#shoutout that album it rocks and inspires me so much dude

[ki1ldeer]

some bros just having a nice friendship hangout in the woods (they are roommates)

[lafortis]

if you have more modern rap suggestions i'd love to hear them! i really dig 90s/00s underground rap but i haven't found a lot of new stuff that scratches that same itch.

Lemme come back to this later because I gotta go light some stuff, but yeah, pretty much that's just kinda how it is. In terms of west coast hip hop, kendrick and earl have been holding down the lyricism department for a good ten years now (side note: absolutely criminal we never got them on the same track, and I think we're well past the point in both their careers where it would even make sense, but they're big fans of each others work lmao). Earls old shit (I'm thinking of Doris mainly, and somewhat I Dont Like Shit I Don't Go Outside) is more grungy and old-school sounding, but also he was young and Odd Future, so there's a lot of misogyny, shock horror ass lyrics with violence against women as a main theme repeatedly (which he's since recanted aggressively and last I saw he mostly makes fun of fans of his earlier music and by extension himself for being like that lmao), his new stuff is more mellow but also less bar heavy (just imo, some people love it even more). Mavi is someone I haven't had the time to get into much but heard recently, and he literally just sounds like 2013 Earl vocally, but with some solid modern bars and production, so that's nice. MIKE is also seemingly pretty earl influenced, but again, haven't got into him myself. They're both east coast tho. Actually calling Earl west coast feels crazy cus he's so heavily DOOM inspired, almost feels like dudes inspired by him being east coast makes more sense lol. Vince Staples is a no-brainer if you haven't heard of him, he's pretty much the exact description of what you're looking for I think. I started with Summertime '06 because that was what he put out when I was getting into hiphop, but his first project Hell Can Wait EP was great too, and he only got better and more artistic from there. I've never been into Jay Rock a ton, but his feature verses on Kendricks shit do a lot for me, and ScHoolboy Q makes mostly just bangers and gang shit but in a fairly old-school kinda way I guess. Not ab soul tho. Everyone on black hippy (the group comprised of those two, Kendrick and him) can get a shoutout except for ab soul. He's ruined too many of my fav songs with wack features lmao.

Freddie Gibbs is another AA rapper that sounds very old school and VERY west coast, but he's actually in the news literally right now about some allegations so maybe fuck him? seems uncertain and also as a fan of old school hip hop you may be less shocked by (especially gang affiliated) rappers being Not Good People, but still, it's 2024 and it'd be nice to bring that energy to hiphop at large.

In east coast terms... Fuck. Who do I even listen to that's east coast lol. Well, Run The Jewels is also a no-brainer, and El-P is NY at least lol. All three of their albums and any of their solo stuff would be great for you. J Cole is to me the epitome of mid, but lots of people who profess an appreciation for the old school seem to like him, so hey. I'd just 2014 Forest Hills Drive as a starting point I think. In the Midwest Chance the Rapper was great, and could be great again. You could start with Acid Rap or 10 Day, move on to Coloring Book, and then just pretend Chance's Big Day doesn't exist like the rest of us. Denzel Curry is solid as hell these days but I've never gotten into a whole project, just singles like Ultimate, RICKY, Walkin, and especially SUMO | ZUMO (iirc I was like "did he just say Zuko lmao" and that's what got me into him). Oh and Your Old Droog is highly spoken of but I haven't gotten into him personally, just no time lol.

Flying Lotus's rap alter ego Captain Murphy is great, I've never listened to one of his full projects tho. Really backpacker ass Kendrick fans have always recommended Ka, specifically Honor Killed the Samurai, to me, but personally I just bounce off it every time. Might be of interest tho. And finally, if you're interested in some more experimental shit, first you should go ask Brett afloweroutofstone (not tagging him but that's literally his brand), but second I'd say CLPPNG by clipping. is a good experimental album with great bars. Also Daveed Diggs was in Hamilton but we just don't talk about that.

Anyway I gotta go do my job but hope this helps!

Edit: rereading this and I realize I absolutely do not have to come back to this lmao. That's pretty much all my good recommendations

[penultimateapogee]

hey dude for the music challenge u should do ALL OF EM

heh heh heh... such was my plan ALL ALONG. i will now use this ask as the place to do it (here’s the post btw)

1. A song that reminds you of your childhood: anything from Fiddler On The Roof (the original Broadway cast recording)... my dad loves Fiddler On The Roof and he used to play it all the time

2. A song to sleep to: heh, anything at 2am. but really New York And Back by Leanne & Naara

3. A song that your best friend loves: oh god, really? cmon i cant just know that...! ummmm mazie and i had a really in depth running conversation about her favorite music about two years ago but im forgetting it all. im PRETTY SURE Venus Ambassador by Bryan Scary & the Shredding Tears was the inspiration for her OC Stuart who we both love and occasionally develop

4. A song that hypes you the fuck up: HEH ANYTHING....! oh my god this is a haaaaard one because of how many options i have!!! but also: Awaken by Riot Games feat. Valerie Broussard, because WHEN THE DEVIL IS KNOCKINGGGGGGGGG... SO ALL YOU RESTLESS

5. A song you like to daydream to: i can only say “heh anything” so many times!! literally i daydream to basically every single song; its foundational to how i consume music. i’ll bring out the real heavy hitter now and say Follow You Down by Zedd feat. Bright Lights. ive got some REAL good daydreams for that one

6. A song that’s on at least 3 of your playlists: *breath in* no just kidding, i do my best to make sure my playlists arent too similar. the day you stop me from putting I Wanna Get Better by Bleachers on every character playlist is the day i die tho

7. A song that you love from a genre you don’t usually like: this should be easy; lemme just flip through my catalog of “songs i bought independent of their albums because i was building an 8tracks playlist in iTunes”... actually no, Planetary (GO!) by My Chemical Romance! i dont usually like whatever subgenre of rock MCR is all that much but this one GOES (fittingly shjfdis)

8. A song that you liked when you where 10 that still slaps: Der Kommissar by Falco. no fucking hesitation. i can thank my fluent-in-german mom for this one

