love. How, in order to live your truest, best life, you need to do the inner work to love yourself. The work that Becca is describing is very specific to the queer experience, and Left Hand is full of songs about coming out, and being true to yourself. It is glowingly apparent that Becca has done & is doing that life-changing work, and encouraging us all (queer or not) to do the same. You can hear it on the desperate title track, a statement “Wake up. Love yourself. Be honest.” and a plea “I want to live. I want you to live too.” Or in the epic, swirling album closer “To Love The Earth” where they quietly & defiantly declare “I wanna live right here, right now. Wanna let go of the past.” Clearly these thoughts are too important to ignore, and Becca strikes me as the kind of friend who skips small talk for the real, important shit. 

Speaking of friends, Left Hand is an album made with friends & for friends! In the midst of their “love yourself” work, Becca chose to co-produce and play the album with their good friends. Becca plays many of the instruments (guitar, synth, bass, drums, vibraphone, OP-1 & piano!) and recruits friends to give the album a cohesive, brooding, indie pop-rock authenticity. Masterfully crafted instrumentals, calming drum machines, layered synths, cascading chimes, commanded by Becca’s singular voice, at times shallow & quiet, growing strong & urgent, leading the songs through rises & falls. The Brittany Howard assisted groovy opener “Don’t Worry” is a powerful love song to & for their queer community. Becca encourages & pushes a friend or a lover to “Give me all you got, I can handle it.” They see them slipping, running out of time; but they’re not leaving “Go & take your time, I’ll be right here” Becca comforts. Then louder, more final “Don’t even worry, I’ve got you.” From there, “Homesick Honeybee” opens with fluttering synths and the sweetest voicemail message from Becca’s grandfather. The song builds on itself until closing with stabs of roaring, grungy guitar. Radio single “Over and Over” is a huge queer pop anthem. The earworm chorus sticky & sweet “There is something to the feeling, head hanging out of the window, being ok that we don’t know / & we can have it like we used to, over & over & over & over again / we were invincible, do you remember that feeling?...” While much of Left Hand rides similar uplifting pop vibes, the moodier, darker moments are some of the most powerful. Ultimately (as with all the albums on this years’ list) it is Becca’s writing that cements Left Hand as a coming-of-age classic, lines of poetry that I will surely recite to myself for years & years to come.

We were lucky enough to host Becca at Lost Lake (one of the venues I work for!) on Halloween night. It was that night, celebrating these songs with Becca live, that I finally, fully realized how special they are. Becca’s presence is warm & energetic, like an old friend, and I felt deeply how real & important these songs are to them. How in Becca’s openness to share pieces of themself, their work and their journey, they are encouraging me to do the same. Through the gifts of sharing & listening, I know Becca deeper, feel the things they care about, and am inspired by their courage & vision. I cry often at live music, usually in a cathartic, very good kind of way haha, and all I could think on Halloween night was how special this bond is. How lucky I am to get to know people through songs, and how grateful I am for people like Becca sharing themselves. Being true, being good, working hard, digging deep, being strong. The encouragement & empowerment I feel after listening to Left Hand, is similar to what I get from talking to my best friends. I feel motivated to keep doing the hard work. To keep trying to better love myself and be the best version of myself. Left Hand is the sort of masterpiece that I will return to when I need that encouragement. To check in with Becca and their songs and to catch up. Left Hand is a career defining record for an artist on the verge of breaking out. Left Hand is also one of my new best friends. 

“We’re here and then we’re just not, what a magical thing…”

*

BLACK BELT EAGLE SCOUT   /   The Land, The Water, The Sky

The songs on Black Belt Eagle Scout’s third album, the perfectly titled The Land, The Water, The Sky, echo back screams from the planet she sings so passionately about. Screams of beauty, rage, agony, destruction, despair, magnificence, majesty, peace & power. When I wrote about the first two Black Belt Eagle Scout albums, 2018’s Mother of My Children and 2019’s At the Party With My Brown Friends, I talked about Katherine Paul’s incredible writing & playing, about how those albums made for such great driving music (a very important genre in my own head!) but also how culturally important those albums were in their time & place. How important it is for us to listen to (and heed the warnings) of queer, indigenous songwriting. The Land, The Water, The Sky is no different. A searing statement on the scary state of our planet, yet filled with tender explorations of Paul’s mental health & familial bonds. Paul is equally skilled writing cinematic, widescreen, sprawling epics about the vastness of the earth and its many mysteries, or small, gentle tales about how to take care of yourself. How to quiet your mind. How to love yourself. For my money, she is also the best guitarist in rock & roll right now.  

Musically, The Land wastes no time, opening track and song-of-the-year contender “My Blood Runs Through This Land” squalls from 0:01 into a monstrous guitar wall that builds and burns behind delicately measured vocals, an absolute showstopper of grungy, shoegaze-y, post rock, with a solo that could cause a rockslide. As with their first two albums, Paul plays all the guitar AND drums (while also adding keys, mellotron, vibraphone, omnichord & organ!) and (as with Becca Mancari -see above!) co-produces. She brings in collaborators for understated, orchestral strings, PNW legend Phil Elverum of Mount Eerie & The Microphones fame, and her parents even sing on the gorgeous “Spaces.” This album SOUNDS HUGE! Like an avalanche, like a thunderstorm, like a wildfire. Paul’s writing has always had an environmental bent, the kind of detail-oriented, time & place writing that makes a good listener actually feel why the protection of the land is important to her. It is the way I feel when I’m in wild places, when I force my racing thoughts to be quiet, when I listen to the trees & the wind & the hills & the animals. A joined chorus of anguish, an upwelling of desire to remain. To stay safely untouched, to continue through time as always, steadfast & serene, changing only with the seasons. How could something in such distress remain so peaceful? 

Although Paul is very deeply connected to their native PNW, I can hear in these songs all the places I love and have spent time in, as well as majestic, mysterious places that I watch on National Geographic & Planet Earth, ones that I can only hope to see someday. From my beloved creeks careening & crisscrossing the Colorado mountains, to the Amazon rainforest in Brazil, the skeleton coast dunes of Namibia, the wild, remote deserts of Siberia, the green rolling hills leading to the exquisite coastline of Northern California, deserts, lakes, oceans, mountains & trees. The magic in Paul’s writing is how she can make us feel these things, these huge abstract, wild places; while still making the songs intimate, filled with details of an important life. Waking up, touching rocks in the river, watching out a car window, a phone call, a kiss, a skinny dip, a good cry & a deep laugh. Like many of the artists on this list, we were lucky enough to host Black Belt Eagle Scout at Lost Lake last June. A rescheduled show from one that was postponed due to a (ha!) epic, late-spring, Colorado snowstorm. Seeing Katherine live was like watching a superstar. They were warm, friendly, and the music was emotional & powerful. Hands down one of my favorite shows of the year. I’ll be listening to The Land, The Water, The Sky on road trips for years to come! Long live Black Belt Eagle Scout. 

“Slow, important love / it keeps me alive / you wanted a second chance at life / well… you’re alive / you hear your heart beating / you walk under the trees / I was only seventeen / I was only seventy / the land, the water, the sky…”

*

FUST   /   Genevieve

If you’ve followed this list for the last 10 years, you know that I write A LOT about North Carolina bands and the albums & songs & connections I have with that state. I’ll talk about that more when I write about Kym Register (the deepest example of my fav “North Carolina sound”!) but this year, Asheville based “supergroup” Fust is the latest iteration of a specific North Carolina vibe that I can’t help but love. The songwriting project of Aaron Dowdy (who’s actually from Virginia ha!) Fust’s second full length album swells with the kind of yearning, hopeful, achy, pedal steel folk, alt country & americana songs that can soundtrack any backroad mountain drive, from Colorado to Carolina & California! My favorite moments include when “Violent Jubilee” rises up on layered electric guitar throbs and becomes a true road trip anthem with Dowdy cutting loose belting creakily “I like driving with the odometer busted, when I know the stars are gonna fall any minute! & I’m ready to burn up with it!” Or the bittersweet sadness in the struggling marriage/relationship commitments lamented on “Rockfort Bay” when Dowdy confides to his partner that he wants “a small life” and wants them both to “Do their best tonight, I’m praying we do not fight, I’m thinking we’ll be alright.” but also the creeping, darker secret that Dowdy admits halfheartedly “I’ve got a bad feeling, I’m never gonna change…”

These strong, nuanced lyrical themes across Genevieve set it apart from any old folk-americana album you might hear on a Spotify playlist, and in my mind, it’s almost a concept album of sorts. Themes of marriage & divorce, friendship & commitment. Themes of searching, restlessness & unsettledness. Themes of domestic contentment and what to do when you & the person you love want different things and have different goals in life. On the resigned “Open Water” Dowdy reveals longingly that despite all his restlessness, what he really wants is “a little old home to call my own / Where I like the wallpaper and what the sun’s done to it.” or in the Indigo De Souza (more on her in a sec obv!) assisted “Town in Decline” where he rejoices in a warm house, cooking, watching the news & cleaning the gutters, singing “I’ll bring candles, we can celebrate, the paper plates are fine!” There are also people all over the record, Genevieve of course (a fictional character according to Dowdy) John & Angel, Sarah Lee, Jimmy, Sam, sisters, brothers, neighbors, the whole damn band! There are also the real life collaborators in the Fust circle of music that I love, Indigo of course, drummer Avery Sullivan, Jake Lenderman and Xandy Chelmis from Wednesday (a record that I also loved but not on this list!) Courtney Werner from North Carolina legends Magic Tuber String Band, and all brought together on the production side by one of my all time fav producers Alex Farrar (Hurray For The Riff Raff, Tre Burt, Indigo, Wednesday etc…) Musically this album contains all the little evocative elements of North Carolina that I’m in love with. 

The mission statement, gut punch of the album is one of my favorite sad songs of the year. The accurately titled “A Clown Like Me” is a languid, ranging, late afternoon-into-dusk heartbreaker. There are enough clues in Dowdy’s small details & big ideas that I think I know deeply what this song is about, but I feel it more than any other song on the record. In a year where I started coming to grips with my own life decisions costing me actual, real things, and my carelessness hurting actual real relationships & people, this one hurts. This is an aching anthem for how to move forward. How to have open & honest conversations about it. How to walk & talk & make plans big & small. How to rebuild and try to make the deepest kind of friends. The awkwardness, the hardness, the checking in on family members & friends. The ache of loss and the bright, dull sting of a future alone or together. My fault I fear. There is still light shining through the kitchen window and the Winter is long. You should park on 4th. Seventh Ave stretches out forever and iced coffee tastes good even when it’s cold outside. How are your parents? I don’t know what I want. My family is good, things are changing, but good. Nieces, nephews, new job? Oh, your sister’s worried. How’s Sam? I’ve been trying really hard too, but feel like treading water, getting tired. I thought you’d want what I want. This song plays hard on the place that I knew you were dark. I was just trying to tell you how proud I am. I’m in awe and regret everything. My fault I fear. The sun goes down, the light slants differently when you’re not around. We don’t know how to do this but we are doing it anyway. Songs like this are hard but necessary. I feel heard & seen. I am listening & learning. Growing & moving forward. I feel that this hardness will never really go away. 

“It feels good to be a part of a greater kind of looking / gonna be a searcher for the rest of my days…”

*

GENESIS OWUSU   /   Struggler

“Sometimes it feels like there’s an old man waiting in the sky, just to fuck my life up.” begins the driving “The Old Man” on Genesis Owusu’s breathtaking sophomore album Struggler. He refers to this non-benevolent God all across the album, the title track crashes with the refrain “better run, there’s a God, and He’s coming for me!” and in “Stay Blessed” Owusu is just “a roach that a God is coming after.” Owusu has said that his alter ego “the roach” that appears in every song on this concept album, also represents humankind, fighting against the struggles daily life throws at us, surviving day-to-day, just getting up, “putting our ties on, and keep truckin!” He says the “God” that just won’t leave the poor roach alone (could that be the God of the bible?!) represents "these huge, unrelenting, uncontrollable forces that, by every logical means, should have crushed us a long time ago.” Lyrically, this concept is repeated over & over again across the album, almost every song references the struggle between the roach & god. But the music… the music of Struggler is where Owusu comes alive and breathes life into his epic narrative! From the first 30 seconds of the frenetic, electric opening track “Leaving The Light” I knew this one was gonna be special. Dance pop, synthwave, pop rap, breakbeat, funk jazz, disco & neo soul, part Bloc Party, part Jean Dawson, part Prince. It’s all splattered across Struggler, upbeat & relentless, danceable & underground-y, vibrant & all out wild. In a year where I continued to lean into lyrics, this is one of the albums on this list (add Kumo 99, Paris Texas, Sofia Kourtesis & Y La Bamba) where I can confidently say I like the music more than the lyrics, 

The first time I saw Genesis Owusu was at the magical Treefort Music Festival in 2022. It was a late night set at the Shrine and Owusu’s stage presence was incredible, from the dark, theater-influenced “black dog” opening half, to the celebratory dance party that had everyone in Boise sweating, it was my favorite set of the festival!  I told everyone about Genesis, and riding a scooter home at 3AM along the Boise River, I knew I had found a lifelong musical friend. Owusu brought that same energy to little old Globe Hall back in November, playing one of my favorite shows of last year. For the sold-outest of crowds, Owusu commanded the stage all by himself, dancing, singing, taking to the crowd to start a pit and sing along with fans. Owusu is one of those “you have to see him live” kind of talents. Born in Ghana, raised in Australia, Owusu is creating his career with a singular voice. Staying true to himself, shapeshifting, crawling, dancing, roaching, running, crashing, and always in the end… getting up again.

“Feeling like Gregor Samsa / a bug in the cog of a grey-walled cancer / I’m tryna break free with a penciled stanza / so are we human or are we dancer?...”

