#the rock-pop electro genre is unexpected

[eomcheong-keun-megi]

LEEKNOW'S DAY6 COVER

[rabbitechoes]

the last full month of summer is HERE! august is going to be a busy month for new releases, especially on the album front, but i'm excited! hopefully i can stay on top of it all!!! there were some pretty noteworthy tracks released this week!! here are my thoughts on them!!! also feel free to follow me on rate your music and twitter <3

"Guess featuring Billie Eilish" - Charli xcx & Billie Eilish

◇ released: Aug. 1, 2024 ◇ genres: electro house, tech house

Charli xcx has returned with yet another remix of a song from her phenomenal album BRAT - which I'm sure everyone is well aware of by now. More specifically the track "Guess" from the deluxe edition with Billie Eilish sliding in for a lustful feature. I can't say it's my favorite track from either the record itself or its remixes, but it is certainly a fun time. Yet another example of how BRAT is having the best rollout of any album of the decade thus far. I truly can't wait to see what she has in store next, I don't see BRAT summer ending anytime soon - despite what Pitchfork says. It might even bleed into BRAT autumn maybe even BRAT winter.

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"FUKOUNA GIRL" - STOMACH BOOK

◇ released: Aug. 1, 2024 ◇ genres: indietronica, dance-punk, indie rock, dark cabaret

A few months removed from her sophomore record, STOMACH BOOK has returned with a new single. Crazy sounds on this one. A quirky blend of dance-punk and indietronica with some subtle hints of cabaret music. It feels like a circus! This kind of wacky blend of upbeat instrumentation with manic lyricism usually doesn't do much for me, but I think this song is a good time.

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"M" - Soccer Mommy

◇ released: Aug. 1, 2024 ◇ featured on Evergreen (not yet released) ◇ genres: indie pop, singer-songwriter

I remember loving Soccer Mommy's third record, Clean, when I was in high school, but her music just hasn't stuck with me at all. Her more recent records have all been good, but not great. I'm waiting for something to blow me away and unfortunately, "M" still leaves me waiting. It's a fine piece of singer-songwriter music, but nothing about it really leaves a lasting impression on me. It captures a vibe very well though. If you want some bittersweet music to feel sad to, she has you covered here. Maybe her upcoming album Evergreen will surprise me despite it all.

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"HIGHJACK" - A$AP Rocky feat. Jessica Pratt

◇ released: Aug. 2, 2024 ◇ featured on Don't Be Dumb (not yet released) ◇ genres: cloud rap, trap, memphis rap

I was not expecting this at all. I had to do a triple take when I saw that A$AP Rocky had a new single dropping that featured JESSICA PRATT. The same Jessica Pratt who makes the otherworldly folk and brill-building songs that sound completely removed from the current time? Apparently so. She absolutely kills it here and I hope this leads more people to listen to her music. Rocky puts in some really good verses too, I was impressed! You can also definitely tell this song was called "Like That," but it had to be changed for obvious reasons. Anyways, this is a totally unexpected collaboration that kinda knocked it out of the park.

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"GYAT" - Ice Spice

◇ released: Aug. 2, 2024 ◇ featured on Y2K! (Bonus) ◇ genres: new york drill, east coast hip hop

"GYAT" is the lone bonus track on the deluxe edition, of which there are many, of her new album Y2K! I don't even know what to say about this. Why is this a bonus track? The album is already like 23 minutes long and this is like definitely in-line with the rest of the tracks on the record. Why wasn't this just included? At the end of the day, this is just same old, same old Ice Spice. The only thing notable about this song is that it's the first time I've ever typed out the word "GYAT."

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"Liar" - Jelly Roll

◇ released: Aug. 2, 2024 ◇ genre: contemporary country

LEAVE ME ALONE!!!! IT'S LIKE HE'S FOLLOWING ME. WHY ARE YOU EVERYWHERE JELLY ROLL? WHAT DO YOU KNOW???

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"Here's the Thing" - Fontaines D.C.

◇ released: Aug. 6, 2024 ◇ featured on Romance (not yet released) ◇ genres: post-punk revival, alternative rock

Fontaines D.C. are three-for-three when it comes to the singles for their upcoming album. This one is definitely a bit more raucous than the previous, but it's just so enjoyable. The band really sound like they're onto something brilliant here. Just some endlessly enjoyable rock tunes that feel like they breeze past you while still leaving an impression. Lead vocalist Grian Chatten really shines here too. I'm loving these new songs and I can't wait to dive into Romance in a few weeks!

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"Once a Bunch" - Adrianne Lenker

◇ released: Aug. 6, 2024 ◇ genre: country, americana, singer-songwriter

Adrianne Lenker has returned with presumably a leftover from her excellent album Bright Future from a few months ago - still one of the best of the year. This one leans heavily into the country sound. Very raw, duet-driven country with some vivid songwriting that you can just close your eyes and dream to. Whenever I write about Lenker, I always have to say that she's one of the greatest songwriters of our time and "Once a Bunch" is yet another example. Loving this track to death.

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"Summer 2000 Baby" | "Take a Trip" - TV Girl & George Clanton

◇ released: Aug. 6, 2024 ◇ genre: chillwave, trip hop

Spotify algorithm core band TV Girl have teamed up with George Clanton to release perhaps their best material to date. Clanton's impeccable ear for great sounds elevates these songs. A lot of "vibe" songs just float past you leaving you nothing of substance, but most things Clanton gets his fingers on just have a kick to them. You just get lost in his songs and these two are no different. "Summer 2000 Baby" is an upbeat jam and "Take a Trip" is much more chilled-out, but both are pretty great. If you're looking for some late-summer tunes, TV Girl and George Clanton made a gift just for you.

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"Continuum 1" - Nala Sinephro

◇ released: Aug. 7, 2024 ◇ featured on Endlessness (not yet released) ◇ genres: nu jazz, ambient

Nala Sinephro is returning soon with a brand new album, the follow-up to her great debut Space 1.8 from 2021. This lead single features black midi's Morgan Simpson on drums and James Mollison on saxophone. This is a great cut. Builds very nicely on the foundation set by her debut while throwing in new bits that make things feel fresh. I especially love the oscillating synths towards the end and how they pair with Mollison's saxophone. If this song is any indication, we're in for a treat when Endlessness drops.

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"INSTANT TRANSFER" - E L U C I D feat. billy woods

◇ released: Aug. 7, 2024 ◇ featured on Revelator (not yet released) ◇ genres: experimental hip hop, abstract hip hop

ELUCID and billy woods reunite for this single taken from the former's upcoming album. These two just have some of the strongest chemistry of any rap duo in recent memory. "INSTANT TRANSFER" is an intense banger with an almost ominous beat. It's arresting, like a lot of their work is. I'm not super well-versed with ELUCID's solo work, but I'll definitely have to give this record a listen when it drops.

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"Lullaby" - Ichiko Aoba

◇ released: Aug. 8, 2024 ◇ featured on Luminescent Creatures (not yet released) ◇ genres: chamber folk, singer-songwriter

No surprises here. This new Ichiko Aoba song is stunning. You know what you're in for when you dive into one of her songs, yet it never ceases to amaze. She writes some of the most gorgeous, serene, and intricate songs you will ever hear. Everything sounds meaningful. Every word she sings, every note she strums, every piece of the arrangement has a purpose. All of this to say, "Lullaby" is amazing and I can't wait for whatever we hear from her next.

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"Coyote (Live at the Forum, Montreal, QC, Canada 12/4/1975)" - Joni Mitchell

◇ released: Aug. 8, 2024 ◇ featured on Joni Mitchell Archives, Vol. 4: The Asylum Years (1976-1980) (not yet released) ◇ genres: progressive folk, singer-songwriter

Joni Mitchell is preparing to release another volume in her Archives series, this one focusing on her material from the late 70s. This excites me as Hejira is my favorite work of hers and I'm stoked to hear more stuff from that era. The first taste we're getting is this early live performance of "Coyote," one of her best songs. There's an urgency to this version, it's just Joni and her guitar. No Jaco Pastorius bass playing to be found. It's an interesting version, but if you're not a Joni superfan like I am, your mileage may vary.

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"For Cryin' Out Loud!" - FINNEAS

◇ released: Aug. 8, 2024 ◇ featured on For Cryin' Out Loud (not yet released) ◇ genres: pop rock, indie pop

I've never really listened to FINNEAS' work outside of his work with his sister Billie Eilish and sadly I can't say I'm too impressed by this new track, the lead single to his upcoming album. It certainly sounds great, everything has a punch to it, but nothing else stands out. It plays into the tropes you would expect. The horn arrangements are also a bit flimsy, which is wild because everything else has a bite! That should too! This song is just fine at best.

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"Sunshine" - Kelly Lee Owens

◇ released: Aug. 8, 2024 ◇ featured on Dreamstate (not yet released) ◇ genres: progressive house, progressive trance

I lose track of Kelly Lee Owens every couple years, but I managed to catch this new single "Sunshine." This is a pretty good house cut, really showcasing her talents as a producer. Everything sounds so euphoric, very easy to get lost in, which is a quality I admire in a lot of house music. I want the music to sweep me off my feet. One of these days I need to go back through and catch up on her stuff.

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"Don't Get Me Started" - The Smile

◇ released: Aug. 8, 2024 ◇ genres: indietronica, ambient pop, post-punk

The Smile have returned months removed from their second album with a new single. "Don't Get Me Started" sees the band getting very electronic with it, which does obscure some of the best aspects of the band, but it's still a pretty solid track. I always love how Thom Yorke sounds against very electronic sonic palettes, so this is like ear candy for me. Who knows if this is just a throwaway or a teaser to yet another album from the band? Either way, this side-project continues to be very fruitful for everyone involved.

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"Lifetimes" - Katy Perry

◇ released: Aug. 8, 2024 ◇ featured on 143 (not yet released) ◇ genres: dance-pop, garage house, diva house

After her last single "Woman's World" crashed and burned, Katy Perry is back with the second single to her new album, 143 - her big play at being relevant once again. Unfortunately for her, "Lifetimes" is a miss as well. I've seen the word "stale" be thrown around in regard to these new songs and I couldn't agree more. Her desire for this to be a comeback for her is so noticeable for any listener with half of a brain that it reeks of desperation. This is the album rollout equivalent of the Titanic sinking.

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"People Need People" - JOBA

◇ released: Aug. 9, 2024 ◇ featured on unnamed JOBA album (not yet released) ◇ genres: baroque pop, psychedelic pop, piano rock

BROCKHAMPTON alumni JOBA has released another really good single in anticipation for his debut solo project. This shift into more traditional pop sounds doesn't sound like it should work on paper, but he pulls it off very well. "People Need People" ditches the glam rock of the previous single in favor of more mellow baroque and psychedelic pop. The string arrangements and those bouncy synth riffs during the second verse are also very nice touches. This is a really good track, I can't wait to hear what else he has in store for us. JOBA is making the most interesting solo music out of all of his former boyband members.

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100 GIGS - Drake

◇ released: Aug. 10, 2024 ◇ genres: pop rap, trap, atlanta bass

When I saw the words "Drake" and "100 GBs" in the same headline, I feared for the worst. Luckily, he just dumped 100 GBs of stuff onto the internet. This includes songs, videos, unused album art, and a whole bunch of stuff. Three of those songs made their way to streaming and they're all pretty unremarkable. "It's Up" sounds the most finished and it features 21 Savage as well as Young Thug, it's nothing stand out though. The other two tracks feel pretty lazy, rife with boring hooks and poor mixing. Definitely sounds like stuff that needed more time in the oven. I don't really know what his rationale was for dumping all of this on us, but it certainly isn't the best look after the beef he decisively lost against Kendrick Lamar over the last few months.

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[musicarenagh]

‎Harmonic Eclecticism Unveiled: Peter Michaels Jr.’s Astonishing Sonic FusionPeter Michaels Jr.’s latest album, Angry Oranges for Dinner, is a delightful musical journey that fuses a wide range of genres into a seamless, 27-minute experience. With its catchy grooves, impressive vocals, and innovative arrangements, this album is a must-listen for fans of funk, baroque pop, neo soul, jazz, and hip-hop. The album’s title, Angry Oranges for Dinner, is a bit of a head-scratcher, but it somehow works. It’s a quirky and unexpected title that perfectly encapsulates the album’s whimsical and eclectic sound. The album opens with the intriguing synth and mesmerizing neo soul funk jazz fusion sound of “Almost Five.” The catchy funk grooves, combined with the hip-hop foundation, make this song an instant earworm. The keys on this track are particularly impressive, adding a touch of swag that sets the tone for the rest of the album. “Free From the Brain” continues the infectious groove and introduces Michaels Jr.’s impressive vocals and harmonies. The blend of genres and arrangements throughout the album is striking, showcasing Michaels Jr.’s versatility as a songwriter and multi-instrumentalist. Tracks like “Everything” and “Talk About Us” bring baroque rock elements with a fusion twist, while “With Him” takes a nostalgic trip to the soundscape of the Fab Four. “Burned” delivers a high-paced retro rock ‘n’ roll number, while “Don’t Call Us” adds a touch of retro electro. Throughout the album, Michaels Jr. proves his mastery of innovative songwriting, production, and musical styles. From the flamenco-style guitar on “I Wish You Well” to the smooth bass and velvety arrangements of “sadboys,” each track presents a different facet of the sonic scope of the record. The album concludes with “The Sun Guide,” a song that encapsulates the wacky feel of the entire album, blending phenomenal chord voicings, and string arrangements into a musical masterpiece. The album’s artwork is also very striking. It features a colorful painting of a man sitting at a table with a bowl of oranges in front of him. The painting is both abstract and realistic, and it perfectly captures the album’s unique sound. Angry Oranges for Dinner is an album that exudes happiness and would fit perfectly in a Wes Anderson movie. Peter Michaels Jr. has crafted a collection of excellent compositions that showcase his wide range of musical influences. With its fusion of genres, infectious grooves, and undeniable musical genius, this album is a must-listen taking you across a whimsical funk, baroque pop, neo soul, jazz, and hip-hop fusion. Prepare to be enchanted by the whimsical magic of Angry Oranges for Dinner. Overall, Angry Oranges for Dinner is a delightful and refreshing album that is sure to please fans of funk, baroque pop, neo soul, jazz, and hip-hop. It’s an album that is both catchy and sonically rich, and it’s sure to leave listeners wanting more. Listen to Angry Oranges for Dinner  https://open.spotify.com/album/21hNr8kZEmIRZrTc8fGuyR Follow Peter Michaels Jr.on Facebook Spotify Bandcamp Youtube Instagram  

[wordsandsound14]

2022 Albums of the Year

What a year it’s been. In all honesty, 2022 was a little disappointing in the album department. The albums I have on this list are all ones that I like and enjoy, don’t get me wrong. But I feel that I didn’t have an album that blew me away that normally does. However, I also didn’t have albums that I absolutely hated. Even the Panic! album that I didn’t care for isn’t an unbearable mess, it’s just not good and that’s it. Regardless, I listened to a good amount of albums from this year that I feel confident in my top 20. (I’m sure when I look at other year end lists, that my ranking will get changed. Yet, this list still feels good.) Let’s just jump in now 

20. Sometimes, Forever - Soccer Mommy

I find this album really explores the different sounds that Soccer Mommy is capable of producing. “Clean” was an introduction to her sound and “Color Theory” took that sound and made it larger. “Sometimes, Forever” doesn’t do anything unexpected but it does embrace experimental sounds that she hasn’t yet made. I adore the pinball “With U” as it launches into a electro-rock track that embraces the energy it has while still having an incredible chorus to hold the song together. “Shotgun” is another standout and the numbers back up how catchy the chorus is. It’s the most memorable song off the album and it’ll be stuck in your head. The rest of the album does a marvelous job of weaving the new ideas without feeling like two completely different thoughts, all the while still sounding like Soccer Mommy. A very unique album that will stand out in her discography with the years coming.