9. A song that makes you want to go on an adventure: Zero by Imagine Dragons! ive daydreamed some poppin’ space adventures to that one

10. A song you’d want to dance with your partner to ( or future partner ): so, so much... NOT Jenny by Studio Killers because i just wanna make out to that one; maybe I Go Crazy by Paul Davis

11. A song to stomp around and pout to: difficult, because when i pout, i pout like grimbark jade, in that i go “actually im better than everyone and you can all smd.” then again, having made that clear, Roman Holiday by Nikki Minaj (shoutout: @floralmarsupial for killing me with that lyricstuck)

12. A song to listen to whilst you lie in a meadow: Folding Chair by Regina Spektor. TOO EASY

13. A song that reflects your views on love: uhhhhh. huh. polyam moments? no songs about polyamory moments? being polyamorous fundamentally affects my views on love in a way im not sure ive ever heard a song capture moments? Hot Air Balloon by Owl City because i’ll be out of my mind, and you’ll be out of ideas pretty soon, so let’s spend the afternoon in a cold hot air balloon

14. A song to sing to the sun: i feel like its probably not the intended spirit of this question, but Coming Over (feat. James Hersey) by Dillon Francis & Kygo. im usually more of a nighttime girl but honestly? call me xoxo

15. A song you like that sounds like its on the soundtrack to an indie coming of age film: ohhhh my gooooddddd literally any fucking Bastille song. any of them. thats like their whole angle and i LIVE for it. im picking Snakes because snakes are biting at my heels, the worries that refuse to let us go; ive been kicking them away and hoping not to let them take control

16. A song that you like that romanticises being a teenager: i would love to say Teen Idle by MARINA for the irony but i cant bring myself to. (ill still link it tho.) real answer is Centuries by Fall Out Boy, because whether or not it actually romanticises being a teen i just feel it yknow

17. A song that makes you want to grab your friends jump up and down dancing and screaming the lyrics: why did they write a question to which the only answer is Bohemian Rhapsody by Queen? i dont get it. just kidding another acceptable answer is Toxic by Britney Spears (my white is showing im sure)

18. A song that you like that the lyrics are just so beautiful they’re practically poetry: well actually i have such good taste that every song i listen to is poetry. (trying to remember the lyrics i cried to out of nowhere yesterday. oh right it was The Draw by Bastille but most of it doesnt fit the question as much) ANY Hozier song. im linking his fucking artist page because im NOT KIDDING. ANY HOZIER SONG. i toyed with picking a specific song as an “also, it’s this one haha” but no, im dead serious. i cant pick just one

19. A song that you can imagine listening to in an abandoned church ( if it isn’t hozier im judging you, but whatever ): ironic! to pick a specific Hozier song this time (because op is right, he’s the only choice), Talk

20. A song from the soundtrack of a film that you like so much after the film finished you immediately looked for it: hm, i feel like i have done this before, but i cant recall when... well i didnt go “oh fuck bop [blacks out]” but Immigrant Song by Led Zeppelin. remember Thor: Ragnarok? that was a good movie

21. A song for when the sun has gone down and you are feeling absolutely buck-wild with exhilaration!: Lost In Japan (Remix) by Shawn Mendes & Zedd, because no song hits my city-hotel aesthetic quite like this one does

22. A song that makes you feel like you’re strolling through Ancient Greece living your best life: ancient Greece...! that throws a fun twist in it; Don’t Leave Me (Ne me quitte pas) by Regina Spektor

23. A song that when you listen to it you’re transported to a liminal space, time is pointless and you must sit and wallow in the void that remains: Shots (Broiler Remix) by Imagine Dragons feat. Broiler. i glanced at this question early on and have been sitting on it the whole time. just LISTEN to it

23. A song to listen to on a long drive when you have the really strong urge to keep driving until you find somewhere to start a new life (preferably a europian city whose language you don’t speak): Evelyn by Kim Tillman & Silent Films. it just called to me here

im a little sad that i couldnt put every song ive ever listened to in here so heres some more good ones that i didnt choose: Citrine by Hayley Kiyoko (this is actually a whole EP), Lone Digger by Caravan Palace, Safe And Sound by Capital Cities, Absentee by Jack Campbell, River Flows In You by Yiruma, Instant Crush by Daft Punk, Link by Jim Yosef, Poke Bowl by Radiant Children, Optimistic by cehryl, Quiet by Lights, Superposition by Young the Giant, Far Too Young To Die by Panic! at the Disco, The Good, the Bad and the Dirty also by P!atD, Whatever It Takes by Hollywood Undead, LUNARIA (instrumental) by Chouchou. i know thats easily enough to make your eyes glaze over but mutuals especially it would mean a lot to me if you listened to at least a few of the songs i linked in this post because music means a lot to me and sharing it with other people is one of my favorite things :]

[theparaminds]

A new face in music, Binki is exactly what many have been looking for but have been unable to find. His style contrasts a stark relaxation in sonics with an introspective understanding of lyrics and emotion.

An theatre student, Binki truly understands what it takes to connect with an audience, what it takes to express emotion honestly and how to be a truthful soul within sound itself. His first song, Marco, does so perfectly, reminding us of youthful innocence and the troubles that come with it.

In his first interview ever, Binki tells us of his baggings and what it took to make the jump into music, as well as has upcoming move to New York set to put a lot into focus. 

PM: First question as always, how’s your day going and how have you been?

It’s been pretty uneventful. I had to go to court earlier for this speeding ticket, but other than that I've just been cooling. Later I’m gonna go jam with my buddy though.

PM: For those who don’t know, who is Binki? What does he represent and what is his vision?

Yeah I'm pretty sure nobody knows me! Binki was actually my nickname growing up, not really sure how it came to be, but it stuck. I recently decided to release music as Binki to remind myself to not be too self-serious with my music. I definitely care about what I'm doing but if it's not fun then what's the point? Overall though, I want to make music that connects and makes people days easier.

PM: What was the spurring moment that really told you to start releasing music as opposed some odd demos here and there?