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INDIGO DE SOUZA   /   All of This Will End

When Indigo De Souza released her incredible third album All of This Will End in late April, I listened to about 30 seconds of the first track, the innocently poppy, burning 2 minutes of “Time Back” and realized that this album was going to be one of my favorites, but also REALLY hard for me to listen to. Like she did on Any Shape You Take (one of my favorite albums of 2021) De Souza holds nothing back, making the most soul baring, life questioning indie rock album of 2023. When I wrote about Shape back in 2021, I called it a truly great emo album and said it made me feel like a teenager again. With this album, I feel like I am growing up alongside & with Indigo. Despite all the heartwreck that she’s singing openly about, she manages to grin & bear it, to see some lightness. “We’re gonna love again on the other side / when you come home I will begin again” she smiles through tears on “Time Back.” When she’s calling off work on the catchy, upbeat “Parking Lot” she laments “I’m not sure what’s wrong with me, but it’s probably just hard to be a person feeling anything / I’m a growing girl my ups & downs are natural” and at the end she concludes “maybe I’ll always be just a little bit sad.” She unpacks trauma and abuse in real time on the raging “You Can Be Mean” slyly admonishing “I’d like to think you got a heart and your dad was just an asshole growing up / but I don’t see you trying that hard to be better than he is.” and the fuzzed out, rocking grunge & bloodcurdling screams of “Wasting Your Time” & “Always'' are heavier shit than any album on this list. Like she has mastered in her blossoming career, De Souza continually balances the darkest darkness with the sweetest light, whether musically (“Losing” masks it’s aching longing with De Souza’s friendly, lilting vocals and a gentle, rolling guitar) or lyrically (“The Water” quickly came my favorite skinny dip song and soundtracked many river & creek hangs throughout my summer). The honest autobiography of Indigo’s writing lets me in on her secrets & growth, and I feel like I’ve known her through this chapter of her life. 

As I’ve sought out new friends this year (my first year of being truly single since I was kid) I’ve been drawn to people who want to talk about things the way that De Souza does in her songs. People who know the world is ending. People who struggle with their place in all of it. People who don’t feel like they fit in, but face it anyway. De Souza mixes an everyday “conversations with coworkers” vibe, with a deep, deep restlessness. The kind of unsettledness that makes her either the most fun at parties, or the kind of person that runs & hides. At the center of the album sits the title track. A mission statement & a bleak revelation, but one that could be looked at in many different lights. De Souza realizes that no matter how hard you try at all the things shes writing about, sometimes none of it matters and all of this will end anyway. She faces her deepest fears & inadequacies, forgiving herself and coming out singing “I’m only loving, only moving through and trying my best / sometimes it’s not enough but I’m still real and I forgive” 

This self-gentleness & self-forgiveness shines through especially bright on the gorgeous album closing ballad “Younger & Dumber.” Go watch the music video for this one, it’s incredible! I looped this song on repeat one night last Summer at Cheesman Park (“having an experience”!) sitting at the columns and watching a roller skater perform a routine that I SWEAR was made for “Younger & Dumber.” As the song picks up, pedal steel whining and De Souza’s voice rising fiercely with the second chorus, my anonymous roller-skater spun faster in the sunset “Sometimes I just don’t wanna be alone & it’s not cause I’m lonely” De Souza confides “It’s just cause I get so tired of filling the space all around me / & the love I feel is so powerful…” It’s here, on the brink of the end of the album, that De Souza changes the words to how powerful this love they feel is. On the printed lyrics in my CD copy they say “I’ll meet you anywhere.” This is of course a powerful, romantic statement. A commitment of love. But when De Souza sings the song on the album, they don’t say they’ll meet someone anywhere. They say that the love they feel is so powerful “it can take you anywhere.” This is self love. This is an open future. The freedom to let love take you anywhere. To love others truly, you must first love yourself. You must first admit to past mistakes, to know that “when I was younger / younger & dumber / I didn’t know better…”

As with many of the musicians I love and follow online, I feel super connected to Indigo through her social media. I’ve read a lot about “parasocial” relationships, and I’m always careful with how invested I get, but as I’ve referenced countless times in these reviews, following & connecting with artists, specifically their lyrics, has completely changed my life direction over the last 10-15 years. But when I see someone like Indigo struggling, posting openly & honestly about her struggles, I want to reach through the vastness and tell her it’s gonna be ok. That she is loved, that she is incredible, that her work is valid, important & essential. To help her in some way. In that feeling & that moment, I realize… Indigo is reaching through the vastness to tell me the same thing. Her work, her songs, her music, her lyrics, are carrying me. She is reminding me that I am loved. That life is hard but I am incredible. My passions & my work are important. The greatest gift, the deepest magic. Time travel, teleportation, whatever you want to call it… I call it magic. Hug your friends. Talk about everything with them.  Be open & honest with your struggles. Who gives a fuck, all of this will end. 

“Am I losing to the dark? / is it overtaking me? / I was overcoming last month / but June is killing me / & all my friends are leaving or trying on new faces / & in the dark, where my car’s been parked / I remember how to face it / there is nothing I can do when the winds of change blow through…”

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KING TUFF   /   Smalltown Stardust

“There are times in our life when we feel magic in the air.” So begins the bio/press release for King Tuff’s magical fifth album Smalltown Stardust. Way way back in November of 2022 (!) one of the venues I work for, Globe Hall, was getting ready to announce a King Tuff show in March of 2023. As I gathered all the info I would need to put the show on our website, I sat and read all about King Tuff’s new album and subsequent tour. As that kind of writing often does, I was brought to tears. I knew a little of King Tuff, was familiar with his fuzzy, psychedelic rock background and wizard’s hat, but reading about his desire to  “make an album to remind myself that life is magical. An album about love & nature & youth.” and his ultimate revelation that “I’m a different person now than I was 20 years ago when I first started this. But oddly, when I first started the band, it was more like this.” There are glimpses about his journey back to Brattleboro, Vermont (the town he grew up in), his communion with nature, his collaborative community (he lives & records in LA with Meg Duffy of Hand Habits and Sasami, who also co-wrote much of Stardust!), his joy & energy bouncing off the page and coming to a life as a real life wizard right in front of me. I became an instant fan!

The actual songs on Smalltown Stardust make good on all those promises! With some classic touchstones (I can’t help but hear The Beatles all over this record!) it is a psychedelic, hippie, pop-rock masterpiece. From the celestial garden swing of green thumb opener (“I just wanna dance & write love letters to plants”) to the rollicking, mountain folk rock of “Portrait Of God” and the measured indie of personal favorite “Rock River,” a summer river, skinny-dip love song for the ages! My favorite thing about the glorious nature King Tuff has splattered all over Stardust, is that it is accessible, ordinary, & worth celebrating! When you grow up in the heart of the Rocky Mountains in Colorado, there is a tendency to search for nature that is epic. Hard to get to, untouched, Instagram worthy, requiring multiple plane flights, or strenuous double digit mile hikes to obtain. Tuff’s nature can be found right in your own backyard! Green plants & wildflowers. Butterflies, stars, sunflowers & rain. “Walking in the woods, wading in the river, breathing in the mountain air.” Falling leaves & pebbles in a stream. As I get older (like Tuff) I have continually turned to nature for comfort, and last Summer found me exploring secret, favorite “accessible nature” spots less than 30 minutes from downtown Denver. Hit me up next Summer for secret creek spots in Clear Creek Canyon, Bear Creek & Boulder Creek. Come run around on Green Mountain! And of course, my deep, deep favorite nature spot… Cheesman Park!

My final connection with Smalltown Stardust & King Tuff was cemented last March, when my already-planned trip to see my little sister in Arkansas was unfortunately happening on the same weekend as King Tuff’s Globe Hall show in Denver. Tbh, I thought about canceling my trip and staying for Tuff, but I went to Arkansas and instead told my sister all about the album, the bio, and we stayed up late talking about nature & friends, siblings & youth, bittersweet nostalgia & an epic future! We drove rural Arkansas backroads to waterfalls, epic cliffs, mossy, leafy ravines, rock walls, Candy Mountain & Middle Earth. We drove through forests, across rivers, under skies storming with March gray & blue. We drank dark beers late into the night, talking about all the things that matter. I find myself always thinking a lot about how “growing up” feels. About my siblings and my friends old & new. Thinking about times when I was a kid in nature “In the back of a pickup truck, staring up at the blue, blazing down the backroads, blooming wild.” Sometimes as we get older, it feels like we’ll never have those same kind of feelings again. And more heavily than that, it feels like we shouldn’t want to have those feelings again. Like we need to grow up past those feelings. I’m so grateful for artists like King Tuff, friends like my sister Bethy (and of course my old and always best friend Stephen who always talks about all this shit with me haha!) and all the other people & music in my life that help me celebrate those feelings. That cycle of life. As King Tuff closes the album, I’m right there next to him, driving through our love & nature & youth together “Caught up in the turning of the wheel… & it’s coming round again…”

“When I close my eyes I’m going home / lonely sidewalks where I used to roam / ‘I’m A Loser’ lost in my headphones / back when all my dreams were silver & gold / sitting under the falling leaves / wondering where I’ll go / I’ll be where the rivers meet / looking for answers that I’ll never know / that’s where you’ll always find me…”

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KUMO 99   /   Headplate

Headplate, the third album from LA duo Kumo 99, roars to life with the kind of visceral, electronic energy you won’t find anywhere else on this list. Kumo 99 describe themselves as “post-national, apocalypse-adjacent, lo-tech love songs for the digital native.“ Nate Donmoyer (Passion Pit, Brandon Flowers, Crosses) handles the production and Ami Komai sings with a shapeshifting wildness that absolutely lights this album up. Sung entirely in Japanese, she explains “making the choice not to write our lyrics in English is a political act. Our lack of translation is political.” While I haven’t yet done all the translation work to dig into what this Japanese-American duo is singing about, the music needs absolutely no translation. This is mosh-pit ready EDM for the underground. Breakbeat, drum & bass, jungle, glossy pop-techno, all carried by a ferocious punk energy that tears at its seams and explodes out through Komai. At times she is sleek, slinking cat-like through 8bit video game beats and stomp-y pop, regal & aloof. When she cuts loose, like on the bonkers-ballistic “Dopamine Chaser” her screaming tag-teams the energy of the beat, both leveling up to a frenetic climax, the punk-est thing you’ll hear this year. Headplate is 29 minutes & 22 seconds of trance-inducing magic. If you’re still missing Crystal Castles… Go dive in. 

“Breathe calmly! / grab your hair in your hands! / hug each other till you’re one & the same!...”

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KYM REGISTER & THE MELTDOWN RODEO   /   Meltdown Rodeo

Back in 2016, I put Kym Register’s debut album Sweet High Rise on my fifth annual favorites list. They were still going by Loamlands then, and I was at the beginning of a journey that I am still very much on now, and will be for life. I was starting to unpack a lot of my internalized racism, sexism, & homophobia from my years spent in conservative, christian, straight-white-male circles; choosing the wrong friends, and being afraid to stand up for what I thought was right. It was through musicians like Register (and countless others) that I started finding inspiration, searching for progressive, challenging lyrics over familiar favorite sounds. I have been inspired watching them confront their peers, watching them write songs unpacking their own trauma, telling American stories about the racism, sexism, & homophobia that our country is built on. I began collecting musicians like Kym as inspiration, as education, people I could look up to, songs that challenged what I had once believed. Songs that encouraged me to challenge those around me. Songs that the new & changing me was proud to sing along with. Soon I began to collect friends & peers who believed the same things as I did and helped push me further down that road. Today, I still have so far to go on that journey, but it is not an exaggeration to say that musicians like Kym Register and albums like Meltdown Rodeo have completely changed my life. Woohoo! Let’s melt it down!

Meltdown Rodeo begins in a very similar place to Sweet High RIse. “Scottsboro” tells the horrifying story of The Scottsboro Boys, nine African American teenagers who were falsely accused of rape and sentenced to prison in Alabama in 1931. “Come on now” a frustrated Register mutters “this story’s not that old.” Sweet High Rise standout “Little River” told another off-forgotten, historical tale, the murder of Ronald Antonevitch at a popular gay swimming hole, that led to North Carolina’s first gay pride marches. While the music of “Scottsboro” echoes the sadness of the story, with yearning & spiraling guitar, track two “Blue” cuts loose with the kind of rage that reminds you of Register’s background in the punk scene. Telling another historically accurate story about Joni Mitchell wearing blackface, a song about how to critically examine your “heroes.” Lyrically Meltdown Rodeo deals with intense topics, but Register’s classic folk-country storytellers’ heart, makes them personal & relatable. These are real people, real struggles, and Register is constantly examining their own heart & brain, unpacking trauma, digging & replanting, learning & regrowing. Challenging the listener to do the same. 

Musically, this album takes me to North Carolina in the best way possible. I had a weird, deep connection with the state before I had even been there, and a lot of it had to do with the music made there. I didn’t step foot inside NC till 2016, but I’ve been there 12 times since! In a way, the connection that I’ve built over those seven years probably mirrors the internal growth I talked about, the most important years of my life so far. I have loved so much music from North Carolina in the last ten years and I hope to live there someday. Register owns The Pinhook in downtown Durham and is a staple in the local scene. The powerful guitar of Meltdown Rodeo and Register’s singular, ramrod vocals are evocative of the North Carolina countryside, rolling, rugged & gorgeous. Sweaty, humid & full of life. Of course, the musicians in this iteration of The Meltdown Rodeo are an all star cast of North Carolina legends! Rissi Palmer, Kamara Thomas, Phil Cook, Saman Khoujinian, Brevan Hampden, Sinclair Palmer, Joe Westerlund, & Matt Phillips. If you know, you know!  I’ve compared them to Lucinda Williams & Fleetwood Mac, but the closest thing I’ve been able to say is that it sounds like how North Carolina feels. Sweltering, swaying, stabbing guitar; melancholic yet hopeful, spring-y in all its longing. 

I’ve been lucky enough the last two septembers to finally catch a Kym Register set at Hopscotch Music Festival in Raleigh, and their presence & energy has been magical. There are a few bands that I’m always scared I’ll never have the chance to see live (looking at you American Trappist!) and the Meltdown Rodeo was one of them, until I snuck out of an eTix work conference in 2022, ran to Kings, bought myself a Tecate and a cheap whiskey shot, and started crying the second Kym started singing. Singing songs that I’ve kept close these last seven years. Songs that I’ve played every single one of the 12 times I’ve been in North Carolina. Songs that have actually helped me grow & change. I promise you, Meltdown Rodeo sounds so much better live. The guitars & organs crunch & squall together, and the drums lurch in mesmerizingly, making this also one of my favorite backroad driving records. When I live there someday, I’ll take these songs out on the backroads. From Asheville to the coast, I-40, 15-501 & the Blue Ridge Parkway. I’ll visit old friends. I’ll drive over the Little River, the Haw River, the Eno, the Deep. Until then, when I put this record on, I just close my eyes & I listen to the stories, I feel the staggering, suffocating heat, I hear the bugs & the birds. I can smell magnolia, dogwood & hydrangeas. I let the pedal steel carry me away. I melt down slowly in a good way. My brain & my body dissociating into something new & better. Melting down to start over. To begin again. I think about my past & my future. I know these songs are sticking with me forever. In a way… I’m already home. 