19. Lila - Marketa Irglova

After the long hiatus, the third album (and apparently the ending of a trilogy of albums) has finally arrived. Many know Marketa as being a member of The Swell Season and being a co-star in the film Once. Years later, we arrive at “Lila” and her long journey to where she is today. For those unfamiliar, she creates piano driven music that often focusses on the complexities and intricacies of love and its many different forms: platonic, parental, eternal, romantic, etc. She touches on a lot of topics but often, endearingly, looks at the side of love. While the short track listing is a hard pill to swallow after the wait (being only 9 tracks long), each song does feel special if you give it time to bloom. I was initially a little disappointed that after all these years and it didn’t feel like they compared to the past two albums. But living with the songs and listening to them more often proved how intricate these songs are. My personal favorite being “Girl From a Movie” with a melody that touches my soul and calms it. I hope these songs can find you where you are at and you can embrace the peacefulness they bring

18. Dance Fever - Florence + The Machine

The song “King” alone is enough to land this album on this list. Being the feminist song of the year and maybe decade, it has an ability to be empowering without feeling like there is an agenda or coming off really corny/obvious is what sets this track apart. “Cassandra” is another highlight that brings attention to the gothic fantasy that is thematically embraced by the band this time. The thing that does hold this album back is there is a series of songs on here that I don’t care for. From “Back in Town” to “Prayer Factory” is what feels like a very automatic Florence. However, everything else exceeds my expectations and fulfills that Florence scratch that I didn’t know I needed itching. I think what made this album work so well was the subtle experimentation they used. I felt like they utilized Florence’s fantasy sounding voice really well and made music that surrounded her voice well and doubled down on it. I think it’s the best decision they could have made and embracing it only created the album that we have here.

17. Hold the Girl - Rina Sawayama

There’s not a huge stand out here but this album fully showcases Rina’s ability to songwrite while fully embracing the pop genre. With her last album, she genre bounced almost as many times as she could and here she still incorporates other genres but I would still put them all in the pop genre. That being said, I fully understand why if others weren’t too fond of the this project. It doesn't feel like a betrayal from the artist but it isn’t a path that works for everyone. Without a standout, it can feel like you’re waiting for her to break the ceiling and it can feel like she never really does but if you take each individual song as it is, she does a great job of making them unique and their own. I see this album more as a collection of songs rather a complete project that has a start and finish. However, this perspective has helped me hear the songs for what they are and that each one was carefully made to be the best pop song it can be. “This Hell” being a catchy Gaga inspired song, “Hurricanes” being a momentous pop song, and “Frankenstein” being the iconic rock-pop song off the album (I think it’s an actual leftover Gaga track). Rina Sawayama is making waves as a new pop star that has no limits on her genre.

16. Chloe and the Next 20th Century - Father John Misty

This is probably the hardest album to rank. It took all year (did listen to this a little late; believe it was June when I listened to it for the first time) for this one to grow on me. Upon first listen, I felt like the title track was the only standout song (which it still is my favorite from the album) and the rest fell short of what I wanted from the 20′s inspired album. I lived with the songs some more and found some more songs from it but still felt like the songs felt a little stale. Then came late November and it’s time to re-listen to all of the albums I heard from the year so I can make my year end list and it clicked this time. Really clicked and suddenly there’s no skip tracks and it sounds super cohesive and I hear the diversity of the album. (There’s maybe one ballad that goes on too long but that was my only major complaint). It’s so well crafted and I think my only wish was that he committed to the 20′s sound more but he still did a really great job of getting that sound to the modern day. I’m sure this album will age like wine.

15. All Girls Go To Heaven - Mint Green

I did a lot of listening to Spotify’s Discover Weekly, a curated playlist of new music and this band showed up with their song “Body Language” (still my favorite from the album). I put the new songs I like in a “Rotation” playlist and I listen to them and funnel some in and out every 2 weeks. (It’s a whole system) To listen to new albums, I’ll pick a few songs that have albums attached to them. This is one of those albums that I found through this system. (Keep in mind that there are plenty of other albums but some come from last year so they don’t qualify for this year.) This album really impressed me, even though I thought there was places that it could improve on. The songwriting of this group is amazing and you can just imagine these being played in small rooms/live. You can hear their love and understanding of music through listening. These songs have such a great energy and it feels like there’s so much more of their talent for them to discover. I really can’t wait to hear what’s next for them but I also have this selection of songs to continue listening to. I also really love the dynamic of this band and having to women who sing in the band (though it seems the lineup of the band keeps changing every time I look). It’s a little difficult to rank a band on their music and not the potential of their music but they’ll land right here for now.

14. Asphalt Meadows - Death Cab For Cutie

While I’m sure Death Cab has made better albums, I feel this one is going to go under many radars of music from this year. This album showcases that they are a band who have plenty of ideas still for those still listening. I say it like I’m a longtime fan but really I only knew a handful of the bigger songs. I listened to “Plans” earlier in the year and then I saw that they dropped an album and gave it a listen also. I was pleasantly surprised when I gave it a listen and the songs have only improved with time. “Fragments From the Decade” is the perfected indie ambient music that I love from the band. “I Don’t Know How to Survive” is an excellent opener that presents the listener with confirmation that the rest of the album will be a good ride with its indie flares. “Hear to Forever” is another highlight that simply evolves with how the album is moving thematically but hits as a high point for the album. Each song is sonically interesting though and feel like they got the songs to the best of place they could get them in.

13. The Art of Survival - Bush

In 2020, Bush reinvented themselves with “The Kingdom”, opting for more of a modern hard rock sound with post-grunge. I loved the approach they did with their sound and evolving it to a place where that felt like it was appreciation to listeners who were still here after their on-and-off career. I wanted more of their recent evolution and they answered back maybe a bit too literally. It’s an album that serves as a sister album more than a sequel. But damn, this sound is really good. They don’t nail the ballad as good as they could have but all the other songs have a lot of energy to them with booming guitars and hard hitting drums. You can feel the wave of sound with every chorus that comes and the song structures are varied enough so that you never feel like it’s the same song over and over. It’s a great listen that I hope they can use it as a stepping stone for the next album. They can get away with one sister album but not two.

12. Meet the Moonlight - Jack Johnson

I hadn’t given up on Jack Johnson yet but I figured his best years were behind him, being a remnant of the 2000′s acoustic/folk scene. His past two albums didn’t seem to pushing his career forward in a significant way anymore, the first being more of a copy of his earlier work and the later feeling over-produced and sounding forced. But this album proved that he still has songs. I think the issue was that he was happy just touring, being a humanitarian, and being a family man. The studio and notebook weren’t calling him and he pushed himself to meet the page in times when it felt like his life wasn’t calling him that way. Here, you can feel that these songs were from his heart that he had something to say. The music matches the tone and Jack’s personality shines through; the Hawaiian beach ocean is almost tangible. It’s an album that feels like coming home. He has interesting songs and I’m extremely happy that he took a chance on ambient music with the title track and it ended up being my favorite from the record. It makes me happy to hear that he’s back in his element with music again.

11. It’s Almost Dry - Pusha T

I really liked Pusha T’s last effort with “Daytona” but felt that it could be expanded on in a way that could feel fully realized. “It’s Almost Dry” is the answer to that request. His hooks are impeccable and each song feels like its own. My favorite unfortunately has West attached to it and I had to make the tough call of not including it within my top 50 to not endorse West. While I know my actions alone will not really change what his reputation is, I don’t feel comfortable supporting him in any way. With that said, it doesn’t stop the music and hooks being absolutely great, with the only skip track being “Scrape It Off” as it uses a beat and plays of typical modern trap beats. But everything else is really progressive and evolves his songs in a new way. I know a lot of people say that Pusha T makes only one type of music and that you should know what you’re getting when you put on his music but idk, this album seems to prove that wrong and I might bet that’s what he was after cause no track sounds the same and I can tell he used his creativity to expand the best he could within the rap genre.

10. Where the Heart Is - Sweet Pill

Another Discover Weekly band that I found and fell in love with. The best way I can describe this band is take Paramore’s first two albums and they have recreated it without sounding like carbon copies. You can hear the heavy influence but it doesn’t take away from their own original sound. “High Hopes” was the song that got me hooked and still is my favorite with its addicting riff and high energy rock. However, the title track does make it run for the money providing a great thesis for the album. “Sometimes” is the perfect song for you if you are interested in their Paramore similarities. It’s a great callback album to the 2000′s edgy alt rock scene but moves it to a modern headspace. Overall, I’m super delighted to have found this band and am super excited to how they expand their sound next time.

9. Harry’s House - Harry Styles

Separate the art from the artist they say. I’ll do that here. And it’s not like I started hating or disliking Harry that much but the second half of this year has proved how much growing up he has left as a human. The drama behind the movie is difficult to ignore and how he is in interviews (especially surrounding the film) has made it evident that he isn’t really ready for any type of normality/reality check. Being someone who loves Harry, his daring outfits, and protest against gender norms seems like a long past now. He now seems like that annoying little brother who got famous but isn’t ready for the responsibility but is still able to BS through life. It’s complicated; he hasn’t done anything really wrong but he could be doing better. Anyways, more about the music since that’s what this is about. Harry’s ability to create insanely catchy pop hooks and do it successfully 12 times is truly a feat. And a good portion of them are fully realized and the others work well as shorter songs. He doesn’t try to push an idea further than it needs to if he doesn’t know how to fill that space. “Boyfriends” is the only song that I feel falls short. Everything else keeps up with the rest of discography. This album might be a little more simple musically, goes for the pop production, and sticks to shorter songs but I feel that these choices benefit the album majority of the time. There’s a song for everyone in here and Harry’s House is a good addition to his portfolio.

8. Spinning the Truth Around (Part 1) - Blue October

Blue’s last album was such a major disappointment. I felt like a lot of it was overproduced and that a lot of songs didn’t get fully realized. And it sucks because there’s a “fan reason” behind it that really seems to be true for this band. It goes something like this: “Justin (Blue October frontman) only makes music if he isn’t doing well. I’m happy that he’s finally happy and in a good place but the music doesn’t hit like it used to when he was depressed and anxious all the time.” And well... he made some really good music. The news is that he’s going through a divorce with his second wife. Luckily, it’s not even close to how messy the first divorce went. It seems like they just grew apart and didn’t feel their marriage was what it was supposed to be nor did it feel right for them. Yet, that still is a gut punch and you can hear it in the songs where Justin talks about this topic. He perfectly walks you through the emotions of losing a love that you still love. The anger, the sadness, the confusion, the passion, the acceptance, the etc. The greatest thing to come out of this album is how diverse their sound has become. While there’s still a glossy pop production to the album, there’s a lot of different sounds and approaches to songwriting. I can hear the band really pushing themselves to make great songs here and it really pays off. “Where Did You Go I’m Less of a Mess These Days” is my favorite for its soaring chorus and gut wrenching words. “How Can You Love Me If You Don’t Even Like Me” is groovy and incorporates its dark tone with its ambient sound. “Change” is a super unique, sleek rock song that I wouldn’t have seen coming from the band. I’ll let you listen to it but I’m super excited for Part 2 if it continues this new ambition within the band.

7. THE UNRAVELING OF PUPTHEBAND- PUP

PUP seems to have found their sound and seems super comfortable with exactly how to expand that sound while maintaining it. They nailed a great sound with their last album “Morbid Stuff” and continue by going a little harder but continue with their great energy punk with indie rock. While I’m not a fan of the interlude songs in-between the longer songs, they are quick. But every normal length song on here is an absolute blast to listen to. They’re snappy, punchy, and rock really hard. “Matilda”, “Robot Writes a Love Song”, and “Habits” are the highlight tracks but it’s really hard to hand pick the songs off from here when each one is so well made. It’s an album that you can hear it being played live just by listening to the studio recording (but I kinda wanna hear it in a small room too).