A few things, but my brother played a big part in it all. He would always gas me up when I showed him a song he thought was good. I always had desire to go full tilt with the music but I always held myself back. I was in school studying theatre and acting for the past 4 years; and I had it in my head that I couldn't do both for some reason. I thought people wouldn't take my acting seriously if I had this music career on the side. But life's really too short to not do the things you love. There's also plenty of people who have done both successfully. It was really just fear.

PM: Were there others around you inspiring you to push into musical ventures?

Yeah, there's definitely a "house show" scene at the school I went to. I was definitely inspired because I wanted to be a part of it and perform. I also really enjoy live music. I didn't have a band though, and it's really hard to get people excited to hear some random dude perform over an instrumental.

PM: To move a little back to the past, what did your environment and location look like growing up and how did it manifest into your sound and style?

Suburbs as fuck. I spent my early years in Hershey, Pennsylvania. A lot of white people and not a ton of culture. I wasn't miserable though, I had a lot of friends and I was outside playing most of the time. My brother put me onto a lot of stuff growing up, but in highschool I kinda veered off into my own lane. I remember this girl I had a crush on showed me Pink Floyd, which spiraled into me listening to a lot of classic rock. Then in college, I watched this Jimi Hendrix documentary, which is no longer on Netflix unfortunately. But after that, I started learning how to play guitar. I don't know though, the internet kinda changed the way everyone consumes music and other people's culture. I feel like it's super valuable for artists who might feel like they're in a bubble geographically. I'm moving to NYC in like 2 weeks though so we'll see how that changes things.

PM: What’re some of your fears and aspirations with living in new york? What is it you hope to find in the city you wouldn’t find anywhere else?

It's actually just starting to hit me that I'm moving to NYC. It's something I've always wanted, feels a bit surreal. I guess a fear would be that the city will just expose me as a talentless hack and I'll have you move back to the burbs. Or that it'll take me 20+ years to make it. I'm really not afraid of much at the moment. I feel like a big part of being successful in any field, especially creative endeavors, is just being bold enough or naive enough to think you have something to add. So many people give up before they even try. My goals are pretty nebulous at the moment. I really just wanna connect and collaborate with talented artists. I'd love to perform my music in some capacity, that's been the mission for awhile. NYC represents opportunity in my mind. There's an energy. If you live there, you might inherently have it. If you move there you're looking for something, and you gotta be driven to survive there. I'm looking for that energy.

PM: On the topic of the music itself, how have you come to develop your sound over time? What changes are you working on and improvements as time goes?

Most definitely still developing my sound. I think the best thing has been working with different people. The same way you communicate with other artists if you're having a jam. I think my writing changes when I'm exposed to different sounds. I never understood when artists say they only listen to their own music when they are creating, I can respect it, but I feel like I'd lose my mind if I tried that. I take pieces from all of my favorite artists, but it's all filtered through me so it's always gonna sound like me. Going forward I just want to keep taking risks and remain ambitious. I'll always want my music to be enjoyable. Not commercial necessarily, but I don't want my music to live in a bubble where only a select few enjoy it. That said I really want to do a concept album at some point, something along the lines of My Beautiful Dark Fantasy.

PM: What is about the concept album that you love and why is the idea of making one appealing to you as an artist?

When it's done well, it adds another layer to the music. Also albums are just in a strange place right now. I really hate this trend of artists releasing 30+ songs and calling it an album. Something really cold about it. I think concept albums, and more ambitious video projects, show a different level of passion. Even when done poorly, I'm like: “okay there's intention behind this.”

PM: What’re some of your personal ambitions and goals going forward? Do any include live shows?

The biggest one is to just put out music that I'm proud of. There will be live shows in 2019. I'm kinda just speaking that into existence but it can't be that hard right? Even if it's just like 20 people, that'd be tight. I'd love to go on tour eventually. Also more videos! My brother and I made the video for "Marco" in like 48 hours with no plan. So we just want to keep getting better and stay consistent.

PM: Tell me more about that Marco shoot, how did come together and how did it conceptualize through the day?

So I called off work and drove down to Atlanta, we started just shooting random bits around my brother's apartment complex. Then we just bounced around the city starting at a museum, then a park, and we ended at dance party. It was a super fun day, it felt like we really had something. The next day I said we should get a shot of me falling in a pool. Totally inspired by the 'Untitled' video by Rex Orange County. I didn't think we'd get any shots of me underwater though because we were shooting on an iPhone. My brother was like "I'm pretty sure this is water proof." I was like, I don't know man but we ended up just going for it. We got the shots and then his phone died. He plugged it up to charge and then the screen started glitching and shit. I was so hurt man, I thought we lost all the footage, but like thirty minutes later it started working again and we transferred everything to his laptop. It was wild, I'd never seen a phone come back to life after something like that. After that shoot, everything kinda shifted for me. I was like "oh, I can really just do this shit." Been riding that wave ever since.

PM: That’s an amazing story. Do you have a best memory of the last year, if it’s possible for you to pinpoint?

When I went to NYC in March. That was pretty dope, but to be honest, I feel like releasing Marco might be the highlight. The response has been wild. This Russian YouTuber put it on his playlist and now there's a bunch of people in Russia playing my music. Crazy. It's one thing for your friends and family to support you but getting support from strangers, people with no stake in my well-being, is the best feeling. I don't know if I've ever felt that to this extent.

PM: And as a final question, if you could recommend one movie to everyone reading currently, what would it be and why?

Well my favorite movie is "Superbad," but I feel like everyone's seen that right? So I'll go with "Rushmore." The main character in that movie is full of contradictions and on the surface he's pretty shitty. But you root for him, and you understand why he is the way he is by the end of the film. I feel like the world is lacking empathy right now. It also has Bill Murray in it so that's a plus

PM: Do you have anyone to shoutout or anything to promote? The floor is yours!

Yeah! shouts out to Chasen, Justin, and Sam for helping me make this shit. Also big shoutout to Raymond & Jerry! And check out "Marco" if you haven't yet!

Follow Binki On instagram 

Listen on Soundcloud and Spotify

[jaketheaudiophile]

Best Albums of 2019

Well hello there! Long time, no see.

In keeping up with my lazy past tactics, I really only use this blog for end-of-the-year recaps anymore, which I’m completely fine with. I still listen to music as much as I always have, but have lost the desire to constantly write about it. I guess this is adulthood, or having a “real job” or something.