“Lightning bugs are larger when you’re lit up / can’t tell what’s sweat from mountain dew / foggy summer mornings they hide the shadows / and the barking dogs are songs to wake up to / daddy never taught me one good lesson / no one ever told me the truth / the South is a hotbed of resistance / to the whiteness that keeps trying to bury you / that’s why I’m coming home… / the only name I can reclaim is my own…”

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MARGO CILKER   /   Valley Of Heart’s Delight

There is a simple conversation that opens my favorite song on Margo Cilker’s incredible sophomore album Valley Of Heart’s Delight. The next to last song on the album “Sound And Fury'' opens with a rolling country gait and finds Margo asking “Tell me where you’re going, ask what I’m doing, wonder how it’s coming along / It’s a piece of a puzzle, it’s a midnight struggle, I’m goin, I’m goin, I’m gone.” Sung direct & straightforward in Cilker’s powerful, conversational tone, it’s lines like these that endear me to writers like Cilker. Real, authentic country, americana & folk lyrics over familiar, worn musical ground. Pedal steel, fiddle, & piano rolling right along stretches of blacktop highway & “Lowland Trails.” This is running into a neighbor at the grocery store (New Castle City Market IYKYK), this is sharing life challenges over a cup of bad coffee at the dusty diner, later this is deep, heartfelt conversations over cheap beer at the kind of pool hall or dive bar that can be found in any of the small towns Cilker namechecks across Valley. In her own carefree style, this album begins to cement Cilker in a growing pantheon of “new country” (anybody got a catchier name?!) songwriters, as much Prine & Dylan as Willie or Waylon, Lucinda, Linda, Townes, Steve Earle, The Band, there’s probably a long list of influences & favorites here that I would love to stay up late hearing Margo talk about! 

Growing up in rural, western Colorado, I fell for country music in high school, and it’s been hard to shake ever since. Good country mind you, not the shit you find on mainstream country radio these days. Musically, Cilker’s band really cooks, most notably in the lighthearted “Steelhead Trout” (the only cover on the album) and the driving, dramatic “Mother Told Her Mother Told Me.” Another great folk songwriter Sera Cahoone (who I was lucky enough to catch at Red Rocks last Summer) produces the album, plays drums and calls Margo “her own authentic weirdo.” Cilker’s “weirdo” nomadic lifestyle is a huge influence here, these songs trace lines and name cities all across the US (Greenville, San Francisco, Oakland, Lodi, Bozeman, Boston, Los Gatos, Los Altos, Manhattan, Houston & little Santa Rosa, NM!) Despite all Margo’s journeys, there is a clear sense of place, and her Northern California roots are deep & evident throughout. In fact, when “Sound And Fury” turns late night serious in it’s second half, acknowledging America’s racial tension, economic depression, and climate crisis. Referencing William Faulkner and “the gatekeeper’s footing disturbed” Cilker takes comfort in her familiar places. She talks about the yearly return of the apricots, her home in Los Altos, and her deep held beliefs in listening & learning. “It’s a song down the ages” she sings with just the slightest twang “It’s a tearing of pages, I’m listening, I’m listening, I’ve heard.” She doesn’t have all the answers, but she’s working hard toward simple, deep truths. When she finally closes Valley on the Justin Townes elegy “All Tied Together” it comes with a deep answer and a simple question. “It’s all tied together” she sings confidently if sadly. But like so many of us, those of us out searching for these kinds of truths, that answer makes her question… “If it’s all tied together… Are we better unwound?”

“I remember Montana always treating me fine / driving up to Eureka / Polebridge on the 4th of July / went on a bender in Bozeman / sobered up in Hamilton / fell in love with a fisherman / but it was catch & release…”

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McKINLEY DIXON   /   Beloved! Paradise! Jazz!?

“I’m crazy about this city” begins McKinley Dixon’s majestic Beloved! Paradise! Jazz?! These are not Dixon’s own words or voice; instead, legendary poet Hanif Abdurraqib reading one of Dixon’s favorite writers, the also legendary Toni Morrison. Dixon named the album after Morrison’s Harlem-based trilogy of novels. Hanif & Toni go on to tell us all about the city they love, their specific, slanting details echoing the intimate, illuminating details that Dixon is about to share across his jazz soaked, ethereal, classic rap album. Hanif talked about Dixon’s writing style saying “You have to archive the beautiful corners of where you’re from, because if you don’t then no one else will.” Archiving beautiful corners is such a meaningful way to describe Dixon’s writing (and great writing in general!) and to really listen to Beloved is to gain a deeper understanding of those beautiful corners that Dixon really loves. His city, his people, his life. Blooming & bursting through tragedy & trauma. Inspirational, life giving & heartfelt. 

To answer the question mark in the album title, McKinley Dixon’s Beloved! Paradise! Jazz!? Is my favorite jazz album of the year! Of course, this is also one of the best rap albums of the year! Dixon raps & sings over a sizzling live band, skittering & swaying over horns & strings, poetry, jazz, time travel, paradise, love, friends, death, forever. From the mood setting harp that introduces the shimmering opening song “Sun, I Rise” a forward looking anthem featuring Spacebomb Records sister Angélica Garcia (see you in 2024 Angélica!) to the undeniably bouncy piano riff that starts “Run, Run, Run” the musicianship here pulls its weight supporting Dixon’s generational-talent lyrics and fierce, focused delivery. Dixon is a can’t miss artist building an impressive catalog. A Richmond, VA native, who I discovered through one of my favorite record labels/recording studios/music collectives, Richmond’s mighty Spacebomb Records. There’s definitely a future version of me that moves to Richmond and works for Spacebomb! When I wrote about Dixon’s Spacebomb debut (the intensely personal For My Mama And Anyone Who Look Like Her) on my 2021 Favs list, I referenced the trauma & death that gives birth to this kind of writing. Make no mistake, that trauma & death is still very present on Beloved. Take the bombastic, friday-night-lights brass of second single “Tyler, Forever” a song Dixon penned for his friend that passed on. In the last verse he imagines them laughing together “If he was here now he’d say that that shit’s unheard of / I’d laugh, say yeah he right, it’s probably true / Then sitting on his floor I’d realize poets lie too.” Dixon says the song shows how “Celebrations of life & moments of sadness can be tied to each other.” and “To Tyler: I made it off 225th! I remember you laughing when I showed you my first song in 2014. The whole world to us was only Linden BLVD. Never woulda thought we make it this far. I take you wherever I go.” All across Beloved it’s clear that Dixon really is taking people & places from his past wherever he goes. References to his parents, grandparents, close friends & cousins imbue the album with familial love & warmth amidst the inescapable death, violence & trauma. 

Personal fav “Live! from the Kitchen Table” is a song inspired by Carrie Mae Weems 1990s photo series of the same name. Breathtaking black & white photographs showing essential family activities happening around the kitchen table. I am instantly taken back to seeing Bruce Springsteen with my dad and hearing Bruce talk about his own father. It was the River Tour and Bruce was introducing his heartbreaker "Independence Day." He said the song is set around a late night kitchen table conversation between him & his dad, and if I close my eyes I can see the picture Weems would’ve taken. “Well papa go to bed now it’s getting late” Bruce begins, before painting a picture of leaving town, a story of striking out on your own. This town could be anywhere, Dixon’s Richmond, Springsteen’s Freehold, or my New Castle, but the idea is the same. Bruce went on to explain the song as a memory of the first time he saw his parents as their own people, chasing their own dreams, trying to make their own way in life. Dixon explores that very same balance delicately throughout Beloved, checking back in on his childhood self, remembering his earliest connections, holding on to what made him, but also, striking out on his own. Chasing dreams, chasing sunlight, chasing better for everyone he loves. Chasing as Morrison says “Future thoughts.” Look out everybody, “Here comes the new!” 

“LIve! From my momma’s kitchen table / where she pulls heartbreak to her chest and folds up cards to keep legs stable / where the currency for meals is often the laughter that’s exchanged in / I ain’t seen you in a minute, so sorry, tears blurring your frame / our line different, nothing missing, you ain’t call but we ain’t trippin / come in / still remember the seatin’, treat the home just like the heart / keep it warm and always beatin’ / it’s alive / Live!”

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THE NATIONAL   /   First Two Pages of Frankenstein & Laugh Track

For being one of my all-time favorite bands, it’s hard to believe that The National has only made this list once, all the way back in 2013 when Trouble Will Find Me (my all time favorite National record) lost out to only Josh Ritter, Frightened Rabbit, Phosphorescent, & of course Typhoon (more on them later shhh!) in my second year of making this list! If you look at it that way, it makes a little more sense, as each of the three pre-Trouble National records (High Violet, Boxer & Alligator) would have been at the top had I been making this list before 2012. Plus, since then, I was fairly un-enamored with their direction for Sleep Well Beast and I Am Easy To Find. Also, only releasing two albums in the ten years since Trouble?! Welllll… discography lesson aside, Indie Rock’s favorite Sad Dads The National are back in a BIG WAY in 2023! Releasing not one but TWO career-defining albums, somehow becoming a way wayyyy better live band (mixing up setlists, satisfying the die-hards with deep cuts galore, and playing 27-33 songs per show!) and doubling down on the kind of middle age mediocre angst (ha!) that seems to speak to me more deeply the more angsty, mediocre, & middle aged I get! I fucking love both these albums, I’ve cried to these songs more than a few times, and The National b2b nights at Mission Ballroom two days after my birthday in the heart of last Summer, was one of my most special memories from last year. The general consensus across critical reviews (and of course the reddit threads!) was that you could combine both albums, trim some excess, and make one absolutely great National album! The funny thing was however, everyone’s “one great new National album” looked completely different! I of course made my own 13 song favorites album mix called Demolished & Laughing, named after my favorite new National couplet from “New Order T-Shirt.” My longtime best online music friend Adam made his mix 50% different from mine! One of my favorite music writers (and National diehard) Steven Hyden cleverly called his album mix Frankenstein Laughs, but somehow left off “Once Upon A Poolside” (the Sufjan assisted all timer) and “New Order T-Shirt” which was my MOST LISTENED TO SONG OF 2023! I’m mostly joking here of course, but it did show me that while we all agree there’s some duds between the two albums, we differ vastly on which songs are “duds” and maybe sometimes more actually is better! 

My National album opens exactly how Frankenstein opened (and how they opened both nights at Mission Ballroom) with the ultimate, middle-age scene setter “Once Upon A Poolside.” An austere, Sufjan assisted piano ballad with everybody watching. A more direct sister to their cult favorite, live staple “About Today.” Where that song finds a couple in bed late at night, one asking the other “hey, are you awake? How close am I to losing you?” I can imagine the answer coming 19 years later, from across the million miles of a queen size bed “What was the worried thing you said to me?” Track two is my song of the year, the song I listened to more than any other “New Order T-Shirt.” When this song was released as the second single off Frankenstein, I thought of it as a sad, end-of-the relationship song, and (knowing The National) it probably is! But something turned in me when I began to think of “I keep what I can of you…” as something good. Something worth treasuring. Whether those “split second glimpses & snapshots & sounds” are the exciting beginnings of a new crush or the heartbreaking endings of when someone really good is actually gone, they’re still worth holding onto. Carry them with you & flicker through. From there Laugh Track’s “Deep End” is a song I first heard live this Summer, a Trouble-level National jam, Bryan Devendorf’s drums sound SO GOOD, and when was the last time they started a song as strong as “I’m going off the deep end, barely sleeping”?! Perfect. You have to go back to Fall 2022 for when I heard The National debut “Grease In Your Hair” at Red Rocks and that song has stuck with me since. I think of it as a cousin to “Don’t Swallow The Cap” and the liftoff that happens when the song hits “Down we go on the grass!” is one of my favorite musical moments across both albums, an epic indie rock jam. The thing most everyone did agree on is that “Space Invader” and especially “Smoke Detector” were a return to the old (and I mean like Alligator/Boxer old) National. “Space Invader” is the first 6+ minute song The National has ever released, and the build that starts at about 3:20 and carries the last half of the song is the noisiest The National have ever sounded. Walls upon walls of screeching guitars, drums crashing like waves and Matt Berninger almost unintelligible, muttering “quarter after four in the morning. Why’d I leave it like that?” Absolutely epic. “Smoke Detector” is an almost 8 minute fever dream, increasingly hazy & disorienting, Berninger muttering, sometimes almost out of breath, restlessly repeating lines over the Dessner brothers' chaotic guitar squeals & squalls. This is the closest The National have ever come to capturing their live sound on tape. 

Two of my favorite nights of 2023 were spent with The National at Mission Ballroom on August 11th & 12th. I want to close with the wandering, Summer haze writing I typed out on my Instagram after the shows. This is how most of my music writing has sounded the last few years.

It felt so SO good to dance & sweat & sing and mark some time & space with a band I’ve grown up with since college. Singing about decisions & choices & aging, about how to face your future and the future of a world that's burning. As always, it’s all about how the show made me FEEL. Sometimes it’s seeing someone else lose their shit. Dancing like they’re the only person alive on the giant, extravagant mission floor, running their fingers through their hair, claiming the song as theirs. Sharing the song as ours. A communal experience, energy exchanged. To feel all humming live wires. Tired & wired. Summer like a wasp nest. Summer like a drug. Sometimes it takes sobbing to the songs live to know they’re yours. To hear what they’re trying to teach you, whispering in your brain what you’re feeling before you even know yourself. What was the worried thing you said to me? Songs about brutally specific things & places & memories. About how endings & beginnings sometimes feel the same. About how it’s good to say all the painful parts out loud. Maybe we’re in the middle of some kind of cosmic rearrangement. I keep what I can of you. Split second glimpses & snapshots & sounds. Snapshots of running around r(h)ino for hours, chasing food trucks & feelings. Deep in conversation about trauma & generations, about growing older, about finding out what you want. Like what do you REALLY WANT out of your one wild & precious life. Meteor showers over dark hot springs. Joy & pain, sadness, grief, and ecstatic elation stabbing your ribs like a mystic, fantastic narwhal tusk. Silly till you cry from laughing. Or laugh from crying. Sneaking into fancy hotels, demolished & laughing. Memorize the air, there will come a time I’ll wanna know I was here. In the end, when the waters are rising, string yourself up for love again and sing… “Leave your home / Change your name / Live alone / Eat your cake…” The National are one of my all time favorite bands and 2023 was their year. 