6. 22 Make - Oh Wonder

Last year saw the return of Oh Wonder. Not that they went away but their album before “Nobody Can Wear Your Crown” felt like Oh Wonder on autopilot. 22 Break had urgency, creativity, and passion. It felt like that music was the only route for them to work through this part of their life. 22 Make is 2nd part of the album, a sister album. The first half explored how their struggles, doubts, and conflicts lead to a difficult first year of marriage. This album is reaffirming themselves through all the pain that they truly love each and backing away from their marriage and time together would be for the worse. The love is bleeding through the sound and the choice to stay in a relationship after a time of hardship is never more beautifully displayed than here. While there’s a bit more tendency for pop production compared to the first one, this still has a lot of creative ideas and unique sounds. Oh Wonder has still yet to really branch into something unknown but they have continually made interesting songs and sounds the accompany their music. Also the more time passes, the better Anthony’s production skills get. His beats, mixing choices, and selection of effects are really spectacular. Truly a producer I’m inspired by.

5. Are You Happy Now? - Jensen McRae

Discover Weekly really brought me to an artist here that has such a bright future in front of her. Comparable to Phoebe Bridgers and Lucy Dacus, Jensen McRae’s lyrics and indie folk music is soulful, introspective, and meaningful. “Wolves” is commentary on average predatory men and how they affect women’s lives. “Adam’s Rib” is a desperation we all feel from unrequited or decaying love that is out of our hands. “Dead Girl Walking” was my introduction and utilizes its infectious beat to display her insecurities and stress. Her ability to share her thoughts well, keep the lyrics intimate, and the music interesting are welcome in the realm in highly praised modern folk songwriters mentioned above. Her album really caught me off guard tho. On the surface, she’s an indie artist that has a good knack for interesting songs but nothing that really jumps out. The moment you realize what she’s doing and how she sings really changes that perspective and tells you how wrong you are. There’s a lot more depth and letting these songs sing to you is the key to listening.

4. HOLY FVCK - Demi Lovato

Even with all of the discover weekly finds this year, this is still the biggest left field album for me this year. I’ve never listened or been interested in her music. I heard her music was actually rock this time and I kind of assumed people who said this were stretching the truth and it would sound way more like pop than rock. (kinda like Avril’s release) But I gave it a chance so I could have my own opinion and I was so surprised with what I found. Actual rock music... like what I was told. There are definitely some songs that have a pop sound to them but she never leaves the realm of rock music. Two biggest complaints is that there isn’t a song that super stands out to me and the track listing is bloated. I enjoy the whole track listing so it’s a little difficult to eliminate songs but it does indeed drag. Anyways, I was really taken back with how hard these songs rock and how ambitious it is for a pop artist to commit to a sound that would seemingly alienate the target pop audience. This album could have flopped (for Demi standards) and I may have never heard it. But she nails each of these songs and doesn’t make any adjustments for her audience. On top of it all, these songs are super honest with the listeners. She doesn’t sugar coat her experience the past years and has so much self-awareness. It’s how we get songs like “29″ and “SKIN OF MY TEETH” on how she realizes what her choices, things that have happened to her, and everything in between has affected. It’s her art and she made sure it was her story. It’s an impressive album and is executed as so. (I do also apologize if excluding them/them pronouns is harmful. It is not my intention to inflict harm. I remembered their pronouns changed at the beginning of this year. I thought it was she/her but it was they/her. Since they do go by she/her pronouns currently, I’ll keep my wording the way it is but I did not want to exclude they/them without mentioning those pronouns in a disclaimer at least.)

3. Vaxis II: Window of the Waking Mind - Coheed and Cambria

This is one of the most consistent bands of modern day. I understand that they aren’t for everybody but I find their music has always been so carefully made. This time, they took a few notes from classic metal and made the bold decision of making the majority of their songs shorter. If you aren’t familiar with the band, they are a modern Prog Rock band. Prog is known for their story driven albums and longer songs (Rush and Pink Floyd are well known classic Prog bands). While Coheed has a story within their album, it doesn’t need to be known to like or even connect with their music. I do think it helps knowing that there is a story so if something feels a bit narrative, you’ll understand why. However, Coheed has always done a wonderful job of displaying the emotion of the narrative if there is a story element happening. This is all beautifully displayed on the title track, which really feels like a Magnus opus. All of their skills, learning, and creativity reaches its max with this song. While you can jump into it if you really need to, the payoff is way better when the whole album is listened to so the last song has the impact that it has. Your mind will subconsciously pick up on the journey of the album and the final song will conclude this story well. They also lead this album off right where the last album drops off (more listening if you end up liking the band) with the melody of “Unheavenly Creatures”, which is thematically satisfying. Then you have the electrifying “Comatose” and the anthemic “The Liar’s Club”. And if that’s not enough, the band really experimented and mixed their sound with a Eurovision sound in “A Disappearing Act”. It’s a solid release from a band that continues to display their growing talent and professionalism as musicians.

2. Mr. Morale and the Big Steppers - Kendrick Lamar

I’m unsure if this is a hot take or not. All I can say is that Kendrick did a daring move and instead of tackling racism again after the 2020 Black Lives Matter movement, he took a step away to focus on his family trauma and his healing process through therapy. I feel like he even stepped away from flashy hooks in an attempt to make music that felt like less of a product and one that told his story. At first, I was thinking this project would land lower on my list, remembering that the songs felt like they missed the musical creativity that Kendrick offers more of and it sometimes felt like sitting in on his therapy sessions vs listening to a creative project. However, upon re-listening, I don’t feel that way anymore. These songs now feel like an old best friend that I’ve been needing to connect with again and I had put it off. These songs become personal in the same way that they are to him. They keep their impact, the theming becomes so much purposeful, and his execution of this album is precise. There’s so much depth and importance in what he’s saying: “Stop tiptoeing around the conversation”, “I’ve got daddy issues and that’s on me”, and “So I set myself free from all the guilt I thought I made.” There’s a deep sense of self healing and helping his loved ones with their healing. He’s tired of the damage that has been done and the passing of the damage with generation to generation. Hurt people hurt people. He decided that instead of continuing the conversation of racism he started, he wanted to start a new one on generational trauma. While I think a lot of us were doing healing ourselves at the same time during the pandemic, I don’t think there is a better example of this process than this album.

1. Expert in a Dying Field - The Beths

It’s a tough choice between this album and Kendrick’s. I went with this one because of how consistent it is in comparison. Kendrick’s album is a bit like a roller coaster of what works and what doesn’t. And sure, it does feel weird to have an album like this at my number 1 but it really has topped my list for best album. This album is full of amazing songwriting and consistently delivers throughout its runtime, plateauing at a high line. The Beths also take great notice to incorporate parts of different genres within their indie rock sound. Punk, 2000′s pop, and adult contemporary. And it sure sounds like a weird and maybe boring mix of genre’s but it never leaves the realm of indie rock. The catchy melodies with lyrics that paint a picture of different relationships and the aftermath of them are surrounded by carefully curated guitar tones. It’s an easy album to listen to but doesn’t sacrifice musicality, lyrics, or enjoyment. It’s a really solid album that keeps every song interesting and fun. Give this energetic album a chance and you’ll soon be singing along to the choruses of these songs. Maybe you too can be an expert in a dying field. 

[jennyboom21]

I miss emps in particular today because you know she’d be all about cracking the code on the famous women Bebe Rexha has apparently been with

Gosh, she’s so missed!!! 🥺🥺🥺😫😫😫😭😭😭!!! Miss you, Dr. Emps!

Congrats to Bebe!!! I do wonder who the girl(s) is(are), but one of my Hard Truths (a subset of Pro Tips) when it comes to Not Straight celebs that the ones who soft out themselves as some type of gay have already had a same sex relationship, OR... are in one (or after a civil break up), imo 🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈

“I’m not going to try to be that perfect pop girl,” Bebe Rexha says with a shrug, “because I just can’t live my life like that.” It’s early morning in LA and the 31-year-old has barely had a chance to start her breakfast, but she’s already telling it like it is. “Growing up, I would look up to all these glossy, beautiful pop stars and I thought that was the way to do it, but it’s not what works for me,” she says. Rexha has realised in the seven years since she dropped her stomping debut solo single I Can’t Stop Drinking About You that her fans prefer it when she’s “honest” and gloss-free.

This honesty runs through her brilliant new album, Better Mistakes, like a stick of rock. On the catchy opening track Break My Heart Myself, Rexha drops a matter-of-fact reference to Klonopin, a prescription drug used to treat anxiety and panic attacks. “My doctor upped my dosage / My mom felt bad, so she sent me roses / Without it, I feel really hopeless,” she sings unselfconsciously. If anything, the guitar-driven ballad Empty, which appears towards the end of the album, is even rawer. “I break down with my daily routine, a fake smile is my accessory,” Rexha sings softly. “I’m tired of feeling low, and I’m too tired to hurt.” It’s affecting stuff.

Rexha is also an open book in person: so much so that even our transatlantic Zoom interview feels pretty intimate. “My fans like it when I talk about my mental health and my weight and not being what the ‘perfect’ pop star looks like,” she continues. “You know, I’m not a [US] size four, I’m an eight-to-ten. Some people are so good at the perfect pop girl thing: they work out every day and eat the perfect things and say the perfect things in interviews.” Rexha says this will never be her. “Like, I will wake up sometimes and have a really shitty day, and when that happens, I’m just gonna be me,” she adds. When several designers declined to dress her for the 2019 Grammy Awards because in their eyes she was “too big”, Rexha publically called them out. “That’s crazy. You’re saying that all the women size 8 and up are not beautiful and can’t wear your dresses?” she tweeted.

As well as being honest to a fault, the album is catchy as hell: another Bebe Rexha signature. Before she launched her solo career in 2014, the Brooklyn-born artist had already made a splash as a songwriter who can turn edgy subject matter into pop gold. A year earlier, Eminem and Rihanna recorded The Monster, a song Rexha wrote while in “a dark head space”, and turned it into a number one hit. Rexha has said this “opened doors” for her but it sounds as though the whole experience was somewhat bittersweet. “At that time I had no choice but to give that song away,” she revealed in a 2017 Facebook Live. “I had no money and no record deal.”

Thankfully, Rexha has since racked up hits of her own, mainly as an in-demand collaborator. Among her steady stream of gold and platinum singles are the electro thumper In the Name of Love with Dutch DJ Martin Garrix, hip-hop bop Me Myself & I with rapper G-Eazy, and club banger Hey Mama with David Guetta, Nicki Minaj and Afrojack. Because she’s worked with so many different artists, hopping from genre to genre along the way, Rexha has often felt like a tricky artist to pin down. At times, her career arc has looked a little random: in 2017, she scored her biggest hit to date when she took an unexpected excursion into country-pop with Nashville duo Florida Georgia Line. Their ingratiating, laid-back love song Meant to Be has now amassed more than a billion Spotify streams.

Today, Rexha says Meant to Be’s enormous success caught everyone off guard. “I didn’t ask for that, I swear to God!” she hoots. “I wrote the song with the [Florida Georgia Line] guys for their album, but they didn’t wanna put it on their album because they didn’t believe in it.” So, recognising that the song had potential, Rexha decided to include it on her latest EP instead. “And then it fucking blows up!” she says with a laugh. “What am I gonna do, not put out a song that sounds like a hit? Do you know how many [potential] hit songs I probably have sitting on my computer because somebody didn’t believe in it?” Rexha says that before she recorded Me, Myself & I as a hip-hop track with G-Eazy, she had already made a “dancehall version” that she thought would blow up in the UK. However, at the time no one else seemed quite so excited about it. “So I had no choice,” she continues. “Well, not ‘no choice’, but I played it to G-Eazy without that [dancehall] beat because it would’ve thrown him off.” She says this kind of thing happens a lot. “It’s not always that people don’t believe in a song,” she says, “it’s that they’re not moving on it.”

No one could accuse Rexha of failing to move on her own career. Raised in Brooklyn and then Staten Island by her Albanian parents – her father emigrated to New York when he was 21; her mother was born in the US to an Albanian family – she displayed talent and pluck from a young age. As a kid, she taught herself to play the trumpet, guitar and piano, sang in school musicals and the choir, and began composing her own material. By the age of 15, she had been discovered by a talent scout and found herself in songwriting sessions with men three times her age. “They would kind of laugh at me,” Rexha recalled a few years ago. “I sucked at the time, but I was really driven.” This steeliness has stood her in good stead ever since. Initially she wasn’t credited as a featured artist on Hey Mama despite singing its chorus because the song already had two other featured artists on it: Nicki Minaj and Afrojack. After it blew up in 2015, Rexha kept fighting her corner and got her name added, too.

Released in 2018 after a trio of EPs, Rexha’s debut album Expectations did well, spawning the infectious take-me-as-I-am bop I’m a Mess. But Better Mistakes definitely feels like a step up: it’s more cohesive and better captures her tough, spunky personality. This shines through even on lighter moments like the hard-slapping single Sacrifice, which Rexha announced in February by tweeting: “I’m gonna give the gays everything they want on this one song.” Today, she says Sacrifice was partly inspired by her best friend, stylist Wilford Lenov, who is gay. “He’s like, ‘You always do dance songs with other people – they’re always collaborations. I need you to give me that gay anthem that I want and I need,'” she recalls. “So when I recorded Sacrifice, I was like, ‘I’m obsessed’, but I played it to Wilford first to get the OK. And he loved it.” After the song dropped, her LGBTQ fans were just as obsessed. “I got a lot of good vibes,” Rexha says. “Basically people were like, ‘Okay. You were not lying when you said that!'”

It’s hardly surprising that Rexha understood the assignment when she decided to “give the gays everything they want”; after all, she’s a member of the LGBTQ community herself. When she was asked in an interview last year why she hadn’t “defined” her sexuality, she replied: “I try to keep one thing personal to me. But I consider myself fluid. Until I find ‘the one,’ I can’t just say what I am. I just want to find someone I love and who loves me – and I don’t care if that’s a boy or a girl.”

What I believe about sexuality is this: it's a scale. Have I gone out with girls before? Yes. Have I dated girls? Yes, I have. And famous ones, but I'm not naming them. Even though people would be living for it – no!