Either way, here are my top 15 albums of 2019. What were yours?

HONORABLE MENTION

DELTA SLEEP: “Younger Years” EP

released September 27 via Big Scary Monsters

Delta Sleep completely surprised everyone this year by releasing this EP without any prior announcement or notice. No teaser tracks, no hints at studio time, just completely out of the blue. Props to these British math-rock legends for their secrecy; it was certainly a fun thing to wake up and see all over social media on a random Saturday in September. These guys definitely have a formula or format they stick to on their releases, so this is more of the same for longtime fans, and that’s largely a good thing. I still think they tend to rely on filler tracks or noise too frequently, but the good definitely outweighs the bad. This was easily my favorite EP of 2019 and is definitely worth mentioning for this list.

#15

UNWED SAILOR: “Heavy Age”

released May 3 via Current Taste / Johnathan Ford

Man, was I really looking forward to this one. My favorite band releasing their first full-length album in 11 years? And their first new music in 6 years in general? What could go wrong? Not much, to be honest, but I felt overall underwhelmed with “Heavy Age”. Most of the songs run together or could use editing instead of just repeating passes ad naseum. Also, the 13-minute-plus album closer “When You Want Me There” is largely meandering and pointless. Still, I love Johnathan Ford and his merry band of musicians for a reason, and there are definitely quality songs and moments on this record. I worry that I might be including them here out of obligation, but it still was better than other records I left off my list this year. The band has also already announced another new record in 2020, and I’ll go into that with the same reckless abandon of excitement as I did this album.

#14

SOMOS: “Prison On A Hill”

released August 30 via Tiny Engines

I really, really, really wanted to love this record. Boston’s Somos had been teasing this album’s progress for over a year, and their previous releases have been some of my favorite pop and punk from the decade. I’m not always the biggest proponent of politically charged art, but Somos always did it in a way that was sensible and understated. Unfortunately, this album’s release came prematurely due to tragic passing of guitarist Phil Haggerty. The band was able to put out the album earlier than anticipated with all funding going to Haggerty’s funeral expenses and family, which was a wonderful move by record label Tiny Engines. The album doesn’t feel rushed or unfinished, but is a bit too muddled and all-over-the-place for my liking. Longtime drummer Evan Deges left the band prior to the recording of “Prison”, and Somos decided to go the route of programmed drums instead of a session musician or new band member. The result is sadly a bit soulless, although it does compliment some of the more electronic leans in the band’s sound as well. The truly sad thing is that this will most likely be the last release by this band per their social media and interviews post-release, and I wish that tragedy would not have struck them during a time of a seemingly musical lack of focus. 

#13

COUNTERPARTS: “Nothing Left to Love”

released November 1 via Pure Noise Records

I’ve been a huge fan of these Canadian melodic hardcore mainstays for ages, but I wasn’t crazy about their last release, 2017′s “You’re Not You Anymore”. Two of my favorite members (drummer Kelly Bilal and guitarist Jesse Doreen) quit the band right before it came out, and the resulting record felt unpolished and rushed. Thankfully, a bit more seasoning for the new members on the road and in the studio seems to have worked wonders, as “Nothing Left to Love” is back on the quality path for these bruisers. I’ve always adored vocalist Brendan Murphy’s delivery, and it’s legit stunning that he still has a throat after years of brutal barking, let alone how good it sounds on this release. Additionally, the band has a clever skill of interweaving cool triplets or other rhythms and complex structures underneath otherwise traditional breakdowns or song structures, which puts them in rarified air in a traditionally by-the-numbers genre. All this said, the title track / album closer sort of ruins the album for me. It’s essentially an unnecessary clean, polished filler track and feels tacked on to extend the length of the record, and I almost always skip it. Still, it was excellent to hear these guys back on their game, and I’m excited to see where they go from here.

#12

STATE FAULTS: “Clairvoyant”

released June 21 via No Sleep Records

I can’t say that this is the most original record I’ve ever heard. Anyone who is a fan of Deafheaven or any similar noisy / thrashy metal outfits will certainly find this sound familiar. However, it’s done with an unabashed energy and brutality alongside a sincerity that is truly refreshing. There’s a fascinating rawness to both Johnny Andrew’s shrieking vocals and the utter cacophony his bandmates whip up throughout their songs. The dedication to melody throughout everything also makes the songs memorable. This album caught me completely out of nowhere via an Anthony Fantano shoutout and resonated in all its ugly glory.

#11

KING GIZZARD AND THE LIZARD WIZARD: “Fishing For Fishies”

released April 26 via Flightless Records / ATO Records

Speaking of the Internet’s Busiest Music Nerd, I first heard of these Australian weirdos thru the Needle Drop’s channel, but didn’t really fully deep dive into their prolific catalogue until this year. The fact that they released 2 full-length albums in 2019 is impressive enough (let alone releasing FIVE in 2017), but it’s jaw-dropping that the two most recent efforts are on complete opposite ends in terms of sound and genre. I personally prefer the blues-rock goodness of “Fishies” to the thrash-metal leanings of “Infest The Rat’s Nest”, but unending respect to these dudes for managing to pull both off convincingly. . The album closer “Cyboogie” is a bit too overlong and bizarre for me, but it works as a nice transition to the concepts the band bring out for “Infest The Rat’s Nest”, so I get where they are coming from. This album has some of the most infectious grooves and blues guitar riffs I’ve heard while passing along a necessary message on environmental concerns and conservationalism. The serious bits aren’t require, though, and it’s certainly plenty of fun to kick out the jams and enjoy the ride.

#10

INFANT ANNIHILATOR: “The Battle of Yaldabaoth”

Self-released by the band on September 11

Ok, ok...I get it. Most people will dismiss these grindcore hooligans as an internet joke band. That’s really what I went into this record expecting: Absurd lyrics, hilarious-yet-impressive vocals, blistering blastbeats, etc. I was instead greeted by one of the impressive and intricate technical death metal albums I’ve experienced. Vocalist Dickie Allen truly outdoes himself with his quite frankly ridiculous vocal range, but Eddie Pickard truly deserves credit for the album’s newfound ventures. His guitar and bass work is over-the-top but mesmerizing, and the riffs and structures he crafts here are all sorts of brilliant. As funny as it feels to type out, this band really needs to be taken seriously, or at the very least should be commended for leaning into the joke and delivering something complex, disgusting and awe-inspiring.