“What if I’d never written the letter / I slipped in the sleeve of the record I gave you? / what if I stayed on the C Train until Lafayette? / what if we’d never met? / what if I’d only just done what you told me and never looked back? / what if I’d only ducked away down the hallway and faded to black? / it’ll come to me later / like a space invader / & I won’t be able to get it out of my head…”

*

NO-NO BOY   /   Empire Electric

Julian Saporiti’s archival songwriting project No-No Boy is absolutely everything I want in great folk songwriting. His sophomore album Empire Electric is full of rich & lush songs, filled with ambient & found sounds, tropical & magical, bird chirps, ocean waves, & ancient sunshine.. His history textbook lyrics tell real stories and demand not only liner notes reading over coffee, but googling countries & years, or even visiting your local library to check out actual books! His songs are sweet & familiar, his voice gentle & friendly, like a storyteller lulling you into a trance, filling his stories with generations of history both personal & communal, a twinkle in his eye, a true folk songwriter, always a little bittersweet chuckle in the heartache of the folks he’s singing about. 

For any history or music scholar, Julian Saporiti definitely has the chops. Many of the stories on Empire Electric come from his PhD in Asian American history. The history in these songs is meticulously researched, but imbued with the kind of fantasy starlight that makes the songs truly come alive. From Japanese internment camps to the onion farms in Oregon on the ethereal opener “The Onion Kings of Ontario!” to the coast of California in the 17th century on the blooming “1603.” When indie-rock anthem “Sayonara” explodes out of a rolling rhythm, it sounds for all the world like the kind of earth-shattering, hipster-indie-cool, love song I would’ve put on an actual mix CD for a pretty girl in the early 2000s! All Vampire Weekend-y, the kind of song you dance to in the teen-movie prom! Personal favorite “Nashville” (Saporiti’s current hometown!) tells a familiar story of immigration & gentrification, painted into an all-time classic country song. Woven in with stories of actual people from Saporiti’s past & present, he explores his own intergenerational trauma, another story in the endless line of personal stories, to listen & learn is the greatest gift we have.

This sort of writing shows me what I love most about storytelling in music. How these simple song structures seem to be my most accessible medium for learning about people. Not just the real, individual people who write biographical songs (although believe me I feel like I can call every artist on this list a friend!) but the people in these songs, the characters the songs reveal to me, the ideas in characters’ heads that push me to explore more. Lines that make me do my own research, brain digging & gardening to unearth my own weaknesses, my flaws, my little prejudices that keep me from being the best version of myself. Ever since around 2015, when I fully committed to music, I made a point to seek out artists & songwriters, telling stories different from mine. Of course, I still connect with the stories that mirror mine, the ones that make me feel seen & heard in my own personal struggles, but in committing to diving into a deeper, diverse pool of artists (hint -not just white men in their 30-40s singing about religious trauma & heartbreak hahaha) I unwittingly opened the doors for a better version of myself to begin to bloom. This version might be mostly unrecognizable to 21 year old Matty, playing Division 2 baseball for a private Christian College, trying to please Jesus and find his way in life, but it’s the version I’m most proud of now. Although I admittedly still have a long long way to go and lots of things to work on in this journey, I know I’m on the right path. The songs & stories in Empire Electric remind me of why I love music & songwriting & history & places & people & stories. This album is special. 

“She had played a million shows like this / but she had never heard no songs like his / he told her ‘baby I’m a Dylan kid… but my favorite song is “Maaf Cintaku” (look it up!) / He loaded out just before her set / wrapped in a cloud of cigarettes / he heard a voice that you don’t forget / she sang, “Meet Me in the Morning” / not 56th & Wabasha / just the donut den over by the mall / she said ‘brother sometimes I miss it all’ ”

*

PARIS TEXAS   /   MID AIR

I got really into Paris Texas last Summer when I was digging around for artists that sounded like Jean Dawson. Paris Texas is the cool kid, slacker rock, underground rap, critically acclaimed, deadly serious, hilariously carefree, don’t-give-a-fuck, make the best music you can and fuck the rest, best friends duo of Louie Pastel & Felix. MID AIR is their sophomore album and it goes hard. Manic, urgent, rap-rock energy. Soul-baring lyricism grating up against swaggering, sky shooting songs, money, cars & women. Late night, hardcore, steady, dirty beats. I knew that MID AIR was going to be on this list about 30 seconds into burning opener “tenTHIRTYseven” when Louie Pastel jumps in with a “Yeah!” over a huge beat asking “Who wanna rock?! Who wanna roll?! Who wanna die?! I’m throwing a fit! Let’s get in the pit! Not leaving alive!” I read a lot of interviews, reviews, blogs, reddit threads and discords to try and decide what I wanted to write about MID AIR, but I’m gonna keep it short & sweet. Louie & Felix are pretty direct when asked about genre comparisons, expectations, career goals, creative process etc… They make what they think sounds cool, they’re trying to be the best at it, their creative vision is expansive, think movie-plot music videos, billboards, huge features, blah blah blah. Bottom line, their caffeinated, creative energy makes MID AIR bounce off walls, sprint down alleys at breakneck speed, and change the direction of underground music going forward.

  Founded in 2018 when they were in community college, Louie Pastel makes most of the beats & Felix raps. They built soundcloud cred & a sick live show before releasing their critically acclaimed debut album Boy Anonymous in 2021 (which by the way you can still download for name-your-price on bandcamp)! They blend breakneck, indie rock guitar riffs, ominous, skittering DIY beats, and bombastic, humorous, vulnerable emo raps. Personal fav “DnD” rides an instantly infectious Kurt Cobain guitar riff, a SoCal Vince Staples beat and guest star Kenny Mason rapping what could a mission statement for MID AIR (or even a mission statement for Paris Texas if they weren’t too self aware to claim anything other than brilliant aloofness) “Too hood for the art shit / too smart for the hard shit / too depressed to be a narcissist / I just know my shit better than yall shit.” Secret weapon dilip co-produces, he’s worked with Denzel Curry, Juice WRLD, & ZelooperZ. Kenny & Teezo Touchdown feature, but mostly this is the Paris Texas show. If you read this list every year, you know that this is not my most knowledgeable genre but MID AIR recalls some of my favorite work from Death Grips, Jean Dawson, Ho99o9, The Injury Reserve, TV On The Radio, Nirvana, Das Racist, Kendrick Lamar, Ratatat, Odd Future & many more. Bottom line, MID AIR is exciting, energetic, and forward thinking, the kind of don’t-give-a-fuck attitude that makes me excited for what comes next. Not just for Paris Texas, but for music in general. Who wanna rock?!

“There’s love in the air so I will not breathe in / I made it alive I survived the deep end / I’m back on my bullshit, I’m back with revenge / I saw all of this behind my eyes dreaming… / I’m trying, trying, trying, trying… / one day I’ll be gone…”

*

PETER GABRIEL   /   i/o

Peter Gabriel was a music staple in our house as long as I can remember. Thanks to my baby boomer, music-loving parents, I grew up with Gabriel, Paul Simon, James Taylor & Neil Diamond. Of course we mostly listened to Contemporary Christian radio & Sunday morning worship, but Gabriel was one of the white men who shaped my earliest music listening habits. Not just “Sledgehammer” and “Solsbury Hill” (although both of those songs are lifetime favs) but the absolute epic live version of "Come Talk To Me," the breathtaking Kate Bush duet “Don’t Give Up,” and of course dancing to “In Your Eyes'' at every family wedding & dance party that I can remember. Gabriel always struck me as something of a heartfelt misfit. A little emo, a little too sincere, not cool, not hip, but creatively, he was able to sneak deep, heart wrenching songwriting into his sometimes cheesy 80s songs. For all the years of work & tinkering Gabriel has put into i/o (there are two different mixes of each song on the album, and this is his first album of new material in 21 years, and second in 31 years!!) the songs here are clear, direct, & powerful. I’ve always been a fringe fan (I even got the chance to see him with Sting back in 2015!) but it wasn’t until last Summer, in my little brother & sister Willie & Mad’s sunkissed Portland, Oregon kitchen, when he reminded me to check out the new Peter Gabriel single “i/o.” I was instantly hooked. A simple, catchy piano tinkling under Gabriel’s timeless voice “I’m just a part of everything” he opens deeply & cheerfully “I stand on two legs and I learn to sing. I walk with my dog and I whistle with the birds.” When he drops the huge “Solsbury Hill” worthy chorus, it’s hard not to sing along “I-O, I-O! I’m coming out, I’m going in! I-O, I-O! I’m just a part of everything!” 

This year my family time (aka my favorite time!) has been full of new life. Two new babies (!) new love, weddings, new jobs, new tattoos & new homes! That birth & new life is echoed all over i/o, truly this is a magically warm & wet Springtime record; full of plants and life on earth! Gabriel sings about green grass & soft soil, tubers, fungi & seeds, rivers & lakes, old oak trees & olive trees, tentacles & octopus suckers, buzzard wings, elephant trunks, buzzing bees, dogs, birds, snakes, sharks, horses, mist & haze, smoke & flames, mountains, lightning bolts, asteroids & rainbows! His writing has aged beautifully and his voice sounds more poignant & genuine now than ever. You can hear his energy in the infectious blooming Spring anthem “Olive Tree” (seriously-YOU try not dancing around your kitchen to that chorus!) belting “The change is coming fast & it’s… Oh oh I’ve got the water falling on me! It’s all waking up now! I’ve got the sunlight warming my back! Warming up all my bones! I’ve got the cool breeze right on my skin! bringing every cell to life…” The funky (mayyyybe slightly Sledgehammer-y?!) “Road to Joy” finds him making the kind of dancing song he needs to wake up his body “Wake up every part of me / get the blood to flow in every nook & cranny / get the blood to flow from my head to my toes / put the life in my soul back in the world / we’re walking down the road to joy!” 

Personally, 2023 was the year where I started to feel my age. Mentally, emotionally & physically, turning 37 seemed to make me think about age more. In those feelings i/o was a friend & a comfort that “feeling old” and thinking about life from an older perspective is ok. Gabriel embraces his age, while pushing against time; madly creating and doing as much as possible. He touches on time across i/o, most notably on the sweeping “Playing For Time” where he searches galaxies & distant planets before zeroing on the thing everybody is desperate for… Time. But the somber standout “So Much” hit home to me the hardest. “So much unfinished business” Gabriel sings bleakly as he contemplates the end. “All of it comes & goes, there’s only so much can be done.” He is watching time slip by in the mirror and it gets pretty dark. “The body stiffens, tires & aches / in its wrinkled, blotchy skin / with each decade, more camouflage / for the wild eyed child within…” He calls all of us, old AND young, to close our eyes for a moment and meditate on time. Then, with his warm, aging voice soft enough to be standing beside you, he encourages “Look down & look above / all the warmth inside of you comes from those you love / oh, there’s so much to live for / so much left to give…” No other album on this list spans the emotions of feeling young & new, old & hopeful as well as i/o, thank you Peter for reminding me what a gift it is to grow older. 

“Just how much does it have to hurt / before you let go the pain? / and just how deep does it have to be / before you yearn to be free again? / every wound can lock you away / you can walk or you can choose to remain / but every day can pass you by / while you were holding the key / this is how it turns… / this is what we do… / this is who we are… / when we forgive we can move on… / we belong to the burden til it’s gone…”

*

PLASMA CANVAS   /   Dusk

“All the parts of me are in constant motion” sings Plasma Canvas frontwoman Ren Ash over Evalyn Flowers’ relentless drumming, before exploding in screams, belting “I wanna kill this part of me that I despise.” Motion & change have defined much of Plasma Canvas’ career as one of the front range’s most inspiring hardcore bands. Their songs & albums & especially their fiery live show are a constant reminder of the power of growing & changing into the person that you were meant to become. The person that you most desperately want to be. The best version of yourself. Sometimes it takes screaming to songs that sound as intense as these to really push yourself to the idea of “killing the parts of you that you despise.” There is a place for meditation & gentleness (and both can be found even on Dusk!) but make no mistake, this album screams about life struggles like no other album on this list. So as Plasma Canvas enters another chapter of motion, growth & change in their life as a band, inspiring each of us individually to do the same; I want to recognize their masterpiece of a farewell statement, their burning sophomore album Dusk. As Ren writes in the liner notes of “You’re enough. Go get what you want out of this one life that you have.” 

Plasma Canvas has been a mainstay in the Colorado hardcore scene for seven plus years, and Dusk is a punk, pop-punk, emo & hardcore masterpiece. If you’ve followed my music writing, you know that hardcore is one of the genres I’m least knowledgeable in (especially as I get older) but I’ve always loved Plasma Canvas for reminding me of the great pop-punk & emo bands I grew up loving. It’s impossible for me to listen to Dusk and not hear My Chemical Romance, Jimmy Eat World, Green Day, The Ataris, Vendetta Red, Coheed & Cambria, Br*nd N*w, & even The Cure. Dusk is a huge shot from Plasma Canvas at an epic album (their first full length since 2016!) and if you paid attention to both of their magnificent & obliterating EPs, you might be surprised to hear the scene-setting, opening track “Hymn.” Guided by a gentle, slowly swelling piano line, frontwoman Ren Ash tells a story of death & memories on a cold Texas day “as the snow falls in Midland.” The song rises with choir vocals and then finally explodes at its close with crashing guitars searing into huge single “Blistered World.” Three Cheers-era My Chem guitars wail behind Ash, with one of my favorite vocal takes of the year yelling “I swear to anybody listening, this ain’t the end!” Ash’s vocals are a highlight throughout Dusk, the perfect hardcore mix of singing & screaming; melodic, aggressive, every word believable & incredibly emotive. From true screamo lung rippers, to huge singalong choruses (I dare you not to sing “My head is heavy with suicide! My heart is soaring with love”!) the songs on Dusk never sacrifice melody or meaningfulness. I’ve seen Plasma Canvas all over Denver over the last 5 years, from the Hi-Dive & Seventh Circle, to UMS & the Marquis, and their shows are always uplifting. A chance to scream, a chance to dance, a chance to be yourself. I guess when I call them Punk, it’s that ethos that I’m talking about. A ”fuck the world-be yourself” persona, full of love & acceptance, but ran through with rage against everything that is fucked up in our world. Ren & Evalyn have been outspoken activists for trans rights and their shows are a testament to being yourself. So as they grow & move on, motioning & changing into whatever form Plasma Canvas ends up being somewhere down the road, I’m glad they’re leaving us with this record. A massive, firework, pipe bomb testimony of how to go down swinging. Being yourself, being true, and not being afraid to scream about it. Press play and turn it up to 11. This is the hugest album on this list and I’m so happy that Plasma Canvas exists. 