Today, she is more than happy to expand on her fluidity – in fact, she answers questions that I don’t even ask. “What I believe about sexuality is this: it’s a scale,” she says. “Have I gone out with girls before? Yes. Have I dated girls? Yes, I have. And famous ones, but I’m not naming them. Even though people would be living for it – no!” We both laugh. “Have I fallen in love with a girl before? Yes,” she continues. “But right now, I’m in a relationship with a guy.”

Rexha says that for her, attraction is simply based on “whoever inspires me” at a particular time. “The only thing I will say,” she adds, “is that when I’m in a relationship with a girl, it’s just too emotional. The power… I personally cannot deal with that.” She says she fully understands why some people prefer to label themselves “gay”, “bi” or “straight”; but for her, understanding who she is drawn to romantically has been more of a journey. “It’s just so hard because everybody wants to put people in boxes and I don’t like boxes, as you can tell with my music,” she says. “Like, I don’t like boxes whatsoever.”

Rexha says she saw her music being embraced by LGBTQ fans even before she launched her solo career: the “emo gays” got her from the start. Before she signed her solo deal in 2013, Rexha spent two years as a member of Black Cards, Pete Wentz’s post-Fall Out Boy project, and cut her teeth on the punky Warped Tour. “I would sometimes spend three hours after the show at the merch table – even if people didn’t buy anything, I’d be talking to them and hugging them,” she recalls. “This was a long time before Covid, of course! But I can’t tell you how many people told me that they came out to their parents and got kicked out and saved up all their money to come to that tour.”

These coming out stories clearly had a lasting effect on Rexha. “I’ve had friends who had a relatively easy coming out – my best friend, he doesn’t give a fuck, everybody knew from the top [that he was gay] and didn’t even ask him,” she says. “But I’ve also had friends who tried to tell their parents and they didn’t really get it, and I can’t imagine what that is like.” She says her music’s ability to comfort queer fans came as a surprise. “Like, I didn’t realise my music could do that, that it actually could give people strength,” she says.

Rexha has given other fans strength by being open about her mental health journey. In April 2019, she revealed on Twitter that she has bipolar disorder. Today, she says it took “a minute” to figure out how to manage her condition, but believes she’s in a good place now. “I don’t wanna get into [specific] pills because I feel like that’s too personal,” she says. “But finally, I was able to get on some meds that really help me.” When I ask whether it felt good to go public about it in 2019, she resists giving a bland, pat answer. “Um… kind of,” Rexha says after a pause. “Because I feel like there’s still a lot of stigma behind it. I didn’t know if people were still gonna want to be my friend.” She says that in the past, she had a friend with a mental health condition and wasn’t as supportive as she could have been. “I kind of judged him a little bit, and I feel guilty about that now,” she admits. “It’s funny how the world works. But because of that, I was scared that people might judge me for it.”

She says she ultimately decided to share her diagnosis partly because it was freeing, and partly because she had drawn strength from learning that fellow singers Demi Lovato and Mariah Carey also have bipolar disorder. “Mariah is a fucking beast – she has written all of her own songs,” she says. “To be able to do that, and be so successful even though you have your issues or whatever, that is so inspiring.”

After spending some time with Rexha, it’s hard not to reach the conclusion that her candour, work ethic and commitment to being authentically herself is also pretty inspiring. Fittingly enough, when I ask what she wants people to think when they hear her name, she gives a one-word answer: “Unapologetic.”

Bebe Rexha’s new album Better Mistakes is available to stream and download from 7 May.

[anendofeverything]

Finnpoe Famous AU

Alternatively, the one where Poe is a popular musician and Finn is the actor hired to play his love interest in a music video

For @lucaslikesfish - I owe you so much for helping me while I worked on this!!!

POE DAMERON RELEASES NEW SINGLE + MUSIC VIDEO, ANNOUNCES TROUBADOUR SHOW

Poe Dameron was one of 2018’s biggest breakout stars with the release of his EP’s Millennium and Falcon, both of which followed a character named The Pilot. It was a fresh take on the singer-songwriter narrative, and Dameron’s rock-star swagger on stage helped the odd premise sell to the masses. 

2019 only saw a rise in popularity, supporting electro-pop band The Skywalkers on their UK tour and helping pen a number of songs on their sophomore album Force - which went straight to number one - including the first single from the album, Jakku, which features Dameron himself. In December he revealed in an Instagram post that he’d been working solidly on his debut album throughout the year, and announced it was set for release in March 2020.

“It’s called The Resistance,” he revealed, speaking to BBC Radio 1 DJ Annie Mac just before Christmas. “It’s a concept record, it’s the story I’ve wanted to tell for The Pilot since I came up with the character. Millennium and Falcon are his backstory, his origins - a prologue of sorts, I suppose. The Resistance is the real tale of the character.”

The same interview also gave listeners the world exclusive premiere of the first single from the album, Yavin 4, which Dameron said was originally intended to be on Falcon.

“I wrote everything that’s on Falcon while I was in Guatemala, which is my home country. Yavin 4 was very much inspired by my childhood, and in the context of the story it’s also about The Pilot’s early years as well. Sonically, though, it just didn’t fit with the rest of the EP.”

Yavin 4 marks a musical shift for Poe Dameron, more rock and roll, less folksy. The second single from the album, The Pilot, continues this shift into the rock genre, and the singer’s fans are clamoring for more (as are we).

And today’s the day.

The third single from The Resistance, titled FN-2187, and it’s music video dropped earlier today, and with it bring an unexpected element to the space opera narrative Dameron’s created - romance. Namely a romance between The Pilot - Dameron’s character - and FN-2187, a cyborg who saves The Pilot from being executed.

FN-2187 is being played by Finn Johnson, who starred as a British soldier, John, the lead character of last year’s post-World War Two drama For King and Country, which is nominated for two Oscars. Johnson announced on his Twitter that there was more to come from his time as the cyborg.

@finnfinnfinn: We actually shot two videos & there’ll be a third. You guys gotta bug @damneron_poe for details - I’ve been sworn to secrecy 👀👀👀

@damneron_poe: @finnfinnfinn who doesn’t love space gays??? 

Dameron also Tweeted that he’d be playing a show at the legendary Troubadour nightclub in West Hollywood on February 7th, a week before his first US headlining tour kicks off at the Whisky a Go Go on the Sunset Strip on Valentine’s Day with support from folk punk duo Fellow Pilots.

@damneron_poe: Excited to announce I’m playing @theTroubadour February 7th! Tickets on sale now!

@damneron_poe: Who’s coming to see me and @FellowPilotsBand on #TheResistanceTour next month? You might see @finnfinnfinn in costume.

The Resistance is set for release March 17th 2020

The Resistance Tracklist: Across the Stars (Intro) Yavin 4  The Pilot Rebel Alliance General Organa FN-2187 X-Wing (Interlude) Starkiller The First Order  Celestial  Final Mission  The Resistance Epilogue

Published January 24th 2020 by Rogue One Entertainment Magazine

[yescs2020]

apparently this list was blocked in Canada and Cuba and all it is is somebody’s opinion:   By Hannah Mylrea- 8th September 2020 “Every Taylor Swift song ranked in order of greatness She's one of the greatest pop stars in the world, and she's released the official lockdown album in 'Folklore'. But which is Tay's single best song of all time?” article with rankings starts here:

A few months ago Taylor Swift did something totally un-Swiftian, and surprise released her latest record ‘Folklore’. The indie-inspired album, which featured collaborations with Bon Iver and The National‘s Aaron Dessner, was remarkable and unexpected, and another example of the bold moves Swift has navigated throughout her career.

From the country of her early albums to the glittering synth-pop of ‘1989’ and experimental sounds of ‘Reputation’, this is an artist who’s constantly reinvented her sound. Yet at the core of it one thing remains: Swift’s sheer songwriting talent. It’s worth remembering that Taylor is the person who wrote ‘Love Story’ in 20minutes on her bedroom floor when she was only a teenager.

Now, almost a decade-and-a-half into her career, we look back on Swift’s glittering discography and rank every single one of her songs. That’s right: all 161 of ’em.

A few caveats to begin with – no officially unreleased songs have been included, nor songs that are “featuring Taylor Swift”. Anything written under a pseudonym has also been forgone (so her credit as Nils Sjöberg ‘This Is What You Came For’ isn’t given a look in). We have, however, included officially released cover songs – so that includes all of the Swifty renditions on the ‘Speak Now World Tour Live’ record and her bevvy of Christmas covers.

Additional words: El Hunt, Nick Reilly

161‘Christmases When You Were Mine’ (2007)

There’ve been a handful of Swift-does-Christmas moments over the years. Some are truly lovely – but this original tune from 2007 EP ‘The Taylor Swift Holiday Collection’ is not one of them.

160‘Superstar’ (2008)

A syrupy song about Swift fancying a celebrity, the puppy love of ‘Superstar’ is innocuous but bland.

159‘You Are in Love’ (2014)

A sweet bonus track from ‘1989’, it’s inoffensive but you can see why it was only bunged on the end of the deluxe edition of the album.

158‘White Christmas’ (2007)

This festive cover is absolutely fine – nothing more, nothing less.

157‘Silent Night’ (2007)

A cover of the classic Christmas carol, Swift well and truly puts her stamp on Franz Xaver Gruber’s song. Growing to a melodramatic finale, it’s an overblown rendition.

156‘Beautiful Ghosts’ (2019)

Written by Swift and musical theatre composer Andrew Lloyd Webber for last year’s film adaptation of Cats, this is a bit slushy. But, no, we wouldn’t say it’s a CAT-astrophe.

155‘Christmas Must Be Something More’ (2007)

Another festive tune: this time Swift questions the commercial nature of Christmas over rootin’ tootin’ country instrumentals, concluding that December 25th is actually about “the birthday boy who saved our lives”. Happy birthday JC!

154‘Umbrella’ (2008)

An acoustic cover from Swift’s ‘iTunes Live from SoHo’ EP. It’s nice, but little more to it.

153‘American Girl’ (2009)

A cover of the Tom Petty classic, you can’t deny it’s a beast of a song. But this slowed down rendition saps some of the energy out of it.

152‘Last Christmas’ (2007)

There’s plenty of Christmas joy in this cover, but it doesn’t have a patch on the Wham! classic.

151‘King of My Heart’ (2017)

This electro-pop moment has a sweet sentiment: that the extravagance of past relationships isn’t what Swift wants anymore, and now this new love interest could be The One (“Is this the end of all the endings? / My broken bones are mending”). But this soppiness is delivered over jittery instrumentation, which three years on already sounds dated.

150‘If This Was A Movie’ (2010)

A bonus track from ‘Speak Now’, ‘If This Was a Movie’ is frustratingly repetitive. With its droning guitar licks and dreary chorus, it stutters towards the finish line.

149‘Last Kiss’ (2010)

A plodding waltz from ‘Speak Now’. Fine, but by no means vintage Taylor.

148‘Santa Baby’ (2007)

A twee cover of the iconic Christmas song, it’s a sauceless version of the usually sultry festive bop.

147‘I Did Something Bad’ (2017)

A cavernous slab of EDM, this was basically Swift proving that she’s a good girl gone bad. The devilish lyrics are fun (“They say I did something bad / Then why’s it feel so good?”), the dubstep-laced hook of “Ra-di-di-di-di-di-di-di-di-di-da-da” less so.

146‘You’re Not Sorry’ (2008)

Imagine Swift doing Eurovision – this is what ‘You’re Not Sorry’ sounds like. Filled with melodramatic piano chords and overdone vocals, it’s a histrionic ballad that you can imagine accompanied with bombastic visuals and a ton of pyro.

145‘Girl At Home’ (2012)

The bubbling ‘Girl at Home’ fuses the driving country of ‘Red’ with bleeping 8-bit sounds, and is a sweet but bland tune.

144‘Come Back… Be Here’ (2012)

A weepy ballad where Swift reminisces over a lost love, this is uneventful – but fair play to Swift for managing to get “nonchalant” into a pop song.

143‘I Want You Back’ (2011)

A cover of The Jackson 5 taken from the from live album ‘Speak Now World Tour – Live’, this 90-second cover is short, sweet and absolutely fine.

142‘The Way I Loved You’ (2008)

A bit of a head-banging country moment, ‘The Way I Love You’ lacks the radio-ready hooks and megawatt moments of Swift’s other tunes.

141‘So It Goes…’ (2017)

An ethereal synth-pop moment laced with EDM and trap, this ‘Reputation’ cut is sleepy filler.

140‘Sweet Escape’ (2011)

This Gwen Stefani cover is deliciously entertaining, with Swift spitting out the tongue-twister pre-chorus of “Cause I’ve been acting like sour milk that fell on the floor / It’s your fault you didn’t shut the refrigerator” and almost nailing it. Taken from the Target DVD version of ‘Speak Now World Tour – Live’, is an intriguing rendition.

139‘This Is Why We Can’t Have Nice Things’ (2017)

This song was written as a response to the media after they criticised her decision to throw big parties for her pals and get them up on stage during the tour for ‘1989’ – things she considered “nice things”; a powerful sentiment, but an acquired taste.

138‘Haunted’ (2010)

Sounding like it should be accompanying a wild fantasy movie, with over-the-top strings and belted vocals, ‘Haunted’ feels like the younger sibling to Swift’s fairy-tale epics such as ‘Love Story’. They’re fine, but lack the nuance that some of her enchanting, happy ending filled romances boast.

137‘Long Live’ (2010)

A fairly pedestrian song from ‘Speak Now’, ‘Long Live’ is a fairly generic slice.

136‘Ours’ (2010)

With its muted acoustic instrumentals and mawkish lyrics, ‘Speak Now’ is sickly sweet.

135‘Breathe’ feat. Colbie Caillat (2008)

A sleepy, acoustic number that sees Swift teaming up with American singer-songwriter Colbie Caillat, it’s a largely forgettable tune taken from ‘Fearless’.

134‘Drops of Jupiter’ (2011)

Another cover from the ‘Speak Now’ live album, this rendition of Train’s 2001 hit ‘Drops of Jupiter’ is a stripped-back version of the bombastic pop rock song.