#9

JIMMY EAT WORLD: “Surviving”

released October 18 via Exotic Location and RCA Records

Speaking of things I didn’t see coming this year...I adore Jimmy Eat World. “Clarity” is one of my favorite albums of all time, but I’ve largely fallen off keeping up with the band’s recent releases. Some good friends (+realfriends) talked up their latest and 10th release, “Surviving”, so I picked it up out of curiosity and was stunned at how competent and compelling it is. I even love the song with no obvious guitars or drums that I would have probably normally panned as a grab at radio airplay (”555″), and generally find the album to be completely badass. Kudos to JEW for proving they still belong in the upper echelon of emo and rock.

#8

THE GET UP KIDS: “Problems”

released May 10 via Polyvinyl Record Co.

...speaking of comeback records...well, maybe that’s not quite accurate, but this was another surprise from a band I grew up loving that had largely lapses in my regular rotation. I guess 2019 had a theme of revisiting bands of my youth due to them reforming, doing anniversary tours, or releasing new music for the first time in ages. The Get Up Kids fly back to the heights of old with a manic punk barrage of joy. It’s probably my fault for not keeping tabs on these guys, but this record is gutsy and charming and lovely. It’s not really reinventing the wheel, but GUK basically constructed the wheel to begin with, so we really owe them more credit all around. 

#7

BARS OF GOLD: “Shelters”

released April 12 via Equal Vision Records

Bars of Gold have been an enigma of sorts throughout their existence. Largely well-known due to rising from the ashes of indie / screamo miasma BEARVSSHARK, the band is content to rest on their laurels and release music and play shows whenever they feel like it, largely due to family and other commitments. This leaves fans like me tripping over their own feet whenever something does come out. The Michiganders truly feel like a group of dads finding the one day a month when they all have a free evening to plug in their guitars and whip up some chaos, and it’s always fun to see the results. Marc Paffi has also always been one of my favorite vocalists, so the opportunity to hear his wacky lyrics and throat is always cherished. Here’s hoping we don’t need to wait 5 or so years for another album, but patience has been rewarded with these guys. 

#6

ORIGAMI ANGEL: “Somewhere City”

released November 15th via Chatterbot Records

Props to my buddy Steve Lee for turning me on to this band (as well as 2 others in my top 5). Origami Angel are one of those bands that defies logic: “How can two dudes make so much noise?”, “How can he play guitar like that while singing?”, “How did these guys put out one of the best indie rock records of the year seemingly out of nowhere?”, etc. Regardless of any questions, I was floored by this album and it was definitely the band I listened to the most for the last part of the year. It’s catchy, diverse, well-rounded and doesn’t overstay its welcome by being just under 30 minutes long with all the fat trimmed off. What more could you want?

#5

PEDRO THE LION: “Phoenix”

released January 18 via Polyvinyl Record Co.

I had a strange moment at some point this year where I found a YouTube video of David Bazan performing a song from Pedro The Lion’s first release (2001′s It’s Hard To Find a Friend”). I was struck by how different his voice sounded nearly 2 decades later thanks to touring and life in general. It certainly was not a bad change, but just one that struck me as a sign of the passage of time. That sort of nostalgia and reflection is all over “Phoenix”, which is largely Bazan dusting off his childhood diary and describing memories of his hometown, tales of school, church, regret, family, plans and tragedies. It’s a celebration of memories, lessons learned and where one comes from, and Bazan’s direct delivery and brilliant-yet-understated lyrics paint perfect pictures. Hopefully it doesn’t take us over a decade for another Pedro release, but Bazan and company cement their status as songwriters and storytellers with this release.

#4

PUP: “Morbid Stuff”

released April 5 via Rise Records and Little Dipper

PUP was a new phenomenon for me this year. These Canadian rockers are full of piss and vinegar, supercharging a sound that is simultaneously infectious and off-putting in the best possible way. They take a genre that can be same-y and repetitive and inject a lesser band’s whole back-catalogues’ worth of creativity and energy, leaving the listener enthralled and endlessly guessing what will happen next. Vocalist Stefan Babcock takes some getting used to, but his permanent-sneer delivery and slam poetry has a charm that compliments his playful and honest lyrics. However, it’s the moments where he busts out of his speak-singing or general hollering to delivery a super catchy hook or chorus that truly put him at another level and proves PUP to be one of the most exciting things to happen in the punk and rock genre.

#3

MASKED INTRUDER: “III”

released March 1 via Pure Noise Records

With the exception of Unwed Sailor, this was my most anticipated record of 2019. Masked Intruder is one of those bands I listen to constantly. I usually default to putting my iTunes or Spotify on shuffle, and find it always makes me happier. For “III” the band hotwired their usual fun, tongue-in-cheek poperpop and craft a pretty perfect record in the process. Previous MI albums had a skippable track here and there, but this one is all killer, no filler. I’ve always adored the underlying Motown or doo-wop foundations in their songwriting and vocal harmonies, which add a timeless throwback quality to their song structures. The heart-on-sleeve lonely lyrics and constant references to petty crimes and best-laid plans are the icing on the top of this sugary musical sundae. It might be irreverent and occasionally basic, but sometimes that is all I wanted in music, and these guys delivered it in spades with this record.