“I remember the stain / the dirty tint to everything in our house / I remember the cold… / I’m in a new place / I want my things / I want my space / I don’t like it… / I wanna go home / where is my home?... / home is togetherness / everything we lost / all that we still have / we can still heal / we can move past it / i can heal / i can heal… / i will heal…”

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ROSELIT BONE   /   Ofrenda

There are a lot of incredible songwriters on this list, but as far as bands go, Roselit Bone may be the greatest living American band and Ofrenda may be the greatest American album of the last couple years! A messy mix of everything that makes America great & terrible, Roselit Bone is blood & sweat & tears & shit & piss, music as rooted in the deserts & canyons & mountains & plains & cities & towns of America, as any album I’ve heard. Like a sun-bleached strip mall, everything on Ofrenda is splattered in chaos & corrosion. Guitars & brass & strings blast classic country, punk, psychobilly, rockabilly, mexican ranchera, lonely gothic folk & jazzy, bluesy, garage-y, stomping rock & roll. Roselit Bone is a band’s band, a Portland Oregon 8-piece, cutting their chops on the road for over a decade. I’ve been lucky enough to catch them twice at the Hi-Dive on South Broadway here in Denver, and this is one of my favorite live bands I”ve ever seen. Frontwoman Charlotte McCaslin is not only an incredible writer (these songs are bleeding stories of her divorce, gender transition, and inner turmoil) but a once-in-a-lifetime stage presence. She brings the kind of energy that makes me glad bands like this still play venues like Hi-Dive. Don’t miss Roselit Bone next time they’re in your town. And if you live in Denver, come with me next time they’re here!

Ofrenda was written in the midst of the global pandemic and the black lives matter protests in McCaslin’s native Portland. These songs growl with unrest, anger & frustration, and tell stories of trauma & violence, despair & love. From the opening notes, Ofrenda reads like an apocalyptic nightmare. To listen deep to McCaslin is to feel dread around every corner. Most of her dread is just our basic, everyday American horror. Murder, rape, capitalism, sexism, racism, evil, climate change etc… and her darkness always feels like it’s chasing, relentless & evil. From the agonized yowling of kick-down-the-door opener “Your Gun” (“the bedroom smells like spray paint & cum”) to the swelling delta blues of the haunting “The Tower” (“we ran for our lives as the angels took power and I could feel the wires uncoil / we’ll make love one day on more fertile ground”) to the finality & despair of “Ain’t No Right Way To Feel” sung passionately over an 80’s power pop beat. It makes sense that I finally fell in love with Ofrenda driving through the remote deserts of the great Southwest; somewhere between Colorado, New Mexico (Truth of Consequences FTW!) and Arizona, somewhere between 2023 & 2024, somewhere between death & life. Living like Roselit Bone. Always on the run & always on the road. Always holding on… Always letting go… If you’ve ever stayed at a shitty motel in a shitty American town, grab a six pack of beer and a pack of smokes and let Ofrenda wash you away. Long live Roselit Bone, the greatest fucking American band!

“I don’t even mind it / the lightning or the wind / I thought that I would find it when the roses bloom again / but I came to my senses / out in Truth or Consequences…”

*

SHALOM   /   Sublimation

The first thing you hear on Shalom’s instantly arresting debut album is Shalom’s voice, bluntly opening the aptly named “Narcissist” with the line “Oh god I think about myself so much.” In a way, that line not only explains what I love so much about Shalom’s writing, but also what I personally am trying to work on in what has been a hard, sometimes selfish year. For the record, “Narcissist” kicks off Sublimation with an explosive, late 90s, grungy fire, singing like an angry Alanis over Third Eye Blind “wooooos”! Shalom’s writing goes deep on her feelings, the good, the bad, the stuff that needs to be worked out internally (or in this case, externally! For our -the listeners- benefit) before she/we/me can turn our focus outward to changing the world. All this work can happen simultaneously of course, but self introspection, self challenge, and self growth, are essential to making the world a better place, in whatever field you are in. 

Musically, Sublimation is my favorite kind of album. Glowing with color & light, ranging from ragged, modern indie rock, aforementioned 90’s grunge and radio rock, to upbeat fun pop. Shalom Obisie-Orlu is an indie kids’ indie kid, Baltimore born, South African raised, living in Brooklyn; writing honest, scathing bedroom rock & roll. As with most of the albums on this list, the writing is what sets Sublimation apart. Shalom is a fascinating writer, her Instagram is a must-follow, she writes bluntly & honestly about her life, the good & the bad, her writing style is equal parts laugh out loud funny and hippie inspiring. She refuses to dull down or sanitize any of her feelings. She rages, she rambles, she sings about the important things, she wholeheartedly looks at the world and asks what she can do to make it better, to make herself better. 

On Sublimation release day she wrote this on instagram:

“Most importantly, this album is for my 12 year old yellow loving self who knew she was different and didn’t know what to do about it. Little me, we figured it out! And it’s so good. I’m so so thankful & grateful to all the past versions of me that didn’t give up and allowed us to be here now. I’ve been crying my eyes out all morning.”

Some of my favorite writing, and a lot of my favorite albums contain songs written for past versions of yourself. On my 2020 Favs list, Joy Oladokun referenced writing the songs that 12 year old christian & queer Joy needed to hear. Shalom thanks past versions of herself for not giving up, for pushing her to get where she is now. In a year where I have struggled and have felt little dashes of that same kind of “giving up” in a way I haven’t felt before, I can also feel myself pushing through,  surviving, and moving forward. It’s nice to have an album full of songs celebrating that survival to sing along to. 

“I wanna be older for the first time in my life… / I wanna be yours, but I have to be mine first…”

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SOFIA KOURTESIS   /   Madres

I discovered Sofia Kourtesis’ glowing, dancing debut album Madres in the dark of November, when I was struggling mentally, emotionally & physically. The Solstice was still over a month out, I was trapped in some cycles of things that weren’t healthy and I wasn’t treating myself well. Something about Sofia’s bright, uplifting rhythms & melodies, her gossamer vocals and airy soundscapes, started chipping away at my soul, and although it may be (like a lot of my writing about music tends to be!) a slight exaggeration, saved me and kept me going through another dark, dark winter. Indeed there is a Spring-like warmth in Madres that I haven’t really felt in a lot of music that sounds like this. Kourtesis is a world renowned DJ, curating and performing at Berlin’s famous Funkhaus, but her philosophy is simple “At the end, you make music for the people” she says “so the people have to be in the music as well” I feel like my favorites list is always so full of inward facing albums, important writing about self reflection & self love, but the community that you can feel in Kourtesis’ writing, the outward facing, “dancing together” vibe, is palpable & welcome, celebratory & joyful. 

I’m the first to say that I don’t listen to a ton of “EDM” but there is something magical in Kourtesis’ writing style, and the more I listened and read and watched her interviews, I became entranced with the juxtaposition (maybe collaging is a better word) inherent in her work. She floats a line between the technical (“nerdy” she calls it) structure of the high class DJ world, but forgoes rules and imbues her work with found sounds, delightful dance breaks, and the carefree approach of a true artist. Born in Lima, Peru, Kourtesis moved to Berlin in her late teens, and that duality is at the core of what makes Madres so inspiring. She talks about the romanticism of her Peruvian heart, the silliness, the yearning, the sea, the airy nonsense, floating away. When those feelings meet the all-business practicality of her new German home, the work ethic, the structure, the magic of Madres is born. Long ago, I made my best friend Stephen a mixtape inspired by a line in the movie “Interstellar” about a similar juxtaposition between “The Dirt & The Stars.” The idea is simple, our work is here on earth, in the dirt, hands always filthy, digging away at finding our place in the rocks & trees, grass & sea. But to let our eyes drift to the stars, to float, like Kourtesis’ airborne acrobatics, to dream about another life beyond this one, is at the root of what makes us human. To dream about what’s out there. To wonder what it must be like to fly like Peter Pan through a night sky full of stars, these things can, and (to people like me and my friend Stephen - and my friend Sofia!) MUST coexist. We must hold both at the same time. We must try to be the best person we can, both at digging in the dirt… AND sailing in the stars! 

Madres is dedicated to Sofia’s mother, a Peruvian activist in a long line of activists, who taught her to take to the streets, to protest, to rebel, to be yourself, to want more. Somehow I know that Sofia and her mom are the kind of people I want to surround myself with, to look up to, to emulate, to take motivation from. Before her father passed away, he encouraged her to travel, to collage her adventures into the kind of inspirational house music that makes Madres so special. To listen to these songs, you can hear the people. You can hear Sofia’s familial bonds, but also, cultures, rhythms, explorations, adventure. This is the sound of wanting to do better. To be the best version of yourself. When things were dark in November, this album helped with my survival, helped with my sanity, and proved, as track 4 says “How Music Makes You Feel Better.” Go listen to Madres till Spring! Thank you Sofia for being yourself. 

“Vamos vamos para adelante / dime qué está en tu mente / vas a querer hablarme…

Come on, let’s move forward / tell me what’s on your mind / you’re going to want to talk to me…”

*

TRÉ BURT   /   Traffic Fiction

Tré Burt’s magical third album Traffic Fiction opens with one of my favorite lyrics of the year. “In the mind of the wind is where I come from” Burt purrs over the grooviest beat. You can point to a few different “mission statement” lyrics across Traffic (in the reckless “KIDS IN THA YARD” he growls “I do what I want when I’m paying the rent / I’ll never be free, but I can pretend” and in the bittersweet “PIECE OF ME” he confides “Who said it ain’t a love song mama? / More than one thing can be true”) but “TRAFFIC FICTION” is the title track for a reason. Burt has described the idea of “Traffic Fiction” as “the fake problems us humans create for ourselves and subjugate each other to, out of spite, greed, boredom, pain, confusion & ignorance or worse…” How do we ride through those atrocities (as small as traffic and as monstrous as genocide) and do right in the world? How do we eat breakfast when everything is on fire? Personally, I’ve struggled with this all year, but sometimes I need artists like Burt to help explain it to me. When the end comes, we’re gonna need our artists, our creatives, to tell the stories. Legendary author Ursula Le Guin said “We live in capitalism. Its power seems inescapable. So did the divine right of kings. Any human power can be resisted & changed by human beings. Resistance & change often begin in art, and very often in our art, the art of words.” This is why we need artists like Burt to be true to themselves. Everybody has to attack the shit from their deepest, most personal angle. Burt calls Traffic a “romance at the start of the apocalypse” album, and despite the waves of darkness, it’s hard not to hear Burt physically grabbing back his joy in every song. His attack, his writing style, is not of this world. His mind is different. “In the mind of the wind is where I come from.” Burt is a one-of-a-kind generational talent, and when the aliens come, I think I’ll just throw them a burned CD copy of Traffic Fiction, a six pack of mexican beer, and a cigarette. When that alien spaceship speaker sound system blinks on and roars to life, Traffic Fiction sounds for all the world like the grooviest, most monstrous American album I’ve ever heard.

I won’t go deep on genres here, Traffic Fiction mostly just sounds like Tré Burt. He calls it “future doo-wop.” Groovy synths & keys abound, guitars squeal & crash, ripple & stream, and the rhythm section ABSOLUTELY FUCKS. Musically, Fiction sounds exactly like what I want out of a “romance at the start of the apocalypse” record. We’re fucked, let’s dance. Burt steers everything with his detailed, time-traveling songwriting & classic voice. He has a way of making his trademark melancholy melodies feel haunting & bright, like a breezy, early spring afternoon. Originally from northern California and currently based in Nashville, Traffic has an otherworldly vibe that’s hard to pin down. What started as a poem written on a napkin in a Calgary bar, was recorded at a remote lake in Ontario, with Burt referring to the songwriting process as “going down to the caves” and whipping himself into a state of hypnosis to “get to the goo.” These songs ask all-time questions like “If everything’s already been said, then why do I feel so much coming out?” and “What’s in heaven that aint buried in the ground?” In the driving “TOLD YA THEN” Burt laughs “I like a desperate situation, but only the kind where ya win.” and then again on personal fav “SANTIAGO” “I’ve been meaning to forget about all the pain in my heart.” For all the deep, existential, future-alien-doo-wop ideas, Traffic Fiction is rooted in real places & with real people. Santiago in 2022, Decatur, Savannah, Times Square, Wyoming, LA, Ohio, Lillian, Emily, and of course Burt’s grandfather. Fiction is interspersed with recordings of their conversations, before he passed away while Burt was making the album. Musically & lyrically, I can hear Burt’s “pops” all over this record. A future generation being born as another generation dies. The passing of time. 

When the title track (and third single) dropped ON my 37th birthday last Summer, I knew Tré & I were gonna be bonded forever. Bonded by the Summer heat, sweat & Modelos, the river & the romance at the start of the apocalypse. It began when I saw him live for the first time ON my 35th birthday in rugged northern Colorado back in 2021. Then, on the eve of my 36th bday, I saw his afternoon set at Hinterlands Festival in Iowa. For my 37th bday, all I could do was spin “TRAFFIC FICTION” on repeat, sitting in the creek at my secret spot, drinking Tecate and feeling young & old. Turns out Traffic Fiction is the album that I think I’m gonna need most in 2024. I’m working hard on taking some of Tre’s teachings to heart, trying to take a little joy into this next year, knowing that I’ll be a stronger person for it. Better able to fight those atrocities, better able to handle the “traffic.” You gotta be yourself first and love yourself. If you’ve read this far, you know that 2023 was sad & hard and I often felt helpless & selfish, unable to fight to change the world. Unable or unwilling to make a difference to the people & causes that I claim to care about. Traffic Fiction gives me the energy to work against those feelings. Ammunition to fight darkness with dancing. To embrace the apocalypse with romance. To commit to changing myself. It catches me with the car windows down, warm breeze in January, belting “I found a lighter in my coat!” It catches me dancing in my kitchen at dusk. It catches me starting to believe. Thanks Tré, I’m never letting this one go. 