133‘…Ready for It?’ (2017)

This slab of industrial pop opens Swift’s ‘Reputation’. With its dubstep wubs, EDM beats and trappy instrumentals, this messy number feels like a tug of war between this collection of different genres.

132‘September’ (2018)

Earth, Wind & Fire, but make it Swifty! Recorded for the Spotify Singles series, this stripped back cover is lovely. Plus it features a typically Swiftian Easter egg, where she changes the opening line of “Do you remember the 21st night of September?” to the 28th night, a cute tribute to her anniversary with boyfriend Joe Alwyn.

131‘This Love’ (2014)

A weepy moment from ‘1989’, ‘This Love’ feels remarkably maudlin when nestled in-between the bevvy of synth-pop bops that Swift’s fifth album holds.

130‘A Place In This World’ (2006)

Written when she was just 13 years old, ‘A Place In This World’, it feels like a glimpse into a Swift’s secret diary. Opening with the wonderfully teenage: “I don’t know what I want, so don’t ask me”, it’s the musical equivalent of telling your mum that she just doesn’t understand you!

129‘Superman’ (2010)

If you were ever imagining what Taylor Swift covering McFly would sound like – this could be it. The cheesy ‘Speak Now’ bonus track is filled with adolescent lyrics (“I watch superman fly away / Come back, I’ll be with you someday”), and is topped off with a pop-punk tinged chorus.

128‘I Heart?’ (2008)

Taken from Swift’s second EP ‘Beautiful Eyes’ – one that was exclusively released in Walmart in the US – this is a lovely country bop.

127‘A Perfectly Good Heart’ (2006)

An absolutely fine slice of country-pop from TayTay’s first album. On ‘A Perfectly Good Heart’ Swift depicts her very first experience of heartbreak. It’s one of her earliest breakup ballads, but quasi-emotive couplets like “It’s not unbroken anymore / How do I get it back the way it was before?” fail to pack the emotional punch some of Swift’s later tunes do.

126‘Untouchable’ (2008)

This cover of rock band Luna Halo’s ‘Untouchable’ is sweet, but largely unexciting.

125‘Jump Then Fall’ (2008)

A bonus track taken from the platinum edition of ‘Fearless’. Swift herself has described the song as “really bouncy and happy and lovey”. It’s an accurate description, as the bouncing banjo-led number is sickly sweet, but lacks much depth.

124‘Sad Beautiful Tragic’ (2012)

A weeper taken from ‘Red’, this gloomy tune sees Swift reflect on a relationship that was a “sad, beautiful, tragic love affair”.

123‘Bette Davis Eyes’ (2011)

A song popularised by Californian singer-songwriter Kim Carnes in 1981, Taylor’s live cover of ‘Bette Davis Eyes’ is nice but innocuous.

122‘Breathless’ (2010)

A uninspired cover of American alt-rockers Better Than Ezra’s ‘Breathless’, Swift performed the tune for Hope for Haiti Now: A Global Benefit for Earthquake Relief in 2010 (with her version later appearing on live album ‘Hope for Haiti Now’).

121‘Look What You Made Me Do’ (2017)

It’s only TayTay sampling Right Said Fred’s ‘I’m Too Sexy’! The bolshy ‘Reputation’ lead single  saw Swift giving a massive middle-finger up to the haters, and accompanied her comeback after a year-long hiatus. It impact was huge at the time, but in the meantime ‘Look What You Made Me Do’ feels like a bit of a mis-step.

120‘Crazier’ (2009)

It appeared on the soundtrack for ‘Hannah Montana: The Movie’, and critics said it was the best song in the film. Bad luck, Miley.

119‘Eyes Open’ (2012)

From the soundtrack to The Hunger Games, ‘Eyes Open’ sees Swift go stadium rock. Too bad hair-whipping number’s repetitive chorus begins to grate.

118‘Nashville’ (2011)

A cover of Nashville-based singer-songwriter David Mead’s ‘Nashville’, this cover (taken from the Target exclusive version ‘Speak Now World Tour – Live’; yes, we’re really into the deep-cuts here) is pretty impassioned .

117‘Invisible’ (2006)

On this lacklustre cut from Swift’s eponymous debut album ‘Invisible’, she laments feeling invisible to the boy she fancies. It’s a bleak sentiment, and the emotive instrumentals in ‘Invisible’ mimic this.

116‘Hoax’ (2020)

The least memorable moment from the fantastic ‘Folklore’, this slow, waltzing tune is inoffensive, but lacks excitement.

115‘London Boy’ (2019)

The lyrics to this ‘Lover’ cut are wild. On ‘London Boy’ Swift proudly asserts her love for the nation’s capital, listing her fave places (including Brixton, Shoreditch, Highgate and for some God-forsaken reason “walking Camden Market in the afternoon”). With a bizarre spoken word intro from James Corden and Idris Elba, it’s cringe and weirdly entertaining in equal measures.

114‘Wonderland’ (2014)

It’s Swift does EDM, and it’s total chaos (albeit with a chorus that’ll be frustratingly caught in your head for weeks on end).

113‘Tied Together with a Smile’ (2006)

A bonus track from the debut album, ‘Tied Together With a Smile’ was written the day Swift found out one of her best mates was bulimic. An early indicator of Swift’s impressive turn of phrase (“And you’re tied together with a smile / But you’re coming undone”), it’s a lovely country moment.

112‘Beautiful Eyes’ (2008)

The title track from Swift’s EP of the same name, ‘Beautiful Eyes’ is an underrated stomper from TayTay’s extended discography.

111‘This Is Me Trying’ (2020)

A slow-burner from ‘Folklore’, this soft ballad sees Swift grapple with accepting blame for a crumbling relationship.

110‘My Tears Ricochet’ (2020)

This Jack Antonoff produced tune from ‘Folklore’ is about an “embittered tormentor showing up at the funeral of his fallen object of obsession.” Although fairly unremarkable, it does include the brilliantly Swiftian put-down: “And if I’m dead to you, why are you at the wake?” Ooft.

109‘Me!’ feat. Brendon Urie of Panic! at the Disco (2019)

A saccharine collaboration with Panic! at the Disco’s Brendon Urie, this semi-irritating (and unbearably catchy) tune is an absolutely fine single from Miss Swift. Although it gained several places in our ranking after Swift removed the “Spelling is fun!” lyric.

108‘Come In With the Rain’ (2008)

‘Come In With The Rain’ sees Taylor showing off the country-pop that defined her early years. It’s a nostalgic snapshot at Taylor’s life before world domination became the main priority. NR

107‘Cold As You’ (2006)

As Shakespeare once wrote in ‘Sonnet 18’ – “Shall I compare thee to a summer’s day?” If it’s Tay Tay you’re asking, then absolutely not. Instead, this break-up ballad compares thee to a grey, dreary and completely sodden wash-out of a day. EH

106‘Never Grow Up’ (2010)

Taken from ‘Speak Now’, this ballad moment peers out into a dimly lit crowd, and sees Swift dealing out her best life advice for younger fans in particular. “I look out into a crowd every night and I see a lot of girls that are my age and going through exactly the same things as I’m going through,” she’s said. “Every once in a while I look down and I see a little girl who is seven or eight, and I wish I could tell her all of this. There she is becoming who she is going to be and forming her thoughts and dreams and opinions. I wrote this song for those little girls.” EH

105‘Bad Blood’ feat. Kendrick Lamar (2017)

This Kendrick Lamar-featuring cut would have been right at home on Taylor Swift’s villainous ‘Reputation’ – a record on which she embraced her false depictions in the media, and ran with them. Instead, though, it felt like an outlier on ‘1989’. Swift herself said that it’s a song about a friendship with a fellow pop star that turned sour: “She basically tried to sabotage an entire arena tour,” she told Rolling Stone. “She tried to hire a bunch of people out from under me.” EH

104‘Afterglow’ (2019)

It’s a crying shame that the track fails to live up to its title. There’s little that live longs in the memory about this drum-driven number from ‘Lover’. NR

103‘The Other Side of the Door’ (2008)

A slightly slept-on fan favourite, ‘The Other Side of the Door’ features a deliciously dramatic guitar solo and even more melodrama. Like so: “I said, ‘leave’, but all I really want is you to stand outside my window throwing pebbles screaming ‘I’m in love with you’’. Exquisite. EH

102‘Soon You’ll Get Better’ feat. the Chicks (2019)

Featuring country music icons The Chicks, ‘Soon You’ll Get Better’ is one of Swift’s most personal songs; both of her parents have had cancer, and this year the singer confirmed that her mother Andrea has been diagnosed with a brain tumour. It’s a difficult listen precisely because it’s so incredibly honest. “I hate to make this all about me but who am I supposed to talk to?” she asks. “What am I supposed to do if there’s no you?” EH

101‘Miss Americana & the Heartbreak Prince’ (2019)

A slow burning, electro-pop moment that’s meant for soundtracking a moody walk to the shops in the rain.

100‘Ronan’ (2012)

One of Swift’s most affecting ballads, this song pieces together quotes from a blog by a mother named Maya Thompson, who wrote about her journey with four-year-old son Ronan, who died from a rare cancer called neuroblastoma in 2011. Swift credited his mum as a co-writer and donated all the proceeds to charity. EH

99‘Stay Beautiful’ (2006)

This twanging debut cut is dedicated to the high school crush that Swifty never worked up the courage to ask out; and by the time he moved away, it was too late. “After hearing my songs, a lot of people ask me, `How many boyfriends have you had?’” she said of the song. “And I always tell them that more of my songs come from observation than actual experience. In other words, you don’t have to date someone to write a song about them. This is a song I wrote about a guy I never dated!” EH

98‘Tell Me Why’ (2008)

Despite including the brilliantly searing take-down of “You could write a book on how to ruin someone’s perfect day” this up-tempo bop is errs on the side of humdrum.

97‘The Outside’ (2006)

One of the first songs Swift ever wrote, ‘The Outside’ speaks to the feeling of being a misfit growing up: “So how can I ever try to be better?”  she asks, “Nobody ever lets me in”. EH

96‘Getaway Car’ (2017)

This banger from ‘Reputation’ references novelist Charles Dickens, epic war film The Great Escape, a runaway Bonnie and Clyde and even various meta details from Swift’s own romantic life. EH

95‘Mirrorball’ (2020)

In her candid 2020 documentary Miss Americana, Taylor Swift speaks about the struggle of your every move being followed by an audience and remarks that many women, particularly in pop, are “discarded in an elephant graveyard by the time they’re 35.” Broadly, this is what ‘Mirrorball’ seems to be about; balancing her skill for performing with the huge pressure of constant reinvention. “All I do is try, try, try I’m still on that trapeze,” she says, “I’m still trying everything, to keep you looking at me””. EH

94‘Change’ (2008)

Delivered as an official anthem for the 2008 US Olympic Team, here’s a track that sees Swift exploring the idea of overcoming adversity on the road to success. It’s easy to be cynical about it all, but it gave Swift her first US top 10, so maybe that message got through after all. NR

93‘Innocent’ (2010)

Sometimes the best revenge is to take the moral high ground. And performing at the MTV VMAs – where Kanye West infamously snatched the mic from Taylor Swift mid-acceptance speech – Swift appeared to get hers by playing ‘Innocent’. “You’re 32 and still growing up now,” she sings. Guess how old West was when he declared “I’mma let you finish, but…” Yep. EH

92‘Begin Again’ (2012)

Marking one of ‘Red’’s more pointed returns to her country roots, ‘Begin Again is, according to Swift, “about when you’ve gotten through a really bad relationship and you finally dust yourself off and go on that first date after a horrible breakup, and the vulnerability that goes along with all that”. EH

91‘I Know Places’ (2014)

Ahead of making ‘1989’ Swift long harboured ambitions of working with Ryan Tedder – most recognisable as the lead vocalist of One Republic and record producer for everyone from Adele to Lady Gaga. And their eventual collaboration came about on ‘I Know Places’ – a song that explores falling in love amid high pressure fame, and finding places to outrun the cameras. EH

90‘The Lucky One’ (2012)

Speculation orbits around ‘The Lucky One’ – which dissects the more taxing sides of fame that people don’t speak about. “Now it’s big black cars, and Riviera views, and your lover in the foyer doesn’t even know you,” Swift sings, “and your secrets end up splashed on the news front page”. Fans reckon it’s about everyone from Joni Mitchell and Shania Twain to Kim Wilde. Possibly, it could also be a reflection of Swift’s future fears. EH

89‘You Need to Calm Down’ (2019)

Delivering an effective riposte to endless streams of internet trolls can often prove to be the toughest of tasks. It’s testament to Swift then, that she managed to deliver a swift fuck you, all packaged up in the shape of a bonafide banger. Bow down. NR

88‘How You Get the Girl’ (2014)

The 10th track from ‘1989’ is like the less sabotage-hungry answer to Robyn’s ‘Call Your Girlfriend’ – here, Taylor’s full with useful tips for winning an ex back after an unwise dumping. She’s even got a script ready. “And then you say: “I want you for worse or for better, I would wait forever and ever,” she sings, “broke your heart / I’ll put it back together.” EH

87‘New Year’s Day’ (2017)

The groggy clear up that takes place after a raucous New Year’s house party has never sounded so idyllic – despite the fact their entire floor is splattered with glitter and stale old beer spilling out of half-empty bottles, Swift’s just happy to have a worthy clean-up buddy. “I want your midnights,” she sings, “but I’ll be cleaning up bottles with you on New Year’s Day” Sometimes those small, mundane moments are just as romantic. EH

86‘Dress’ (2017)

By a mile the steamiest cut from ‘Reputation’, this slinking song details the pang of secret lust in breathy falsetto. “Carve your name into my bedpost, ‘cause I don’t want you like a best friend,” Swifty pleads. “Only bought this dress so you could take it off.” Get it, girl! EH

85‘Mary’s Song (Oh My My My)’ (2006)

This debut album cut is archetypal vintage Swift, drawing on the people around her for storytelling material. Twanging and country-pop, ‘Mary’s Song (Oh My My My)’ borrows Swift’s next door neighbour – and her long, rock-solid marriage – as a protagonist. “I’ll be 87, you’ll be 89,” she sings wistfully, “I’ll still look at you like the stars that shine in the sky.” EH