#2

FREE THROW: “What’s Past is Prologue”

released March 29 via Triple Crown Records

From the opposite end of the emotional spectrum, Nashville’s Free Throw released a quality emo record that doesn’t focus on pining for lost loves or revisiting relationship heartbreak and instead dives into one’s personal mental health and well-being. Props to vocalist Cory Castro and the rest of the band for completely baring all and channeling their honesty into this powerhouse album. However, there’s also plenty of diversity in the band’s sound and delivery. No song really sounds like the next, largely thanks to the band employing 3 guitar players who rarely play the same thing as each other. Some emo staples are here, though, such as frenetic drumming, clever tapping riffs, and stripped down moments with just a guitar and Castro’s vocals. All in all, this record makes you feel better about yourself and truly feels like the band came to the same conclusion while making it, which is gargantuan. When Castro belts out “TODAY I FINALLY LEARNED TO SAY I LOVE MYSELF” towards the end of the album-closing title track, you can’t help but root for him in his own journey towards mental health, but to not feel inspiring to do the same for yourself. It will encourage and inspire you, and feels deeply personal and universal all at the same time. 

#1

SNOOZE: “Familiaris”

Self-released by the band on May 3

There were so many times during this past year where I’d be driving, doing chores, at the gym or doing some sort of menial task where I’d decide to put on music and stop myself short of putting on this record again. I’d say “OK, you have to listen to something else besides the Snooze album. You’re doing to get sick of it if you keep listening to it this much. We don’t want that to happen.” Despite these odd concerns, I can say that this truly never happened. This album is effortlessly relistenable to me and has become my anti-depressant. I can’t help but feel charged up on happiness and charm while this is playing. It’s so chock full of killer vocal harmonies, clever yet crazy guitar riffs, well-restrained double-bass fills and brilliant song arrangements. It’s also a cyclical record, meaning one song runs right into the next and the end of the album theoretically plays right into the start, which makes turning it off quite difficult indeed. Add to all this the fact that it’s a concept album about how amazing dogs are, and you’re left with a spellbinding listening experience. This is one of the best records I’ve heard this decade, let alone this year, and essentially locked its place as my album of the year during my first playthru. Well done, Snooze. Who’s a good boy?

[obtusemedia]

The best songs of the 2010s: #75-51

#75: “The Only Thing” by Sufjan Stevens (2015)

It was tough to pick a single song from Sufjan Stevens’ masterpiece, Carrie and Lowell, for this list. The album, about his dead mother, is consistently beautiful and tragic throughout.

But “The Only Thing” has the most devastating line of the whole album, and possibly the whole decade, delivered in a wobbly falsetto: “Should I tear my eyes out now?/Everything I see returns to you somehow.” Case closed. Now please excuse me while I cry for the rest of the day.

#74: “Best Song Ever” by One Direction (2013)

If you can’t appreciate this slice of pop-rock perfection that shamelessly rips off The Who, I’m not sure we can be friends.

“Best Song Ever” still sounds as the pinnacle of One Direction’s career, with its fizzy arena-rock chorus and adorable lyrics about that one special night with a mysterious woman, never to be seen again. The Millennial Whoops are plentiful, and they are irresistible.

Yes, “Best Song Ever” is a corny boy band song. But A) it’s the best possible version of a corny boy band song. And B) boy bands are wonderful. Just embrace the cheese.

(Also, One Direction was the greatest boy band of all time. Don’t fight me on this.)

#73: “Pray For Rain” by Pure Bathing Culture (2015)

Portland shoegaze duo Pure Bathing Culture delivered the closest approximation to a prime Cocteau Twins single since the early ‘90s.

It’s got the icy synths and shoegaze guitars to throw any listener into a hypnotic groove. The secret ingredient that makes “Pray For Rain” stand out, however, is the thumping, snare-heavy beat that invokes both military drum lines and trip-hop. It adds a propulsion to the otherwise dreamy track, creating a dissonant yet incredible experience.

#72: “Not” by Big Thief (2019)

Unlike the hushed folksy whispers of Big Thief’s first 2019 album, “Not” is a furious, noisy firebomb of an indie rock jam. Lead singer Adrianne Lenker’s warble is pushed to its limits, as her vocals crack and strain while the song’s tension (and noise level) slowly ratchets up in the song’s first half. 

Then, the pent-up energy is finally released for an explosive, discordant two-and-a-half minute guitar solo. It’s pure chaos and anger distilled into one instrument, and the greatest moment so far of Big Thief’s promising career.

#71: “Dog Years” by Maggie Rogers (2016)

The strength of Maryland indie-pop prodigy Maggie Rogers’ first few singles is how in tune with nature she sounded. I’ve dubbed it “REI-pop.”

And none of her songs are more reminiscent of a high-end outdoors store than “Dog Years” — and yes, that’s a compliment. “Dog Years” incorporates noises like wind chimes and owl hoots to its soulful synthpop production for a unique flavor. Rogers delivers on the vocal end with a stunning performance reminiscent of blue-eyed soul greats like Daryl Hall.

It’s a bummer that mainstream indie pop nowadays is going to mostly sound like Jeep ads. But “Dog Years” proves great art can still be created in that avenue.

#70: “The House That Heaven Built” by Japandroids (2012)

With “The House That Heaven Built,” Vancouver, BC indie rockers Japandroids made a perfect road trip anthem. The chugging guitars shoot to the sky, the drumming is furious, and the fist-pumping “OH OH OHs” are plentiful.

“House” is like a Bruce Springsteen collaboration with The Replacements: righteous fury backed by raucous, bar-friendly punk-rock. When lead singer/guitarist Brian King informs the listener that if “Anything try to slow you down/Tell em all to go to hell,” it’s something anyone can feel in their bones.

#69: “Adorn” by Miguel (2012)

“Adorn” is dangerously smooth. The chillwave-meets-80s-R&B production gets you halfway there, but Miguel’s buttery vocals are the main attraction here. From his endearing ad-libs (“whoap!”) to his effortless vocal runs on the gorgeous melody, he sounds like a seasoned pro.

I’m going to give y’all a hot take — “Adorn” is the Millennial “Sexual Healing.” It strikes that same nocturnal, sexy flair, and Miguel is working it just as hard as Marvin Gaye did. It’s too bad Miguel never was quite able to make something quite as impressive as “Adorn” again, but that single (and its accompanying, phenomenal Kaleidoscope Dream record) will cement him as a ‘10s R&B icon.

#68: “The World’s Best American Band” by White Reaper (2017)

White Reaper never claimed to be the world’s best band. Nope — they want to be the world’s best American band. So it’s only fitting that Louisville’s finest dirtbags cooked up a warm slice of some of the greasiest, sleaziest and most proudly stupid capital-R RAWK in years.