“Put the fine for the bridge on the dash for the judge / let it burn like a witch in the rhinestone sun / every mile every mile I’mma get reborn / but I’m dying by the minute good lord / move move moving, never going back / silver moon is looming, sky is black / I’m a soul on parole in a desert land / thrown back into prison and damned by the damned…”

*

TYPHOON   /   White Lighter (10th Anniversary Edition)

“In the beginning there was one source of light” So begins Typhoon’s masterpiece 2013 album White Lighter. A grand stage that finds this album traversing galaxies & centuries. The orchestral, mini-epic opener “Artificial Light” is one of my favorite songs of all time. Frontman Kyle Morton skips through eons of time, touching on particle physics and prehistoric cave drawings, before finding himself as a kid, standing in the yard, pointing up at the stars. We’ll revisit that kid a few times across these 14 songs, White Lighter is still singing us stories about youth & aging, time & place, death… and survival. Over the past 10 years, I have lived what feels like a lifetime. I have changed more than I would have thought possible. But I have also remained the same. From the first time I heard Typhoon, I have been hooked. This band & this album represent so much of who I am… and who I was… and I guess who I’m going to be. Although this list is usually about the new, it’s impossible for me not to pay homage to one of my favorite albums of all time. If you’ve asked me the impossible question in the last 7 years “who’s your favorite band” I probably gave you a cutesy spiel about finding new & upcoming songwriters whose writing style made me feel understood, emo hippie lyrics over sad-ish, complex indie rock, but always about the lyrics. But if I had to relent and pick one band, I probably said Typhoon. If you asked me what my favorite album of all time is, I probably said White LIghter. The older I get and the deeper I fall in love with music; the more this collection of songs means to me, and the more I cling to Typhoon’s ragged declaration of youth & survival. 

If you’re unfamiliar, Typhoon started as the greatest of rag-tag, underdog indie folk-rock bands. 13 kids packed on a stage, from Portland Oregon to Larimer Lounge & Hi-Dive, to Bluebird & Gothic, making a ruckus, singing their hearts out for us. You can find me extolling my love for White Lighter 10 years ago, and making myself insanely detailed handmade mixtapes celebrating their discography! Typhoon lyrics are tattooed on my heart & brain, always helping me through challenges, always making me feel young again. When they announced the deluxe 10 year anniversary edition of White Lighter (and a couple reunion shows, see ya in Portland in a month and a half!) the only “unreleased” song I really needed was “Reed Rd.” When I saw them at the sold out Hi-DIve show in 2013 (one of my favorite live experiences of all time) they closed with a new song I had never heard. I was eventually able to rip a live version from youtube, and for years, my personal burned copy of White Lighter tacked on a bonus hidden track after “Post Script.” The shitty yet raging “Reed Rd” made this the definitive version of the album. The song that closes White Lighter’s memory loop. A stoic, horn blast, a swelling elegy, death & life & the end of the world. “You were born in a hospital bed” begins Morton gently “you will return to a hospital bed my friend.” This is a song about dying. “Life’s a beast that shits & eats from the same end.” But there is so much more than death “Get the keys, we’re gonna go for a ride!” From there the song rattles along through a lifetime of memories. Maybe my last 10 years, maybe my whole life. Like a film strip Morton lists them off as they pass. Places: the house you were raised in, the yard where you played (and pointed out the stars remember?), the school that taught you to talk, and people: your friends & your lovers, people you hate, mothers & fathers, brothers & sisters. In the end, “Reed Rd” drives through the night, covering miles in the darkness, before rising in a cacophony, a horror movie ending full of fire & light, moths & death & madness, a scene so terrifying you almost can’t watch. The band fever pitches, wailing behind him as Morton stumbles on, finally ripping himself away, begging & pleading & making a stand for himself. “I walked away from the fire” he declares “I found myself in the orchard.” And then, after all the years, decades, centuries, eons of failure & frustration, he stands “I came to take up your offer… to no longer be tortured!”

As the insane energy of “Reed Rd” slowly fades, the chaos of growing up & growing old has often found me in a parked car after dark, blasting White Lighter into the night. As quickly as the last track ends, you can start the CD again. Typhoon wakes up. “In the beginning…” Is this youth? Or are we old? The years flow in decade cycles. The older I get, the younger I feel. “I woke up in the morning to a pale light tangled in your hair” Morton whispers. Holding onto memories & moments (a favorite pastime of mine) Morton confides “I would try to hold it. I would try to keep the moment. Like a photograph of the sunset. Like a little kid with a bug net. Like a dying man I swear.” and then, as Typhoon’s orchestra swells & crashes behind him “Light goes off… Comes back on… I’ll be here, In my familiar haunts. Empty jars & stolen songs, wait for the light to come back on…” So here I am. Listening to the same 10 year old songs. Trying to keep the moment. Waiting for the light to come back on. I look forward to 10 years from now. Who I am.. Who I’m gonna be… Growing up & growing old. Remembering those nights when I took up your offer. To no longer be tortured. Songs to hold & keep me. Songs to lead & guide me. My eyes are on the flame. It’s just a little white lighter. 

“Oh what am I waiting for? / a spell to be cast or for it to be broken? / at the very last / some wild ghost from my past comes to split me wide open… / I’ve been trying to make myself better…”

*

Y LA BAMBA   /   Lucha

Y La Bamba’s seventh full length record Lucha is a magical collection of songs; lush & full of life, swirling Mexican folk-rock, mesmerizing & memorable. Y La Bamba is the long time project of Luz Elena Mendoza Ramos, based between the Pacific Northwest & Mexico City, gradually growing, always expansive, and one of my long-time favorite bands! It’s hard to remember exactly when or where I first heard about Y La Bamba, but I have a hunch it was through boutique record label and music store Tender Loving Empire in Portland. But more on that later!. 

Lucha finds Luz coming into their own, writing powerful lyrics over delightfully dreamy melodies, lyrics gently unpacking ideas of identity & trauma, misogyny & racism. As with many artists on this list, it is always eye opening and educational to read lyrics & interviews, to actually listen, and to learn about struggles that I personally will never have to face. Mendoza Ramos is open about those struggles and their trauma, and Lucha is an open invitation to work on those conversations. It also reminds me that I really want to learn Spanish! The heart-aching Hank Williams cover “I’m So Lonesome I Could Cry” is one of the few songs sung in English. “Lucha” is Spanish for “fight,” but it is also an endearing nickname that Mendoza Ramos has claimed over the years. Luz has also taken over production duties on Lucha, and their fingerprints are all over the album, filling it with life, love & care. This is the fullest Y La Bamba has ever sounded; deep & complex, songs bursting with rhythms & sound, tropical bird chirps, rainstorms, summer wind & waves. The songs blend silkily into each other, warm spring mornings awash in sunlight, streaming creek beds full of snowmelt, late night red wine & mezcal, cascading thoughts & memories, black & white photos and vivid color palettes. 

As we reach the end of my annual favorite albums list, it’s cool to see the similarities in so many of these albums. Lucha’s ambient, tropical found sounds echo No-No Boy, Angie McMahon, Sofia Kourtesis, & King Tuff. Their songwriting AND production prowess echoes Becca Mancari & Black Belt Eagle Scout. The connections through over a decade of my music loving & searching, are deep. In the Winter of 2012, my dear friend Malachi had just moved to Portland and he gave me TLE’s Friends & Friends of Friends mixtape Vol 4. It opened with Typhoon’s “The Honest Truth” and track 3 was Y La Bamba’s “Abducted” off their 2010 album Lupon. SInce then, every time I visit Portland (and it’s in the double digits, see ya in march PDX!) I would go into TLE, buy postcards, weird art, patches, christmas presents, and ALWAYS… music! I now own Y La Bamba’s entire discography on CD simply from buying them one at a time, years apart, from TLE. I listened mostly as background music, dreamy & warm when it’s cold outside, moodsetters on my little portable boombox as I moved apartments from 32nd & Lowell, to Colfax & Logan, then into the heart of Cap Hill at 12th & Marion, and finally to now, 11th & Clarkson. In 2015, in the midst of a career & life crisis, I applied for a job at TLE, scared to get it, scared to move forward, scared to move at all. Fortunately or unfortunately, I didn’t get that job, but when I finally FINALLY quit my corporate job in 2021 to start from the ground up working in music, I was asked to work my first shift in music at Larimer Lounge immediately after I got hired. The show was sold out and magical, the band was Y La Bamba.

"Estaba muy confundida por los recuerdos / de un triste ayer / todo de color azul / de color amarillo..."

"I was very confused by the memories / from a sad yesterday / all blue & all yellow..."

EP BONUS

DUNUMS & MANAS   /   DUNUMS & MANAS

Blown out live noise, only available on bandcamp. Dunums is a wild, majestic band I was lucky enough to see at Hopscotch last year. 

HEMLOCKE SPRINGS   /   going…going…GONE!

80’s Tears For Fears magic meets TikTok, heart on sleeve silly songwriting. So catchy!

ICE SPICE   /   Like..?

Catchy trap beats and Ice Spice bringing some much needed feral, laugh out loud, sexy energy to this list.

MEDIUM BUILD   /   Health EP

Songs about your hometown & your lifelong best friends. One of my most favorite Globe Hall shows of 2023.

NABIHAH IQBAL   /   Far Out (Audiotree Sessions)

Her album Dreamer should’ve been on my full list, but I discovered this too late so oh well, these two songs are magic. Her Lost Lake show a week ago was special.

SYLVAN ESSO   /   Live At Electric Lady

What I wouldn’t give for a full band Sylvan Esso album. “Coming Back To You” at Red Rocks with my sisters in the rain made my year.

*

Till next year! Music marks time & space...

[aci32]

THE CULT!!!!!!!!!!!!

Hey folks, sorry for running 2 days late but better late than never, here's my 11th review of 2024, The Cult!!! This was my first time seeing them as they alongside Def Leppard were among those bands in which every time they came to Toronto, I would always miss them for some reason case in point being 2009 when they played Massey Hall, 2012 at The Phoenix, the following year at Danforth Music Hall, and 6 years ago at the Amphitheater with Bush and Stone Temple Pilots as I was in Amsterdam at that time, although I overheard a guy on the bus going to Coxwell station saying that The Cult were not that great that night as Ian Astbury was apparently drunk. It did feel great to finally end my bout of bad luck in not seeing The Cult.

Let's get to the festivities!

First band up was Culture Wars. I found their music to be nothing special and don't have plans to see them on their own shows. I especially found the vocals off putting, but I do give them credit for having great stage energy as they were dancing and grooving around like they were having fun. When they went to their next song "Miley" I heard someone yell out "MILEY CYRUS!!!!" and that generated a bunch of laughs.

After Culture Wars it was time for THE CULT!!!!!!!!!!!!!!!!!!!!!!!!!!!!! First time ever seeing them and they put on a great live show. Loved how engaging Ian Astbury is with his Tambourine playing and Maraca playing plus I always liked how he would kick the tambourines with the back of his foot near John Tempesta's drum kit. Also at 62, Ian still has the pipes and after listening very carefully to his vocal style, I hear a strong amount of Freddie Mercury influence and as well some Glenn Danzig, although I would have to ask him that if I happen to meet him at a chance encounter if Freddie Mercury is one of his influences as David Bowie is one of his influences. Before they played Edie (Ciao Baby) Ian said to the crowd "Don't make me get all fucking comedian on you" and during Brother Wolf, Sister Moon Ian had made reference to the First Nations of Canada given how he used to live in Hamilton for 5 years from 1973-1978. Plus Ian Astbury had said "I've got the flu, but this is a fucking rock show!" which drew a large amount of applause from the crowd. Billy Duffy had said "I thought this was fucking Ottawa, are you sure this isn't Toronto?!" Instead of drawing boos the crowd instead cheered as if to drown out the cheers in Ottawa and Montréal. I will add that Billy Duffy has changed his look over the years as I was used to seeing him with blonde hair and clean shaven but he's dyed his hair and grown a beard, but he still kicks ass on guitar at 63 years old. Here's their setlist

1. In the Clouds

2. Rise

3. Wild Flower

4. Star

5. Mirror

6. The Witch

7. War (The Process)

8. Resurrection Joe

9. Edie (Ciao Baby) (Acoustic version)

10. Sweet Soul Sister

11. Lucifer

12. Fire Woman

13. Rain

14. Spiritwalker

15. Love Removal Machine

Encore:

16. Brother Wolf, Sister Moon

17. She Sells Sanctuary

Overall a great show and a great way to spend a Friday night.

THE CULT FOREVER!!!!!!!!!!!

[doctor-badadvice]

I could be starting this by saying "Here we go again" but that would imply a precedent. Since I'm here to complain, I can address for a bit the other cartoon I never mention on here.

When Rise was first announced, I looked at the artstyle and said no. When I was being recommended to watch the show "for the plot" I said no. When I finally watched the first episode and found everything and everyone to be incredibly unpleasant and annoying, I said no once again and never came back.

Because that's a thing that we can do. Why didn't I do that again this time? Because I was mighty bored last week.

But mainly, I had the time to waste taking to the seas to watch ten episodes of twelve, until said seas dried up and went offline because the policeman is always watching. I told myself "Surely Tales can't be as bad as Rise, right? They're milking the '87 show again, they have to do the bare minimum to be watchable, right?" And I was correct. They didn't go past the basics (which mainly means not making Donatello an arrogant piece of shit but don't think I like this one much more either after that left brain/right brain bit) and it's so devoid of any charm it felt like a gaming journalist wrote for the show.

So before I fully descend into madness and start sounding even more like Caddicarus, I'll just sum up my gripes with the show so I can then focus on what I actually want to talk about.

TL;DR Tales of the TMNT is Nickelodeon's third attempt at making a TMNT show whose only achievement is making the 2012 show look better because the bar has somehow been lowered even more than that and it keeps descending. I dislike the visuals, the voices, whatever passes for plot and dialogue, the way it treats the characters and it made me forget what laughing feels like.

Fuck this show. Now for the meaningful stuff.

This isn't even good for the promotional material

I'm just going to go on about things I've noticed while watching.