84‘Christmas Tree Farm’ (2019)

Sure, it’s cheesier than an explosion at the Kraft factory, but this track sees Taylor successfully using the festive season to look back on her own childhood (she grew up on a Christmas tree farm). Christmas is now Swiftmas. NR

83‘Everything Has Changed’ feat. Ed Sheeran (2012)

Warm, fuzzy, and firmly hanging onto its rose-tinted glasses, this collaboration from ‘Red’ has a cutesy video to match, featuring miniature child versions of the pop stars. EH

82‘Should’ve Said No’ (2006)

“It’s strange to think the songs we used to sing, the smiles, the flowers, everything is gone; yesterday I found out about you,” sings Swift in the opening lines of this debut album cut – which exposes a boyfriend for cheating, and proceeds to rip him apart atop country-rock guitars and a ripper of a string solo. EH

81‘The Last Time’ feat. Gary Lightbody (2012)

On this intensely catchy anthem from ‘Red’, Swift teams up with none other than gruff-vocaled Gary Lightbody from Snow Patrol – lighters in the air, everyone. EH

80‘Starlight’ (2012)

This ‘Red’ cut sees Swift transporting back to the 1940s – inspired by a photo of two loved-up teenagers dancing together. The teenagers in the photograph were actually US senator Bobby Kennedy and his future wife Ethel, and ‘Starlight’ imagines their adventures early on. “I ended up meeting Ethel and going and playing it for her,” she wrote of the song, “and she just loved it,”. EH

79‘The Best Day’ (2009)

R’The Best Day’ is one of Swift’s earliest odes to her mother Andrea. Recalling her happy childhood, it’s a sweet, if somewhat cloying look at the early years of the planet’s biggest pop star. NR

78‘I’m Only Me When I’m With You’ (2006)

Easily one of the more head-banging moments of Swift’s debut – with the hardest slapping violin solo of 2006 – ‘I’m Only Me When I’m with You’ is dedicated to the singer’s best mate Abigail Anderson, who also features in the video. EH

77‘It’s Nice to Have a Friend’ (2019

A minimal intermingling of steel drums and choral backing vocals, ‘It’s Nice to Have a Friend’ arrives near the end of Swift’s ‘Lover’ – and also features some snow-tinted nostalgia, and slightly rogue but highly enjoyable brass solo. EH

76‘The Moment I Knew’ (2012)

Nine years ago, Taylor Swift had a right stinker of a 21st birthday – her ex boyfriend never showed, and left her sobbing beneath the Christmas lights (her birthday is on the 13th December). Still, at least it inspired this deluxe edition ‘Red’ song. EH

75‘Paper Rings’ (2019)

This fidgety cut from ‘Lover’ is Swifty’s big jitterbug moment – singing about her current boyfriend Joe Alwyn, she declares that she’s willing to chuck aside all her magpie tendencies just to be with him. “I like shiny things, but I’d marry you with paper rings,” she sings. Loved up – and thrifty! EH

74‘Only The Young’ (2020)

‘Only The Young’ saw Taylor truly nailing her political colours to the mast for the first time. Tackling gun violence and providing a message of hope for the next generation, Taylor emerged as the activist we all need right now. NR

73‘Treacherous’ (2012)

One of the quieter moments from ‘Red’, ‘Treacherous’ eventually grows to a subtle roar, and details a pairing that’s gradually unravelling like a ball of twine. “All we are is skin and bone, trained to get along / Forever going with the flow,” she sings, “but you’re friction”. EH

72‘Better Than Revenge’ (201)

Across Taylor Swift’s entire back catalogue, ‘Better than Revenge’ is perhaps best suited to soundtracking an angsty high school drama; think along the lines of 10 Things I Hate About You. It has its fair share of cutting one-liners, too. Case in point: “no amount of vintage dresses gives you dignity”. Burn. EH

71‘I Wish You Would’ (2014)

Co-written with frequent collaborator Jack Antonoff, ‘I Wish You Would’ started with a guitar line Antonoff sent to Swift during her Red tour – and it eventually evolved into this slightly Haim-ish pop juggernaut. Lyrically, it tells the story of a heartbroken protagonist who watches her window in the middle of the night and notices that headlights keep flickering past at the same time. “It’s two AM, here we are,” she sings for the big reveal, “I see your face, hear my voice in the dark.” EH

70‘Stay Stay Stay’ (2012)

If there’s anyone who specialises in nailing the many sides of romance, it’s Tay Tay – case in point, ‘Stay Stay Stay’. The song’s placed immediately after the defiant break-up anthem ‘We Are Never Getting Back Together’ on ‘Red’ – and in many ways, it’s that song’s foil. Atop chronically catchy ukulele, she details a more generous kind of love that’s still worth fighting for. EH

69‘Sweeter Than Fiction’ (2013)

Taken from the soundtrack for the movie One Chance, this John Hughes-channelling tune is a new-wave belter that forecast the shimmering synth-pop of Swift’s fifth album ‘1989’.

68‘False God’ (2019)

A sultry, R&B ballad filled with religious imagery and trap beats, ‘False God’ finds Swift all grown up.

67‘Don’t Blame Me’ (2017)

This thundering, foot-stomping, fist-pumping moment from ‘Reputation’ will make you want to set fire to your ex’s car (in the best possible way).

66‘August’ (2020)

This Jack Antonoff co-write from ‘Folklore’ is a melancholic dream-pop ballad. Part of a trio of songs that Swift has dubbed the Teenage Love Triangle, ‘August’ is the tune that comes from the point of view of the other woman, telling the story of forbidden love.

65‘The Lakes’ (2020)

The ethereal ‘Folklore’ bonus track sees TayTay channel the Lake Poets in a romantic number about love, resilience and the Lake District.

64‘Daylight’ (2019)

The lovely final song on ‘Lover’ is wistful number about healing, hope and healthy new relationships.

63‘Welcome to New York’ (2014)

The opening track on ‘1989’, ‘Welcome to New York’ ushers you into the sleek synth-pop world of Swift’s fifth album. With its bouncing bassline and hand-clapped beats, it’s a bombastic tribute to the Big Apple.

62‘I Forgot That You Existed’ (2019)

There comes a moment while growing up when you just stop caring about what everybody else thinks of you. The fizzing opening track on ‘Lover’ celebrates this, with TayTay rejoicing in the peace and quiet brought on by not giving a shit about the haters.

61‘Hey Stephen’ (2008)

‘Hey Stephen’ is the stuff of gooey rom-coms. “‘Cause I can’t help it if you look like an angel,” Swift sings over warm instrumentation, “can’t help it if I wanna kiss you in the rain”. It’s wonderfully schmaltzy stuff, and comes with a chorus you’ll sing full belt after a Tinder-date-gone-right – just don’t let the date hear you.

60‘I Almost Do’ (2012)

‘I Almost Do’, Swift’s explained, is “about the conflict that you feel when you want to take someone back, and you want to give it another try, but you know you can’t”. Exploring the internal battle between moving forward and looking back, the poignant ballad fuses country-pop with soft-rock, and the result is a brutally honest and quietly powerful song.

59‘I Think He Knows’ (2019)

This sharp-edged, upbeat moment from ‘Lover’ would have stood up well as a single – charting those early will-they-won’t-they moments complete with suggestive sighs. EH

58‘Mad Woman’ (2020)

This ‘Folklore’ track skewers the sexist trope of angry women being branded hysterical. “Every time you call me crazy, I get more crazy,” she claps back, rising to the challenge, “what about that?” EH

57‘Peace’ (2020)

Like much of ‘Folklore’, the sparse ‘Peace’ ponders how much life has changed, and celebrates a partnership strong enough to withstand the soaring highs and painful lows alike. EH

56‘Picture to Burn’ (2006)

Peak debut album angst, ‘Picture to Burn’ is jam-packed with sizzlingly mean one liners. Case in point: “I hate that stupid old pickup truck you never let me drive / You’re a redneck heartbreak who’s really bad at lying”. EH

55‘Fearless’ (2008)

Taylor Swift wrote the title track for her second album while touring her self-titled debut – whisked away from everyday life, the song muses on the perfect rainy first date. “I wanna ask you to dance right there, in the middle of the parking lot,” she says. EH

54‘Seven’ (2020)

Chiming and reflective, this string-adorned ‘Folklore’ track sees Swift hark back to childhood: “please picture me in the trees,” goes the opening line, throwing back to the Pennsylvanian Christmas tree farm where she grew up. It’s a snapshot of being young and carefree while real life gradually creeps into the picture – the song appears to be addressed to a friend who had a difficult upbringing. EH

53‘Call It What You Want’ (2017)

As far as years go, Taylor Swift’s 2016 was relatively tumultuous, featuring the whole ‘Famous’ lyrics debacle feud with Kanye West and Kim Kardashian and two very public break-ups. ‘Call It What You Want’ appears to address the singer weathering that particular series of storms, and finding quiet contentment with partner Joe Alwyn. “Call it what you want,” sings a smitten Swifty: she doesn’t care what people think any more. EH

52‘Death By A Thousand Cuts’ (2019)

Apparently inspired by the 2019 film Someone Great (which in part took influence from Swift’s ‘1989’ closer ‘Clean’) this upbeat track from ‘Lover’ seems to get inside the head of the film’s music journalist protagonist right before she flees heartbreak to another city. “I ask the traffic lights if it’ll be alright,” Swift sings, “they say, “I don’t know”. EH

51‘Dear John’ (2010)

Is ‘Dear John’ about Taylor Swift’s short-lived relationship with the musician John Mayer? Well – John Mayer certainly thinks so: he told Rolling Stone he was “humiliated” by the song, and added that “it was a really lousy thing for her to do.”  Tay Tay remained tight-lipped “How presumptuous!” she told New York Daily News. EH

50‘End Game’ feat. Ed Sheeran and Future (2017)

Taylor’s own homage to the R&B-laced slow jam, ‘End Game’ is less spiky than the rest of ‘Reputation’ – instead Swift muses on wanting her relationship to last forever, while Ed Sheeran and Future chip in with punny takes on reputations that precede them. EH

49‘White Horse’ (2008)

The dual-Grammy winning ‘White Horse’ is wonderfully understated moment. Filled with romantic, fairy-tale imagery, it’s run through a realist filter that makes it like the older, more sceptical sister to ‘Love Story’. It’s one of the best Swift heart-break ballads.

48‘Epiphany’ (2020)

The warm, unpretentious ‘Epiphany’ is an exquisite ‘Folklore’ song. Filled with powerful instrumentals that could have fallen off the latest Bon Iver record and Aaron Dessner’s glittering production, it sees Swift go full-on indie.

47‘The Archer’ (2019)

The minimalist The Archer is a meditative moment from ‘Lover’. Filled with ambient synths and soft instrumentals, as Swift discloses her own insecurities in a remarkably vulnerable way.

46‘Holy Ground’ (2012)

This galloping soft-rock moment celebrates whirlwind romances, and comes with a chorus perfect for shouting along to on road trips.

45‘I Don’t Wanna Live Forever’ with Zayn Malik (2017)

Look, it might have come from the soundtrack to the Fifty Shades of Grey sequel; but that doesn’t mean that Taylor’s collab with ex-1D member Zayn isn’t a bit of a banger. All sensual electro-pop and breathless vocals, this sultry number deserved better than the film it was soundtracking.

44‘Betty’ (2020)

This swaying folk-rock tune tells the tale of a cheating boyfriend trying to apologise for his indiscretions is a highlight of ‘Folklore’. With its woozy harmonica riffs and chiming vocals, it’s a beaut.

43‘All You Had to Do Was Stay’ (2014)

A sweltering synth-pop banger that comes off like Carly Rae Jepsen’s ‘Emotion’ meets Lorde’s ‘Melodrama’.

42‘Fifteen’ (2008)

‘Fifteen’ is one of Swift’s greatest ever songwriting moments. The cautionary tale of young love it as a country epic – complete with the utterly shattering line “Abigail gave everything she had to a boy / Who changed his mind and we both cried”.

41‘Back To December’ (2010)

‘Back To December’ is a musical apology, with Swift explaining that she decided to write it as “sometimes you learn a lesson too late and at that point you need to apologise because you were careless,”. With an accompanying orchestra and grandiose instrumentals, it’s unflinching and honest, with Swift taking responsibility and asking for forgiveness after a breakup.

40‘Cornelia Street’ (2019)

A highlight from ‘Lover’, ‘Cornelia Street’ is a dazzling tune that’s made even more powerful in this acoustic version performed in Paris last year.

39‘Safe & Sound’ (2012)

Before Swift took a trip to a metaphorical cabin in the woods for recent album ‘Folklore’, she dabbled in writing indie-folk tunes with ‘Safe & Sound’. Taken from the soundtrack to The Hunger Games, this pretty, stripped-back track is enthralling.

38‘Red’ (2012)

The hair-whipping, chorus-screaming title track of Swift’s fourth album is an adrenaline-charged ride.

37‘Gorgeous’ (2017)

‘Gorgeous’ is about having your head turned. It’s about seeing somebody who is so unbelievably hot that you develop a massive crush, existing partner be damned. It’s the perfect song to soundtrack a particularly juicy episode of Love Island and comes with a killer chorus to-boot.

36‘Today Was A Fairytale’ (2010)

Written for the soundtrack to 2010 film Valentine’s Day, this song was one of the only redeeming moments of the trite rom-com. A classically Swiftian country ballad stuffed full of romantic lyrics, it’s lovely.

35‘Forever & Always’ (2008)

On ‘Forever & Always’ Swift manages to evoke the crushing feeling of a crumbling relationship in under four minutes, but no couplet cuts as deep as the utterly millennial “And I stare at the phone, he still hasn’t called / And then you feel so low you can’t feel nothing at all”.

34‘The Story of Us’ (2010)

Swift was inspired to write ‘The Story of Us’ after running into an ex at an event and both of them trying to ignore the other. A break-neck tune, it’s a catchy nugget of country-pop.