This is the kind of music Van Halen would’ve made if they were a low-rent Millennial indie band. This is the kind of music Gardner Minshew probably listens to. And it’s glorious.

#67: “I Just Had Sex” by The Lonely Island feat. Akon (2010)

This list isn’t really trying to measure importance or anything like that. It’s basically just the songs that made me the happiest this decade. And there are few songs that make me smile as much as The Lonely Island’s pathetically hilarious “I Just Had Sex.”

There’s so many golden moments here, from “I called my parents right after I was done!” to “The best 30 seconds of my life!” and “I think she might have been a racist?” The comedy trio was really on their A-game.

But what makes “I Just Had Sex” more than just a goof is that it’s also catchy as hell. That Akon chorus is legitimately one of the best pop hooks of the decade. What made The Lonely Island so brilliant in their turn-of-the-decade peak is their ability to make songs that often surpassed the actual pop hits they emulated, while not sacrificing hilarious lyrics.

(Also, shoutout to “Jack Sparrow” and the legitimately impressive baseball-themed “Let’s Bash,” both of which could’ve also snuck onto this list.)

#66: “Oh My Darling Don’t Cry” by Run The Jewels (2014)

Sometimes, you turn to hip-hop for inspiring messages and thoughtful, provocative lyrics (something Run The Jewels has certainly delivered on with tracks like “Early”).

But sometimes you just want an aggro banger that makes you want to smash through a brick wall like the Kool-Aid Man. That’s what “Oh My Darling Don’t Cry” brings to the table, thanks to its heavy helping of fuck-everyone defiance and El-P’s trademark apocalyptic, frantic production.

#65: “Your Best American Girl” by Mitski (2016)

In her signature song, “Your Best American Girl,” Mitski took the thrashing ‘90s guitars and epic chorus of Smashing Pumpkins’ “Today” and turned it into a conversation about race, insecurity and love.

Mitski, who is Japanese-American, vividly describes the angst of trying to fit the lily-white image of the “American Girl” for a boy. The song begins with insecurity — “Your mother wouldn’t approve of how my mother raised me/But I do, I think I do” — and then flips that statement into a proud stand for her roots: “But I do, I finally do.” It’s a powerful declaration, fitting of one of the decade’s most powerful rock anthems.

#64: “A Real Hero” by College and Electric Youth (2010)

Consider this spot a placeholder for all the best songs from the 2010′s best soundtrack: “Drive.”

Out of that soundtrack’s three stand-out singles, “A Real Hero” is the best by a hair. College’s slick, pulsing production is a perfect contrast to Bronwyn Griffin’s whispered, ghostly vocals. It’s the perfect love theme for an aggressively hipster-y movie where Ryan Gosling plays a dude in a gold satin jacket, drives around L.A. silently, and crushes a guy’s head in an elevator.

But shout out to the other two classics on Drive, “Nightcall” and “Under Your Spell,” which are also musts while driving around at night feeling moody.

#63: “Birthday Song” by 2 Chainz feat. Kanye West (2012)

“Birthday Song” is gloriously stupid. It’s the kind of song you laugh at the first time you hear it, but after a few more listens, you’re rapping along with 2 Chainz and Kanye.

And it’s hard not to rap along when there’s this many quotable lines: “SHE GOT A BIG BOOTY SO I CALL HER BIG BOOTY.” “I’M IN THE KITCHEN. YAMS EVERYWHERE!!” “Last birthday, she got you a new sweater/Put it on, give her a kiss, and tell her, ‘DO BETTER.’” And of course, the most iconic line of them all: “All I want for my birthday is a big booty hoe.”

“Birthday Song” is so ridiculous that it’s only a couple jokes removed from a Lonely Island single. And that’s what makes it so fun.

#62: “Every Day’s the Weekend” by Alex Lahey (2017)

Aussie indie rocker Alex Lahey made the best Blink-182 song of the decade with “Every Day’s the Weekend.” It’s got a soaring chorus with the all-important “WHOA OHs,” a chugging guitar riff, and it’s catchy as hell.

Just toss in a lackadaisical attitude and a “I Gotta Feeling”-style days-of-the-week chant and you’ve got a pop-punk classic.

#61: “Take a Walk” by Passion Pit (2012)

While MGMT burned their cultural capital by making zoinked-out psych rock (which was pretty solid!), their peers Passion Pit doubled down on their signature synthpop sound in the early ‘10s. Their 2012 album, Gossamer, is one of the all-time great albums with a happy, bouncy sound but crushingly dark lyrics. So naturally, its first single is a perky pop tune about financial struggles!

“Take a Walk” is so catchy and uplifting musically — just try getting that iconic synth riff out of your head — that Michael Angelakos’ lyrics about the Great Recession seem out of place at first. But it gels anyways. The uplifting music just emphasizes the dire situation Angelakos and his then-wife found themselves in, and it makes the soaring synth riff read as more melancholy than optimistic.

#60: “Gretel” by (Sandy) Alex G (2019)

"Gretel” is like an indie-folk song that went to the Upside Down. All the requisite parts are there — gently strummed guitar, lyrics with a man-of-the-people feel, humbly Middle American vocals — but it feels warped and twisted.

The easiest way to describe it is like if a typical folk-pop song CD was left in the sun for a solid week or so, allowing it to melt. And then you tried listening to it. It would sound positively spooky. Yet through the oddball production and eerie vibe, Alex G’s defiant chorus still shines through. A statement like “Good people gotta fight to exist” somehow sounds more powerful in a bizzaro song like this.

#59: “Downtown” by Macklemore & Ryan Lewis feat. Eric Nally, Grandmaster Kaz, Melle Mel and Kool Moe Dee (2015)

Macklemore might have been the 2010′s most unfairly hated artist. Yes, he’s corny. Yes, Kendrick should’ve won those Grammys instead. But the dude was fun, inventive and a unique voice in hip-hop at the time.