There's a feeling I've been unable to shake off since Mutant Mayhem was first shown: for some reason, they decided that TMNT had to look like something else. I didn't watch the movie because of the ungodly amount of references that would have made understanding anything the say a chore, but also because, to me, it looked like it was drawn using moldy crayons. I'm sure everybody else liked it, I think it's about time we put Spiderverse on the high shelf so the industry has to try literally anything else.

So, the show is animated this way because it's supposed to be Leonardo's comic (the second half isn't but shush). You'd think this meant we'd get some closeups and cool camera angles but instead we have a choppy storyboard with no lip syncing whatsoever with random bouts of fluid animation that only end up looking even more awkward than the rest. The action scenes are unenjoyable due to them having been left at keyframe stage and generally speaking, the choreography is really nothing to write home about.

I still won't pay any attention to anything that gives Donatello nerd glasses because fuck Michael Bay specifically and Raphael has been reduced to an orc barbarian again, while Leonardo doesn't even look like he belongs in the same show as the others. In many shots he actually looks more like an '87 Leo redraw from any of the crossovers because his design didn't receive any of the ugly "improvements" they're so bent on adding these days. Half of the mutant cousins are revolting while the others would look fine (and also get handled better) in Deltarune. Oh, and Master Splinter has been turned into a meme again because imagine having a single adult character with some dignity in a Nick show.

If I already wasn't having a good time looking at this, listening to it ended up being just as bad. Either you're subjected to the most generic background music or it's empty church quiet. The brand new soundtrack for this brand new show is just as bad and I can't for the life of me remember any of it, which is always a good sign.

I'm going to actually spend a minute here to talk about the voice acting. It might be technically decent, but none of the characters sound like they belong. The turtles sound like actors in the recording studio reading lines so much I was expecting to hear a laughing track most of the time, or for Velma to show up. Splinter isn't allowed to speak normally anymore because his VA would be too expensive, and April sounds like she doesn't even want to be in her own show.

Oh, and Rod is a curse upon humanity in every way. Please delete him before Jar Jar Binks shows up to hang out with his long lost cousin.

Lots of potential, not a single risk taken

Am I going to nitpick a show for kids? Why yes, given it's also marketed at adults with money to spend on toys. They're quite terrible, by the way. It's like they took their time to select the most unpleasant shades of green ever.

In any case, let's talk about the writing. It can be best described in one word: padding. The turtles exist in the same scenes in maybe two or three episodes, otherwise each episode is about a single turtle fucking around somewhere almost getting someone killed in the process. Both tales could be easily resolved in a couple of two-parter episodes but that would have required spending five minutes on worldbuilding to make the city feel alive in any way in the remaining episodes. It's just so much easier to bank off the movie.

The fact I have to do homework to watch a show obviously pleases me greatly too, of course. But I'm sure nothing of value was lost since everything happens in a vacuum anyway. What do they do with all this extra time, then?

They repeat the same plot points and jokes over and over, sometimes even multiple times in the same damn episode. Unfortunately, saying it again and louder doesn't make any of the jokes funny (and I specifically don't want to see someone get sick in the stomach or straight up vomit eight fucking times). The turtles are always off with some forcefully goofy non-turtle character who will be making noises or petty remarks such as "Oh, this is goofy. That didn't just happen. I'm so scawed, do something. Why aren't you solving this problem with your smartphone?"

Every episode has a pop culture reference, because I guess we needed the turtles going to school and watching Star Wars will make them more relatable, but it only serves as a reminder that you could be off watching anything else.

And with the mess Paramount did of Star Trek in recent years, they don't get to make fun of Enterprise. Archer faced off time traveling alien nazis which is way more ambitious than anything shown here.

Stuff has been recycled. Raphael doing the Batman bit was underwhelming when Michael Bay did it and it's just as insignificant ten years later. Donatello gets a spring staff for five minutes in one episode again, then it's gone forever because I guess the writers just really need to empathize that wood isn't very good at slicing like metal. Michelangelo is the group's nitwit because every group in a Nick show needs an idiot to make fun of to the point of being cruel, and Leonardo… Well, he has anxiety, I guess.

April calls herself a "journalist" but feels more like that influencer kid from Megamind 2. All the adult men are stupid and/or annoyingly useless and all the adult women manage something but also get so little attention, because we haven't cracked a joke in ten seconds, that their characterization is as deep as a piece of paper. Also Barnie is there. I'm sure everybody missed that guy.

Adding to that, they're strictly checking off points from a list to get through the episode. You just know what's going to happen next because they don't even change up the order a bit. No risk is taken ever. The supposed theme of the show, some generic "family matters" bullshit, is so diluted you hardly notice and the handholding is so strong you bet every single villain is just going to be a poor misunderstood sad bean who did nothing wrong UwU.

But I'll get back to this in a moment.

The problem with Nickelodeon

There's a few topics I specifically left out so far. The fact you don't see a lot of ninja out of these turtles but only endless teen commentary. The way it's essentially a sin to be smart and completely useless because violence is the answer. How April is being reduced once again to being the assigned mother of the turtles and the fucking love interest of one of them. The constant push to make anybody relatable because god forbid people find interest in the story of somebody unlike them. The fact nothing feels real because the funny takes priority over atmosphere and storytelling so not even the generic pep talks matter.

But that's classic Nickelodeon (and classic Paramount), isn't it? They can't make a good Spongebob episode these days, you bet they can't make something that passes for an acceptable action show. Overall, watching Tales of the TMNT brings nothing to the table. It's a generic kids show with a brand attached. They're going through the motions but there is no heart. The turtles have been placed in such neat little boxes that they end up being more generic than when they didn't have accessories, or different shapes, or were constantly rambling about pizza, and they even treat each other as walking tropes.

It's so obsessed with being marketable that everywhere you look, your mind goes "Ah, it's just like that other thing" when it shouldn't be this way. TMNT has the rare gift of being able to get weird and still make sense when properly handled.

But that isn't the case when show is too scared to even show real gangsters so I guess it'll be gone in a couple of seasons again.

One last note on Bishop

Because I’m a biased party. There was no need to call her Bishop. Even when you take away the man in black, the character at its core is someone with a Machiavellian drive who's looking at the bigger picture, prioritizing the end over the means, who's ready to go against the rules and even risk subverting the order of things they too benefit from if the result is deemed worthy of the risk (something that applies to 2012 Bishop too, actually). This Bishop, on the other hand, is just annoyed the turtles were there when a mutant messed with her lab and her employer is too rich and white to care about her sad backstory.

Truth be told, I got the impression they panicked upon realizing Baxter is dead in this universe and just kinda slapped three characters together in one to make up for it.

In practice, she's a wannabe Yzma without even a good Kronk to go with to make watching their antics worth the while.

[beaniebaneenie]

I'd also like to point out that Joe's comment of "the 2 hour format is a century old" is just fucking wrong.

Movies being 2 hours long is a relatively new thing. In the early 2000s, it was a big deal if your movie cracked 120 minutes. The standard time for virtually every animated film was 75 mins or less.

The standard for live action was between 85 and 95 mins. It was a big deal if you broke into triple digits.

Then all of a sudden, these superhero movies and Epic Pictures started having 2hr runtimes as the norm. Then 2:20. Then 2:30.

Having a long movie doesn't automatically make it good. Sometimes stuff ends up on the cutting room floor that SHOULD be cut, because it's not actually important to the story, or it slows pacing without being meaningful, or it's just a stupid joke that you and your producer buddy love but doesn't fit the tone of the scene.

I was rewatching one of my favorite movies last night- "Cabin in the Woods". It's 95 mins long and it came out in 2012. I am always shocked at its runtime, because it feels so much longer... because the story is that good, and it's told that well.

The problem is definitely that there is some superhero fatigue (because they're just throwing content at us without giving us a moment to breathe), but it's also that the fatigue isn't just from Too Much Content- it's from The Same Content.

With the exception of Black Panther, nearly every MCU film after Winter Soldier suffers from sameness. They're all so carefully constructed to appeal to as many people as possible, while rushing through and cheaping out on production, that they're Same Face Syndrome turned into a movie. Of course there are similar tropes, but Marvel has been showing us the same fucking movie for two decades now and they don't have the magic anymore because we've seen this one already.

The latest ones are all about whatever funny (debatable) thing Tony just said, the colors, the (badly written) multiverse, the CGI.

It should be about the story.

A movie is, first and foremost, a medium for telling a story.

And so many of these executives and directors have gotten high on their own egos and millions that they've forgotten that.

It doesn't matter how many bells and whistles you have- if your story isn't worth listening to, no one will care how you told it.

No, I'm pretty sure the real issue is that the MCU has been turning out terrible stories written by people with dubious track records.

[kitchenisking]

Hello! It's the first night of hunukka an di thought it would be really cool to post a rec for each night. im planing on spending my time sitting buy the hunukia reading fics! except tonight where we watched the game and what a game! I hope everyone is enjoy their Sunday and it getting ready for the week! enjoy the rec and keep your eyes out for the upcoming ones the rest of the week! and remember to sen love to our authors!❤️

Shut Up by giantteenwolforgy - (Rating: Explicit, Words: 2315, sterek)

Stiles faintly registers the door slamming behind Scott, but he's too incensed to do much more than tremble. The slope of Derek's neck is inches away and Stiles wants to suck so hard it hurts.

There’s No Such Thing As TMI Among Friends by eeyore9990  - (Rating: Explicit, Words: 5132, sterek)

“I was jerking off, but had to give up halfway through because my wrist hurt.” 

With those words, Stiles destroys Derek’s carefully maintained fiction that Stiles is still the skinny, geeky, awkward sixteen-year-old he first ran into that day in the Preserve.

Knot Again by prettylittlementirosa - (Rating: Explicit, Words: 5148, sterek)

Our friends they don’t know how to knock  But dammit Derek I love your cock  So stick it in  It’s not a sin  To knot me so hard I cannot walk

Or: Five times Derek and Stiles are interrupted while tied together by Derek's knot, and one time they're not.  

(I promise this is not actually 5k of knotting limericks. Sorry if that disappoints you.)

let's get carried away by morallyambiguous - (Rating: Explicit, Words: 2012, sterek)

Off his suppressants, Stiles's heat hits him at the most in-opportune moment. Derek doesn't find it inopportune.

overheated by jfics (jennuine) - (Rating: Explicit, Words: 2561, sterek)

“God, Stiles,” Derek says quietly, “I still want you so badly. Want to get back inside you, want to keep fucking you, want to keep making you come.”

He curls his fingers as he talks, and Stiles whines. “Yeah, yeah, I - do it, I want you too.”

um, yeah. complete heat!porn. nothing but.

Shadows and Soda Cans by bloodwrites - (Rating: Explicit, Words: 5392, sterek)

What so many of Stiles' friends forget, is that while he's only human, he notices things they don't. They've got all these supernatural senses, they read fear and deception and arousal and dominance, but they don't look with their eyes. They rely too much on that other stuff, and don't see what's right in front of them.

[The one where Stiles knows Derek creeps into his bedroom at night and decides to give him a show.]

What I want, you've got by brokentoy - (Rating: Explicit, Words: 5256, sterek)

Derek stops saying “No” the moment Stiles’ tongue slips wetly into his mouth, and he can’t be blamed for that.

Stiles is nothing if not enthusiastic in everything he does, and kissing is not the exception.

Actually, sex is not the exception.

I'm Just Giving In by nofeartina - (Rating: Explicit, Words: 13614, sterek)

The 5 times Stiles and Derek end up together without realizing what that means and the 1 time they do.

Or

The one where Stiles and Derek take care of each other.

I Wanna Take Down The Walls With You by drunktuesdays, llassah - (Rating: Explicit, Words: 10565, sterek)

Sometimes, Stiles is tempted to ask Derek what he can smell, what he’s listening for. Wants Derek to tell him how he’s feeling, to identify these impulses, tugs under his skin that pull him this way and that. The thought sends this hot, sick thrill through him. He never asks.

Bite Into Me Harder by orphan_account, QueenOfHale (PlisetskyTrash), victurius - (Rating: Explicit, Words: 4675, sterek)

"Just think about it. I'm all sleepy and tired and warm,” he speaks softly, words lethargic as he gets heavy-eyed, but he tries his best to make his desire clear to Derek. “I’ll let you move me wherever you want, do whatever you want to me... Just be all soft and pliant and..." Stiles moans at the thought, imagination running away with him and chews on his bottom lip, he lets his hand move down to his dick and squeezes it, he’s so fucking hard. “Please, baby, I want you to fuck me.”

Or:

Stiles is asleep. Neither him or Derek are ready to accept that.

[monarchisms]

"so, now that it seems that some of the worst of everything in regards to rooster teeth has come to light, what are you, tumblr user monarchisms, the user previously known as kingpattillo, gonna do next?": the post

[under a readmore because it's stupidly long]

so fucking much has happened over the past week, so i'm just typing all of this up to figure out what to do in future, both so that people who follow me are in the loop, and that i can help myself get some shit together. almost every day has been one gut punch after another, so i definitely won't get everything in one go, and can surely edit this if/when i change my mind on a couple of things, with some exceptions.

for now:

"do you still want to watch/listen to/make fan content for rt in general?" Oh Dear God No. i don't want the company to crash and burn, only because i want the people currently still there who aren't shitbags to get all the support they need and deserve, emotional support or otherwise. however, because of a series of totally avoidable errors made by the company, i don't feel bad about letting my first subscription end. whether i just cancel it immediately, or i let it lapse, i'm not sure yet, but yeah, after i get charged for this month, i'm not going to pay for my subscription anymore.