33‘New Romantics’ (2014)

‘New Romantics’ was done dirty. The stomping synth-pop knockout was relegated to bonus track on ‘1989’, when it deserved pride of place. Hell, it should have even been a single! The sparkling success is pure euphoria.

32‘Dancing with Our Hands Tied’ (2017)

This electronic, beat-heavy song from ‘Reputation’ is basically as close as we’ve ever come to a Swiftie club remix.

31‘Invisible String’ (2020)

Filled with unusual turn of phrase (“Green was the colour of the grass / Where I used to read at Centennial Park“), ‘Invisible String’ is a sweet ode to Swift’s past relationships, and how they lead her to where she currently is.

30‘Illicit Affairs’ (2020)

Taken from Swift’s most recent record ‘Folklore’, ‘Illicit Affairs’ is a heart-wrenching story of complicated infidelity. Over scintillating stripped back production courtesy of Jack Antonoff, Swift manages to spin a whole tale of secret meetings, lies and clandestine romance, and the emotional impacts it can have.

29‘Tim McGraw’ (2006)

Swift’s debut single ‘Tim McGraw’ isn’t actually about country legend Tim McGraw, but instead about a boyfriend she had whilst at school who was a senior. In it, she warmly reminisces on their past relationship, with Swift knowing he was going to break up with her when he headed off to uni. It’s pretty emotionally astute stuff for the then-teenage songwriter.

28‘Mean’ (2010)

The dual-Grammy winning celebration of self-empowerment sees Swift slamming bullies over joyous banjo strums, reminding them that: “Someday, I’ll be living in a big old city / And all you’re ever gonna be is mean”.

27’22’ (2014)

Before ’22’ nobody cared when you celebrated your 22nd birthday – but then along came this gargantuan cut of bubble-gum pop, and somehow Swift turned it into a milestone.

26‘Sparks Fly’ (2010)

Swift wrote ‘Sparks Fly’ when she was only 16 years old, when she performed at small bar shows back in the late noughties. A video of one of these SHOWS made it onto the internet and fans started to request she released it. This lead to her reworking it for her third album of the same name, with euphoric results.

25‘Wildest Dreams’ (2014)

Channelling her inner Lana Del Rey, this breathless ‘1989’ moment is a synth-pop beauty.

24‘Speak Now’ (2010

‘Speak Now’ features some of Swift’s most vibrant storytelling. With lyrics that detail a wedding, giving you the full picture of the snotty bride “dressed in a gown shaped like a pastry” and how the groom’s marrying the wrong girl, it’s a brilliantly intricate story.

23‘The Man’ (2019)

A searing take-down of sexist double standards wrapped up in a synth-pop bow, ‘The Man’ sees Swift getting seriously feminist.

22‘You Belong With Me’ (2008)

A country-pop thumper from Swift’s second album ‘Fearless’, Swift was inspired to write ‘You Belong With Me’ after hearing a friend arguing with his girlfriend on the phone. Rotten for him – but we got this catchy number out of it.

21‘Enchanted’ (2010)

‘Enchanted’ is one of Taylor’s most underrated songs. A fairy-tale epic that acts as an elder sibling to ‘Love Story’, it captures the dizzy infatuation of a new romance, with huge swooning instrumentals and a heartfelt chorus.

20‘Exile’ feat. Bon Iver (2020)

2020’s been a strange year and brought with it a ton of surprises – one of these being Taylor Swift’s eighth album, and another that she managed to wrangle Bon Iver’s Justin Vernon for a guest appearance on the cinematic ‘Exile’. The gorgeous duet sees the two singers singing over each other, as the two portray ex-lovers seeing each other after a breakup. It’s an emotive cut, and one of Swift’s most impressive collaborations.

19‘Our Song’ (2006)

Taylor wrote ‘Our Song’ as she needed something to perform at her high school talent show. Built around a jangling banjo riff, with bouncing vocals which see Swift dissect how her and the lad she was dating didn’t have a song, it went down such a treat with her classmates that she stuck it on her debut album. With its enthralling lyrics, that paint a vivid picture of the young couple, it was an early indicator of Swift’s songwriting capabilities.

18‘Shake It Off’ (2014)

There’s no two ways about it: ‘Shake It Off’ is a stone-cold smash. It’s got bolshy brass, several hooks that are catchier than a rash and Tay Tay even does a rap. The uptempo tune ushered in Swift’s sixth album ‘1989’, paving the way for her new era of pop belters – but none of them slapped quite this hard.

17‘Teardrops On My Guitar’ (2007)

Swift’s breakthrough single, ‘Teardrops on My Guitar’ is pure country-crossover star. With its soft guitars, and Swift’s early earnestness, unrequited love has never sounded so good.

16‘Clean’ (2014)

‘Clean’, the Imogen Heap co-written closer to ‘1989’, is an understated moment of clarity. It’s the feeling when you’ve started to move on with your life post-breakup and you realise you haven’t thought about your ex for several weeks, and when you do, you don’t want to key their car. With chiming soft-rock instrumentals, and gorgeous layered vocals, it’s an unfussy song that’s filled with Swift’s impressive turn of phrase, including the particularly devastating: “Ten months sober, I must admit/Just because you’re clean, don’t mean you don’t miss it”.

15‘We Are Never Ever Getting Back Together’ (2012)

There’s a lot of reasons that Swift’s Billboard Hot 100 topping, Grammy-nominated ‘We Are Never Ever Getting Back Together’ is excellent. There are the snarky lyrics, the ear-worm guitar riff and the megalithic chorus. But perhaps the best moment in the entire song is the delicious spoken word interlude in the middle-eight, where Swift deadpans: “Ugh, so he calls me up and he’s like, “I still love you” / And I’m like… I mean, this is exhausting, you know?/ Like, we are never getting back together – like, ever.” Wickedly savage.

14‘I Knew You Were Trouble’ (2012)

Back in 2012 things were different. David Cameron was still Prime Minster; Corona was only a type of beer and Taylor Swift experimented with dubstep. ‘I Knew You Were Trouble’ was a bold step for Swift, marking a departure from her trademark country crossover songs, but somehow the genre-melding smasher just works. From the icy kiss-off lyrics that raise a middle finger to fuck-boys everywhere to the thumping dub bass, it’s Swift’s most brilliantly bombastic release.

13‘The 1’ (2020)

“I’m doing good, I’m on some new shit” Taylor begins on ‘The 1’. It’s a punchy way to begin a song, let alone ‘Folklore’. The new shit could be Swift accepting her past fights over her discography, or the indie-folk direction she took for her most recent album. But whatever “new shit” TayTay is on, if it means she makes songs as good as this, we back it.

12‘Lover’ (2019)

The slow-dancing title track of Swift’s seventh album is a celebration of being smugly, head-over-heels in love. Ready-made for waltzing at a wedding, this enchanting, romantic tune is a sepia-tinged dream.

11‘Mine’ (2010)

The lead single from ‘Speak Now’ is pure Swift. In under four minutes Swift manages to spin an expansive story of a girl who’s parents’ broken marriage caused her to put up walls and avoid putting themselves out there – who gradually falls in love and has to deal with the fear of something potentially going wrong. It’s a country-pop epic, with more of a narrative in each verse than an entire Nicholas Sparks novel.

10‘Delicate’ (2019)

This vocoded beauty was a highlight of ‘Reputation’. Whilst the bulk of Swift’s seventh album was bold and brash, ‘Delicate’ offered a gorgeous moment of vulnerability. From the exposed opening (“This ain’t for the best / My reputation’s never been worse, so /You must like me for me…”) to the lush instrumentals that mesh the woozy vocals with tropical twinkles and slinky house beats, ‘Delicate’ is dazzling.

9‘Style’ (2014)

This slice of ’80s pop from ‘1989’ embodies the change in Swift’s sound for her fifth album. Filled with chugging synths, strutting guitar licks and glittering production, it’s an effervescent, hook-laden nugget filled with sleek electronics that dissects an unhealthy on-again off-again relationship (that “never goes out of style”). It’s Swift at her best: clever lyrics? Check! Earworm melodies? Check! A chorus that you want to sing at the top of your lungs? You bet.

8‘State of Grace’ (2012)

Ever wondered what Swift singing a massive arena-rock song would sound like? Well, just listen to ‘State of Grace’ and you’ll find out. The huge, U2-flecked opener to ‘Red’ is filled with guitar reverb and vocals that are meant to be screamed back by a stadium full of fans.

7‘Out Of The Woods’ (2014)

With shimmering indie-tronica-laced production and its anthemic, exhilarating chorus, ‘Out of the Woods’ is another belter from ‘1989’. Written about a high-profile relationship that was cut short due to fear of the media’s reaction to it (Swift explained it “that song touches on a huge sense of anxiety that was, kind of, coursing through that particular relationship”), it’s a breathless, honest depiction of a lost relationship; and one of Swift’s greatest triumphs.

6‘Cruel Summer’ (2019)

‘Cruel Summer’ should have been a single. It could have been the lead single. We all know it’s true; yet it was cast aside for the likes of ‘Me!’ and ‘You Need to Calm Down’. A standout moment on Swift’s seventh album ‘Lover’, this synth-pop bop was co-written with indie legend St Vincent and Jack Antonoff.

It was written about “the feeling of a summer romance, and how often times a summer romance can be layered with all these feelings of pining away and sometimes even secrecy”. Swift recounts the feelings of anxiety and uncertainty that plague a new relationship; before revealing her feelings and finding them reciprocated: “And I scream, ‘For whatever it’s worth/I love you, ain’t that the worst thing you ever heard?’”

It’s the musical version of a perfect romantic comedy ending, complete with a chorus perfect for riding off into the sunset on a lawnmower a la Can’t Buy Me Love.

5‘Love Story’ (2008)

What would you do with a spare 20 minutes? Watch an episode of Friends? Aimlessly scroll through Instagram? Well, if you’re Taylor Swift, you can use that time to write ‘Love Story’. Her 2008 country-pop fairy-tale epic remains one of her biggest hits – climbing charts worldwide and receiving near-constant radio rotation. It’s still one of the biggest-selling songs ever. With its Shakespearean narrative (it sees Swift reinterpret Romeo and Juliet), and huge, megawatt chorus, ‘Love Story’ remains a classic from Swift’s bountiful back catalogue.

4‘Cardigan’ (2020)

The lead single from Swift’s latest record is a swirling amalgam of glittering production, swooning strings with flickering piano, and lyrics that evoke the pain of young love. From the searing “When you are young, they assume you know nothing”, to the heart-wrenching “And when I felt like I was an old cardigan / Under someone’s bed / You put me on and said I was your favourite”, Swift conjures up a story of teenage love and betrayal, all anchored by the Aaron Dessner’s jittery production.

We’ve all felt like someone’s old cardigan at one point in our lives, and Swift stunningly manages to convey these complex mixed emotions – the hurt, jealousy and heartbreak – in a gorgeous folk-laced package.

3‘Blank Space’ (2014)

Swift’s got a lot of chart-smashing pop gems in her armoury, but ‘Blank Space’ is surely one of her crown jewels. This megawatt electro-pop tune sees her most cutting, satirising the media’s perception of her dating life and relationships. Knowingly spitting out wry couplets that hit back at the media’s portrayal of her reputation as a man-eater (“Got a long list of ex lovers / They’ll tell you I’m insane / But I’ve got a blank space, baby / And I’ll write your name”), it’s brilliantly wicked – and it absolutely slaps! A work of art.

2‘The Last Great American Dynasty’ (2020)

Swift’s latest album, ‘Folklore’, saw her write more regularly from the point of view of other people, telling their stories as opposed to her own. ‘The Last Great American Dynasty’ was an intriguing case of this – as Swift depicts the life of American artist and socialite Rebekah Harkness, who had previously owned Swift’s Rhode Island, dubbed ‘Holiday House’. Detailing how Harkness married into a wealthy family, was hated by the town and then blamed for the downfall of the Harkness family (including the death of her husband) , Swift pithily compares her scrutiny in the media to the criticism Harkness has experienced.

It’s an impressive song, managing to communicate a huge amount of Harkness’ life across in only a few minutes; and Swift does all of this and tops it off with a banging chorus.

1‘All Too Well’ (2012)

‘All Too Well’ is Swift’s magnum opus. Beginning life as a deep-cut on ‘Red’, it’s become a favourite of both critics and fans – and there’s good reason for it: it’s the perfect example of Swift’s song-writing skills. On it she movingly conveys the heartbreak of a painful break-up, spinning a tale of lost scarves and autumn days as she jumps between different points – both good and bad – in a relationship.

There’s a focus on small, painful details, which are offset by some of Swift’s best ever couplets: “And you call me up again just to break me like a promise / So casually cruel in the name of being honest” can’t be beaten, can it?. Swift takes you on the entire journey of a relationship, and its masterful – just as we’ve come to expect from her.

[iambenjiijackson]

The Groove Guide - Reviews 2008

The Prodigy - Experience Expanded/More Music For The Jilted Generation With the advent of British big beat/hard dance merchant's The Prodigy's fifth studio album, released by their new record label Take Me to the Hospital, it was inevitable that XL Recordings and Maverick undertook the same treatment EMI gave Radiohead and Capitol gave The Vines in releasing previous albums to capitalize off their success. However, rather than a traditional "Best Of" compilation which, well, has already been done, the shrewd move was to re-master two albums which helped both shape the big beat scene and redefine techno and rave with added b-side and live track bonuses. Experience and Music For The Jilted Generation both became important albums for the dance music scene; where Experience expanded upon early rave culture and fused jungle and techno with tracks such as "Out Of Space" and "Everybody Into The Place", both remixed and contained on the "Expanded" section of this re-release, it's ...Jilted Generation which provided a crossover between the underground to their critically and commercially acclaimed Fat Of The Land; the edgier, almost industrialized sounds emanating from "Break & Enter", "Their Law" and the Nirvana-sampling "Voodoo People" bridging ravers and rockers into the Big Beat sound that sculpted the likes of The Chemical Brothers, The Crystal Method and Fatboy Slim and gave birth to what we now know as 'electronica.' B-Sides from their single releases, live tracks from their most recent stints at Pukkelpop and remixes from Dust Brothers, the real reward is the re-mastering of the songs and highlighting that despite today's standards highlighting fluro, glamour and fashionista sensibilities, it never needs to be that way.