“Downtown” is a prime example of Mack’s talent. Or at least, his knack for assembling a fantastic supporting crew. Old-school rappers Grandmaster Kaz, Melle Mel and Kool Moe Dee deliver some forceful interludes, and Eric Nally and his wildman vocals give “Downtown” a killer, Queen-esque chorus. And of course, producer Ryan Lewis helps sell the song, with a constantly-switching beat that ranges from ‘70s funk to bombastic arena rock. Even Seattle legend Ken Griffey Jr. makes a cameo in the Spokane-filmed video!

In a late-’10s hip-hop scene filled with mopey sad white boys like Post Malone and NF, Macklemore’s goofy vibe and dad jokes are sorely missed.

#58: “Flesh Without Blood” by Grimes (2015)

In a decade filled with wonderful alt-pop weirdos, Grimes might have been the weirdest. One of her standout songs, “Kill v. Maim,” is about Michael Corleone from The Godfather Pt. II, but if he was a time-traveling, gender-switching vampire (yes, really).

“Flesh Without Blood” is comparatively normcore, but it’s still Grimes’ best slice of bonkers pop magic. Written from the perspective of a fan angry that she sold out, the track rides a surf-rock guitar groove into the oblivion. Grimes’ squeaky vocals are almost taunting in tone, but the hooks are so massive and the production is so fresh that I doubt listeners mind.

#57: “Slide” by Calvin Harris feat. Frank Ocean and Migos (2017)

Arguably the biggest name in cheeseball EDM took a shockingly sharp pivot into silky-smooth funk with “Slide.” And it worked! It worked weirdly well!

Of course, it helps that Calvin Harris has always had impeccable taste in guest vocalists, from Florence Welch to Haim. And by snagging once-in-a-generation talent Frank Ocean (and the fun, if not legendary, Migos) for “Slide,” he possibly pulled his greatest coup yet.

...well actually, no. His best song will always be the gloriously trashy and very British “Dance Wiv Me” with grime legend Dizzee Rascal. But the slick tropical grooves of “Slide” are a worthy contender.

#56: “I Belong in Your Arms” by Chairlift (2012)

I could’ve sworn this was in an old John Hughes movie. The wintry synths and retro-chic vibe of “I Belong in Your Arms” certainly would’ve fit snugly into the Pretty In Pink soundtrack, but no — Chairlift’s best single came out this decade.

“I Belong in Your Arms” is stunning in its atmospheric beauty. Singer Caroline Polachek’s vocals are almost Elizabeth Fraser-esque, drifting over the waves of keyboards while still packing a heavy punch on the chorus. And the song’s burst of energy doesn’t feel like a temporary sugar rush — it feels like the real thing.

#55: “Make Me Feel” by Janelle Monaé (2018)

“Make Me Feel” is unabashedly a Prince homage. And if anyone in modern music could successfully replicate the Purple One, it’s Janelle Monaé.

The genre-blurring, impossibly funky “Make Me Feel” immediately grabbed me upon release, with its sharp guitar edges, soft-loud-soft production and sticky hook. But Monaé’s vocal performance is what truly makes the track pop. She clearly had the time of her life here, switching on a dime from smooth and sultry to giddy yelps. If there’s a perfect Janelle Monaé song cooked up in a lab somewhere, it’s probably nearly identical to this.

#54: “Some Nights” by fun. (2012)

Jack Antonoff has always excelled as the second-fiddle. Whether that’s in being the less-famous person in his former relationship with Lena Dunham or being the behind-the-scenes production wizard for megastars like Taylor Swift and Lorde, he works best in the shadows (despite his solo side band, Bleachers, being pretty damn good).

And of course, the project that first brought Antonoff into the mainstream was his band fun., in which he was the lead guitarist and a songwriter. At the time when the band hit their brief apex in 2012, it seemed like frontman Nate Ruess, with his vocal acrobatics and theatrical style, would be most primed for solo fame, but that fizzled.

Eight years later, “Some Nights” stands as a testament that Antonoff (and the other two guys in fun.) can write an incredible arena rock anthem just as easily as a synthpop banger. The song turns a quarter-life crisis into a soaring epic that sounds like a glorious U2-Queen hybrid, with a drumline added on top. Despite cribbing its chorus from Simon and Garfunkel, “Some Nights” still holds its power.

#53: “The Less I Know The Better” by Tame Impala (2015)

There’s one thing that instantly hooks you into Tame Impala’s Instagram-filtered indie pop masterpiece: that bassline. It carries the whole song on its back.

Not to say the rest of “The Less I Know The Better” isn’t good — Kevin Parker’s jealousy-tinged lyrics are fairly relatable, the twinkling synths are nice, the melody is appropriately yearning. But that slap bass ropes all those elements together into a legitimately funky rock tune. If Tame Impala’s mediocre new singles had that bass, maybe they’d be less forgettable.

#52: “Shake It Out” by Florence + The Machine (2011)

Florence Welch might be the decade’s most underrated vocalist. Her voice has the power of a Mack truck, yet she can still convey subtlety when needed.

“Shake It Out” is not one of those subtle moments. It is arena-pop filtered through gospel; a song that sounds like it was meant for a cathedral. Welch describes battling her personal demons like they were literal demons. Couple her wailing with layers upon layers of organs and massive drums imported from the “In The Air Tonight” solo, and you’ve got a song too big to fail.

#51: “Young Blood” by The Naked and Famous (2010)

I really, really wanted to include more tunes from the golden era of radio-friendly indie pop, circa 2008-2012. But a lot of the best stuff — MGMT, Yeah Yeah Yeahs, Phoenix — fell in the previous decade. And others are more nostalgic faves for me than actually great songs (sorry, Grouplove and Matt & Kim).

But The Naked and Famous absolutely still hold up. “Young Blood” still has the insanely high-pitched vocals and twinkly synths of that era, but the New Zealanders throw some distorted ‘90s guitars to create a unique sound. It’s like the Weezer writing a Passion Pit song (but way better than that would imply). Lead singer Alisa Xayalith’s piercing voice is an instrument all of its own, soaring across the synthesizers and guitars like a bolt of neon light.

“Young Blood” might be an early ‘10s time-capsule, but it has hooks for days and a somehow-still-fresh groove.