"does that also include achievement hunter?" kinda?????????? that's more complicated to me. monetarily, i won't support them because they're still under rooster teeth, so i won't keep my subscription for specifically them. i'd totally throw them some money if they're able to pull a drawfee and break from the company they were formed under and go independent, and i totally am not mad at other people if they keep the subscriptions specifically for AH. again, it's all complicated. even with everything involving them as a group, i'm still rooting for them. "any reasons why?" many, actually, but here's what it boils down to.

i feel like even with all the stumbles, AH has had better progress collectively since... i'd say since geoff stepped down, if not earlier than that, than rt has had in their almost 2 decades of existing. i don't have a concrete year for AH i can point to for where i feel like progress has really started rolling. i'm just going off of Vibes alone lol. what makes me still have hope in them includes (but is not limited to, since there's a lot of stuff i could have missed) all the twitlongers from the post team, as well as this tweet from jack:

and this tweet from fiona:

(honestly, their whole thread is very good, and i agree with their takes wholeheartedly)

almost every problem i had with AH has been covered in this 4 am vent post i made on the 17th, and the problems i still have actually seem to be on the mend. props to the individuals currently at AH who put in the effort to improve, not just collectively as achievement hunter, but also as their individuals selves. which brings me to my next point:

"what about geoff?"

this hurts to type, but fuck him! the lowest points (in my opinion) of AH were in what many (used to?) perceive as their golden age, approximately the years of 2012 to 2015 or so, all of which were under the time geoff was the AH bossman. if he wasn't the perpetrator of the toxic behavior of his main employees at the time, he was complicit in it for reasons i certainly won't/can't pinpoint because i don't know him personally. though, another tweet from fiona gives me at least one idea:

alongside all of that, there's the direct reply from kdin under geoff 's twitter apology that also makes me 🤨 at him, as well as as all of this from the woman who geoff mentioned in that one reddit post he made in 2020, (edit 10/22/22: and also the fact that his public twitter likes showed that his apology was disingenuous to begin with 🥴🥴🥴🥴🥴), but everyone knows about all of that. if you didn't, then uh... genuinely, my bad :(

oof, speaking of kdin,

"what about her?"

it's pretty easy to sum up my thoughts on her now. basically, i still believe that she shouldn't have gotten through the traumatic events she endured at rt, and should 100% be financially compensated, and i also simultaneously believe that her videos during the tatsudoshi days are downright deplorable. it's one thing to use a slur or two (Which Is Still Objectively Bad, but solely in comparison, is easier to stomach and apologize for), but it's another to go on a fully bigoted rant that attacks multiple marginalized identities, regardless of if it was over 10 years ago. No Average 19-Year-Old Wouldn't Do That Unless They Were Bigoted As Fuck. even if she is better now, that never excuses her past actions.

...also, i personally thought the part of her apology that i could actually accept or not accept was mid as fuck, and blizz perfectly pointed out why:

so fuck her for those points specifically. she should still get paid fairly, though. everybody should.

"is that why you're still :/ about gavin?" precisely. the first day, i just thought kdin didn't see gavin's apology on twitter since she was getting swarmed with a billion notifications, and also just doesn't follow most of the AH crew these days. turns out her not responding to him seems more and more intentional each passing day, so whoops!

"so like, are you going to pirate the rt content you still enjoy(ed)?" Oh, Absolutely. for me specifically, i feel like the only thing i'm going to pirate with no remorse is rwby because i still want to see how the story ends. as for everything else i enjoyed pre-braggnarok:

1. with rvb, the only reason i fell out of love it was because of the lack of care given to zero. i still enjoyed that season overall, but how poorly it was treated by the higher ups killed my excitement for rvb. QvsA kinda hooked me, but considering that grif is voiced by geoff and appears in every episode, 😬

2. with the podcasts i personally listened to under rt, most of them got killed for me because gavin and/or geoff were involved (f**kface, anma, annual pass). i still want to listen to red web because trevor and alfredo are still good to me, but like AH, they're still under rt, so i still don't really feel good pirating that :(

2b. "but face jam's still cool, right?" no </3

like, genuine props to michael for actively improving himself as a person, both on and off camera, for many years now, and not excusing his own past shitty actions. i got no beef with him. however, i cannot continue to listen to face jam because of jordan. "wait, what? why?" well! jordan's own past behavior under rt animation was pretty Yikes. he was one of the people specifically called out by georden whitman (nomad of nowhere's creator) in his twitlonger. can't summarize anything here myself, so i just recommend you read the whole thing.

3. the shortest(?) reason: there's no need to pirate AH content because most of it is available for free on their youtube channels anyways. with stuff like sbi: meltdown, i'll just read the comments to see who got voted off for the remaining episodes that i won't watch. not the end of the world.

"but you still haven't answered: what are you gonna do right now?" i don't know!!!!! rt suddenly imploded bigger than usual, and i don't know where to take my art and gif-making skills next!! i'm kinda scared!!! that's where you guys come in. requests for those will be open forever (they always have been, but they're More Open Now), but currently, they not just extend to individual streamers like matt, jeremy, ray, and their friends (individual AH people included), they alsoextend to any major group or solo people i enjoy. you can feasibly see a drawfee gif from me! isn't that wild?

and finally: "how else can we support you, random internet person?"

i still don't know. i've never been in this position before!!! like, everything i've created, both related to and not related to rt/ah, will always be free forever, but like, if people just want to throw money my way to make my life a little more tolerable, i guess i have paypal????????? i dunno! i'll just have to figure all of that out as i go.

okay, bye again lol

[cocochannel00]

The Azoff Family: A Case Study on one of the Music Industry’s Most Connected Families

(ft. a breakdown of the Grammy voting process and problems)

This is very long so I will try and split it up into categories for everyone (sorry I got carried away- I spent like 2 hours writing this) but enjoy!

*Disclaimer: I want to preface while the majority of this is based in research, some parts may be speculation. I don’t know the family personally so I can’t tell you what goes on behind closed doors but I can tell you how parts of the entertainment/music industry work. I’ve had 5 internships in the industry (one in marketing at one of the big record labels) and the rest of my work is publicity (what I enjoy) and events and a former advisor used to run in the same circles as Irving Azoff (and he spilled some tea last year) I’m not out here to diminish the hard work of any artists or their teams, I’m simply here to showcase parts of the industry that aren’t always shown.*

Please also see: Story Time: How Fan Pages Directly Impact Columbia Records Decisions and Harry Styles Image

IRVING AZOFF: NEVER STOP THE GRIND

Let’s begin with the great business man himself Mr. Irving Azoff Irving Azoff is the literal posture child for connections and power in the music industry (he was also inducted into the 2020 rock and roll hall of fame class which is like a huge fucking deal for a manager to be inducted so you know he's the real deal)

In conclusion, I love Irving Azoff and his drive.

Irving Azoff: Early Years Run Down:

He came up middle class (dad was a pharmacist, mom a bookkeeper) in Danville, Illinois

He dropped out of college to run a small Midwestern concert-booking empire and managed local acts in the era

Opportunity came knocking and he got the chance to manage the Eagles and the rest is history

He's one of the best negotiators and has negotiated business on behalf of stars like Stevie Nicks, the Eagles, and Jimmy Buffet

Azoff has been an incredible manager and his drive to always advocate for his clients while basically not giving two sh*ts about what people think of him has gotten him the incredible reputation he has today.

All of Irving Azoff’s Major Job Positions:

Former President MCA (major label)

Former CEO of Ticketmaster and executive chairman of Live Nation Entertainment, the behemoth formed from Ticketmaster’s merger with Live Nation.

In 2013 he and Cablevision Systems Corp. CEO and New York Knicks owner James Dolan formed a partnership, Azoff MSG Entertainment (Currently still CEO)

----> Azoff also ran the Forum in Inglewood under Azoff MSG Entertainment after MSG purchased it in 2012 (it was sold in 2020 to the owner of the Clippers) — why do you think Harry played the forum for the Fine Line show? Azoff connection

Azoff MSG Entertainment encompasses all of the other companies including Full Stop Management, Global Music Rights (performance-rights org), and the Oak View Group (arena developing company)

He also is the co-founder and manager of the lobbying group Music Artists Coalition, a group that helps lobby for artists-rights issues such as royalty rates, copyright issue and healthcare insurance (see he's not all bad)

Essentially what I'm getting at is this man knows anybody who's anybody. He's the man you want on your team to help promote your music, plan your tour, and get you on that Grammy nom list.

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JEFFREY AZOFF: THE CHILD OF NEPOTISM

So for those of you that don't know, Jeffery Azoff is Harry's current manager and the son of Irving Azoff (the third of four kids). He's currently a partner at Full Stop Management, the company owned by Irving and the one artists such as Harry, Haim, the Eagles, Kings of Leon, and Meghan Trainer are signed to.

Jeffrey graduated from the University of Colorado's Leeds School of Business and started working fresh out of college at his father's old Management company (Frontline Management) working under Maroon 5's manager Jordan Feldstein (the only way you get that kind of internship/job as a 21 year old fresh out of college is if your family or family friends gives it to you). He worked here for 5 years.

Direct Quote from Irving Azoff to Jeffrey (really tells you a lot): "Listen carefully, because I’m going to say this one time. You have a phone and you have my last name. If you can’t figure it out, you’re not my son."

After working for his father, Jeffrey moved on to the talent agency CAA (Creative Artist Agency) where he worked for roughly 3 and half years before joining his dad in forming Full Stop Management in 2016.

While he was at CAA, Irving moved over clients like Christina Aguilera and the Eagles to the talent agency to help with tour booking instead of doing it internally through LiveNation (he was CEO).

Even though I'm sure Jeff has had to work somewhat hard to get to where he is (or at least to mess up his dad's work as he doesn't seem like the type to take laziness well), the door into the industry and every job was basically handed to him on a silver platter.

Not to mention if you watch episodes of keeping up with the  kardashians (like myself) you can actually see Jeff hanging out with kendall and the rest of the fam at their Palm Springs house (you know you're a nepotism kid if you have an in with the Kardashian crew). Invite me next time Jeffrey!!!

Think of the Azoff's as the mafia family of the music industry, you don't mess with the mafia

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THE GRAMMY AWARDS: STUDENT COUNCIL ELECTIONS ON STEROIDS

Ok so here's where we’re going to get into a bit more of the speculation/grey area. I don't need to tell you that award shows are corrupt (See the Golden Globes Emily in Paris scandal) and the Grammys are not an exception. Think of the Grammys as one big student council/government elections where despite the fact the teachers tell you six times to vote for the best candidate, you're still going to vote for your friends even if they aren't the best.

A simplified break-down of Grammy voting:

1) Recording Academy voting members (artists, producers, musicians- anyone involved first hand with the creation of music; All voting members must have been producers, performers or engineers on six or more tracks of a commercially released album (or 12 or more digital tracks) and record labels will submit nominations in various categories to the grammys (songs need to be released commercially between October 1 of the previous year and September 30th of this year). You can also become a voting member by either winning a grammy or being endorsed by a current voting member (hint hint)

2) Once received, the recording academy with have the academy of trustees and its reviewers organize them and approve any changes to the 30 categories/fields (aka they can add new categories or remove old ones; so no best ukulele album of the year -- this is where things get funky)

There's speculation that during this stage when these special groups of 8-10 people are organizing genres, there's an "unwritten rule" that you need to be careful what album you green light (especially for famous artists) if you don't want them to win) (Rob Kenner said this- he used to be on one of these committees). Famous people tend to get more votes from clueless or lay Academy members that don't know the specialized categories or don't care enough to listen to songs that aren't radio trending.

3) After the nominations occur, Voting members begin their first voting. Members can vote for the four general categories of record of the year, album of the year, song of the year and best new artist and a maximum of 15 categories, all within their areas of expertise. Now the interesting thing is that while these are the guidelines there is literally nothing stopping them from voting in whatever categories they want (i.g. a rapper voting in the opera category despite not listening to opera). Theses ballots are all tallied and the top 20 entries are determined in each category (funky moment #2)

In 12 of the 84 categories those top 20 go to the ballot and it's done; for the rest it’s not like that. 59 categories including the big four go to a "nomination review committees" (identities are protected so they can't get lobbied... sure) who take a look at the top 20 and narrow it down to 7 or 8. (these are the special committees the Weekend talked about when he was snubbed). They're supposed to choose the nominees "based solely on the artistic and technical merits of the eligible recordings" which lets be real if that was the case Watermelon Sugar (along with most of the others in the category) I don't think would have been nomimated as they are very generic pop (none of them are special... sorry to the WM lovers out there).

This committee is basically held to THE HONOR CODE SYSTEM... I mean tell me when the last time the honor code system worked in literally any scenario (literally wtf). Don't take my word for it though the former CEO of the Academy Deborah Dugan (a queen) filed a complaint against the Recording Academy basically claiming that the nomination review process was rigged (she was fired after 5 months on the job).

Quote from Deborah Dugan "Members of the board [of trustees] and the secret committees chose artists with whom they have personal or business relationships... It is not unusual for artists who have relationships with Board members and who ranked at the bottom of the initial 20-artist list to end up receiving nominations."

These review committees can also exploit there power by adding up to two nominees that don't appear on the top 20 list to the final voting ballot (except in the 4 big categories - which watermelon sugar that one wasn't nominated for)

They also have craft committees for like non performance stuff (like album notes, engineering and arranging) that don't even get voted on by the academy voting members

4) After all of that fucked up mess, the grammy's decided is ok, the ballots go back to the voting members for the final vote. Deloitte (an accounting firm) then counts all of them, seals them in envelopes, and delivers them to the Grammy award show.

** The Grammy's just announced this year they're removing the "secret committees" so let's see how things shift in the next couple of years**

So obviously I'm not saying this to discredit Harry's nomination or his win as Fine Line was in the US top 20 albums for the majority of 2020, however, we must acknowledge privilege. Harry has a big name to him and a huge following, and while all of that shouldn't be taken into account, it does. He also has the Azoffs, a very well connected family with friends in lots of places that would be able to put in a good word here and there to get support behind Harry. Harry won best pop solo performance for Watermelon Sugar in a category with Doja Cat, Justin Bieber, Billie Eilish, Taylor Swift, and Dua Lipa. Look at the names there, the songs (ya'll can try and remember them cause I'm too lazy to write it out) and tell me that those top names with all of the music produced didn't get there through some connections.

Do with all this information what you will and if you are interested in learning more about the entertainment industry on your own Endeavor (owners of WME, a big talent agency like CAA) is hosting a free online program called the Excellence Program to help guide the future generation of industry executives. The program is a-synchronous and starts on July 12th. Highly recommend giving it a go if you're interested!!!

Alright ya'll that's it. Feel free to message me with your thoughts!

Extra Sources if you'd like to read:

https://www.vice.com/en/article/pkdndn/how-grammys-voting-actually-works-and-where-the-alleged-corruption-lies

https://www.grammy.com/grammys/awards/voting-process

https://www.latimes.com/entertainment-arts/music/story/2020-11-05/irving-azoff-eagles-manager

https://celebrityaccess.com/caarchive/jeffrey-azoff-exits-caa-to-launch-new-management-company/

https://www.rollingstone.com/pro/features/grammy-awards-secret-committees-945532/

https://www.rollingstone.com/music/music-news/grammy-awards-eliminate-secret-committees-voting-changes-1163887/