Los Campesinos  - Hold On Now, Youngster

If you're not really a fan of twee, this may change your mind. Welsh sextuplet Los Campesinos have been making an impression within the 'indie' scene, but rather that come across sophisticated and potentially haughty, the group have a power-pop element which comes across as fun. Catchy, with the ability to muster a smile upon the face of anyone (case point - "You! Me! Dancing!), Hold On Now, Youngster... is nigh on flawless and is once again more proof Wales, who have provided a number of influential acts in the past two decades, are doing something right nurturing their countries music scene.

Akaname - Filthlicker

The internet seems to heavily favour bands of Akaname's variety for good reason - while mainstream outlets omit such "radio unfriendly" one might be inclined to state as being on "Filthlicker", the internet and it's at times quite staunch view on bands place emphasis on talent rather than aesthetics. What we have with Filthlicker is a band who are mixing one part The Dillinger Escape Plan with five parts The Black Dahlia Murder to a great accord. New Zealand's music scene has just been hit with another metal(core) slug to its chest – one that'll be fired on April 11th at Oblivion in Auckland.

Goodnight Nurse - Keep Me On Your Side Goodnight Nurse seem to have turned a trick used by Blink 182; from that bubblegum-esque pop they once honed during their "Always and Never" era, there seems to be a more serious straight-ahead approach to the band. Almost breaking away from the quasi boy-meets-girl, girl-breaks-boys heart formula their new album makes them sound a little less New Found Glory and, strangely, a lot more like Homegrown and their 'darker' punk rock. An apt analogy would be to compare their work used in a Judd Apatow movie rather than a high school comedy akin to American Pie. "Drift Away" perhaps the standout track on the album, with "Lay With Me" there for older fans as not to alienate them. Definitely a goodnight rather than a goodbye from the boys.

Otep - The Ascension

Otep were one of the bands that during the golden age of nu-metal at the start of the 00's passed through with both relative success and, more importantly, a deal of anonymity - though they had their fans and were very much "Kittie for the thinking man", they escaped the scathing retrospective views because, sadly, people couldn't have cared less. Their latest effort retains those nu-metal sensibilities while the vocals pulling away from relentless screaming, and where the oft compared Jack Off Jill or, for some reason, Arch Enemy, found their transitional period turbulent, Otep manages such a thing near graceful. It helps, also, they pull off a Nirvana cover with justice.

Satyricon - The Age of Nero Satyricon is an interesting little quandary - though superficially resembling all the aesthetics of a black metal act, they've caused quite the controversy after the release of Now, Diabolical was cited as being "radio-friendly" amongst hardened fans of the genre. Funny how Norway's equivalent of a Grammy can do that to you... However, The Age of Nero retains the hallmarks you would commonly expect from a band of their kind; the high pitched death growl, the bleak outlook within Satyr's lyrics. Unlike other black metal acts, there is a groove involved within their sound, rather than blunt force trauma - 'The Wolfpack' melodically could seat well at home with Dirt era Alice In Chains while 'Last Man Standing' could be a Down b-side, all the funnier Phil Anselmo is rumoured to be working with the band. The black metal fan in me is reluctant to give it a high rating because it's not essentially an album of that kind. But the general metal fan in me concedes it's a brilliant piece of work and, as taboo as it could be amongst the community, is actually very accessible and at the end of the day, isn't that more important to a movement?

Emigrate - Emigrate

Touted as being "industrial metal" and including remixes from Mr. Digital Hardcore himself Alec Empire, the side project of Rammstein's Richard Z. Kruspe sounds like a delectable and, dare I say it, heavy affair. Instead, Emigrate treats us to generic, radio-friendly tracks which you would hardly expect given Krupse's CV. In fact, it seems offensive to even believe this would come from such a person – almost as if the creativity from the German group has finally diminished (let's be honest though, Rosensot wasn't exactly their edgiest, was it). Bland, devoid of anything challenging, it would seem that the aesthetics were more important than the music and by far this is little more than a vanity project for Krupse.

The CHASE - Paranoia

When it rains, it pours. 2008 definitely seems to be the year in which New Zealand's hardcore scene emerges out of the woodwork finally to the acclaim it deserves - none more so than The CHASE, who channel the spirit of good post-hardcore that emanated out of the US underground scene circa. 2002-2004. In fact, with songs such as "The Seconds" and "Boomers", you could have easily mistaken them for a band on early Drive-Thru or Victory Records. Short (the album runs little over half an hour) but both melodic and aggressive, The CHASE are like a double happy; though they make not look it, they can induce a large amount of unexpected splendour. How's NZ DIY hardcore scene going to lay siege once more throughout 2008? With bands The Chase leading the charge. Corporate punk rock stops here.

Franz Ferdinand - Tonight Doth my ears deceive me, or have Franz Ferdinand taken a page out of KISS' playbook and decided to craft a disco song or two? Though where the old aged outlaws alienated the KISS Army with their experiment, Franz Ferdinand has not - there's always been that dance party element within their previous releases and Tonight is no exception. It, however, seems like the band have been caught in a zeitgeist of electro-new-wave eighties - songs like 'Turn It On' and 'Send Him Way' almost seem homages to Synth godparents The Human League, Alex Kapranos and company even seem determined to summon the spirit of Saturday Night Fever with 'Live Alone'. Though it might seem like committing commercial suicide, the thing is Franz Ferdinand have always been eccentric, and their idiosyncrasies are their strengths. Tonight is a record you might be ashamed to admit you'd like, but you will like it... embrace your fear.

Cavalera Conspiracy - Inflikted

There's been a wait in the metal community for the mighty return of influential metal act Sepultura. While that prophecy may not come to pass, Cavalera Conspiracy reunites brothers Max and Iggor Cavalera after too long of an absence. What you'd expect is something loud, noisy and aggressive, and truth be told, that's one extent of the album. The other is the groove that made Sepultura so popular, with well crafted if deceptively simple riffs that command the ability for even a casual rock fan to nod their head. Another bullet fired from the metal scene in 2008 – Inflikted is part Nailbomb at times and at others Arise-era Sepultura, but a huge return for the brothers Cavalera.

The Naked and Famous - No Light Was it rushed? That's the sceptical question posed as The Naked And Famous release the follow up to This Machine in what does feel like a very short space of time. Though many who may not have listened to the group cite that they are simply another electro band flooding Auckland's musical landscape, they couldn't be more wrong. Dirty basslines, distorted guitars, the tracks play out more industrial than electro - leadoff single "Birds" almost a nod to With Teeth era Nine Inch Nails and the sultriness of early Garbage. Second record syndrome? Powers and company taunt it... and leads us into eager anticipation for their debut long-player

Soulfly - Conquer

Max Cavalera has had quite a busy 2008 - earlier this year we saw the long-awaited reunion with his brother Igor conjuring a zeitgeist of prime Sepultura days with his side project Cavalera Conspiracy and now the sixth instalment of Soulfly, the group he formed shortly after leaving the thrash/groove metal outfit he made his name with. With that in mind, was it ever going to be an easy feat juggling his main band with a project many of us metal fans have waited years to see? The answer isn't an easy one and leaves many sitting on the fence. 

Conquer rather than becoming a continuation of the heavier hitting sounds the group gave us with their previous release, Dark Ages, with it's throwback to albums reminiscent of Arise, combines those elements with the groove metal which brought them to such acclaim with their sophomore album Primitive. Though it's an eclectic prospect on paper, sadly in practice it comes across a little disjointed and does beg the question if now Igor is in the song-writing midsts that Soulfly becomes now a second thought to the newer Cavalera project.

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[bpoole500]

Tusk Revisited

This fall marks the 40th anniversary of the release of Tusk, Fleetwood Mac’s defiantly offbeat opus that was underappreciated in its time, even as it presaged trends in music.

After the unprecedented success of 1977’s Rumours, the Mick Fleetwood/John McVie/Christine McVie/Stevie Nicks/Lindsey Buckingham incarnation of Fleetwood Mac pretty much had carte blanche to do whatever the band wanted. A situation like that gives an artist several avenues for their potential next act.

Many acts have followed up a landmark album with “Part 2.” Think of Adele’s 25 or Michael Jackson’s Bad. The artist delivers a follow-up that’s very much in the vein of their big last album. Reviewers will tend to be less enthused, but it will sell well and produce more hit singles, usually pleasing most fans and the record label. It’s a good career move, even if the follow-up can’t help but be overshadowed by its celebrated predecessor.

Other artists respond to a significant breakthrough album by, essentially, not following it up. Perhaps a live set might emerge or some earlier recordings are repackaged for the new mass audience that came aboard for the big hit. There could be live shows. But in essence, the artist just chooses, for any of a variety of reasons, to sit it out. Look no further than the trajectory of Lauryn Hill after The Miseducation of Lauryn Hill. Fans usually never understand it, even if it makes sense to the artist.

And then there’s the path that Fleetwood Mac took with their follow-up to Rumours. As has been pointed out many times, there is no topping an album like Rumours, a collection that earned strong critical accolades, major sales and cross-genre airplay dominance. It’s one of those albums that, even decades later, remains a strong seller, as new generations discover it (and often access it in new ways, thanks to media evolution). Warner Bros. would certainly have been thrilled if the band had delivered Rumours II. That would have played well with fans, as well.

But that ignores the fact that Rumours was a “lightning in a bottle” moment, the kind of personal/professional alchemy that a band can’t plan. And in the case of this group, likely would not have wanted to re-live even if they could have.

Instead, the band followed the third path that acts sometimes embrace after a major success: go in an unexpected direction. No description drives record company execs to the antacid bottle more than “experimental.” Especially when its affixed to the new album of a key act. But that’s what Fleetwood Mac did with Tusk.

Buckingham is widely acknowledged as one of the guitar virtuosos of the rock world. He’s also recognized for his love of studiocraft and production experimentation. So with a blank check, the band essentially handed the wheel to their resident mad genius and let him steer them into waters that took a different path from the era-defining sound of their recent hit. The result was Tusk, a double album misunderstood at its time, that only years later would be embraced as a lunatic masterpiece.

While Buckingham was thoroughly grounded in the classic rock idiom, he listened to, and was inspired by, everything that was going on in the industry at the time. The restless energy of post-punk and the trashy electro-sheen of new wave. The fearless disregard of tradition of art rock and the sonic collage experiments of industrial music. He was inspired to go beyond what a band could produce using instruments and voices, using production not just as a facilitator, but as a sonic medium in its own right. He wrote numerous songs that sounded little like what he’d produced before and then wrapped his feverish sonic ideas around Christine and Stevie’s more traditional compositions, pushing them to unexpected places. At its core, Tusk was a major, mainstream classic rock band charting the future of alternative music.

As has been pointed out many times, Tusk often feels like the mash-up of two different albums: Buckingham’s paranoid opus, full of sharp edges and nervous tics, contrasted with the more conventional songs produced by his partners. It’s not an unfair paradigm, but even though Tusk has Buckingham’s imprimatur firmly stamped on it, it’s still definitively the work of a band. Drummer Mick Fleetwood and bassist John McVie follow their guitarist’s lead and achieve the kinds of beats and rhythms necessary to execute Buckingham’s ideas, while the layers of harmonies he envisioned wouldn’t have hit with the impact they did without the unique interplay of his voice with Christine’s and Stevie’s.

Still, Buckingham did go in some startling directions. Bits of everything from rockabilly and the Beach Boys to punk and World Beat are evident in the mix, the album often presaging trends that would dominate the music scene in the decade that followed. The title track is a prime example of Buckingham’s ideas coming together in a striking manner. It boasts the sinister paranoia of many of Buckingham’s contributions, using almost tribal rhythms that referenced African sonic traditions half a decade before Paul Simon’s landmark Graceland. Married with layered harmonies, distorted guitars and an actual marching band, it was like nothing else on the charts in 1979.

“What Makes You Think You’re the One” was another moment where Buckingham managed to translate his impulses into something with commercial appeal, working nervous energy, edgy rhythms and echoes of doo wop harmonies and instrumental flourishes into an engaging stew. Throughout, Buckingham’s songs were filled with off-kilter melodies, production tricks and distortions, layers of harmonies that pushed song structures that could have been familiar into some places listeners hadn’t been before. He borrowed the economy of punk, with most of his compositions clocking in within the range of two to three minutes, often ending abruptly or on an unexpected moment of dissonance. He surrounded the songs with spacey, detached qualities, adding propulsion even to quieter moments. With titles like “The Ledge,” “Walk A Thin Line,” “I Know I’m Not Wrong,” “That’s Enough for Me” and “Not That Funny,” with unsettled lyrics and performances that communicated a certain alienation, Buckingham’s songs more dared listeners to engage with them than invited them in. It’s not what you might expect from a superstar release, but it was brave and creative.

While some critics were inclined to dismiss the more conventional tunes that Christine and Stevie composed, one of the more fascinating aspects of Tusk was seeing how Buckingham co-opted those songs to fit his vision for the album. You got Christine’s sunny SoCal pop and Stevie’s mystical rock and folk run through Buckingham’s offbeat paranoia, for some often interesting results.

Take Christine’s “Think About Me,” a charming Top 30 hit that’s often overlooked today. Buckingham’s production is drenched in the surf pop of the Beach Boys, but spikes it with fuzzy edges, jittery harmonies and wailed vocal counterpoints. Deceptively simple songs like “Over & Over,” “Brown Eyes” and “Honey Hi” took on more complex structures as Buckingham injected the emerging New Wave ethos into them, giving them layers and textures that pushed them out of Christine’s usual comfort zone, adding tension and friction that provided contrast to her cool, clean vocals. Even a gentle ballad like “Never Make Me Cry” got a jolt from the subtle pulse of a strummed electric guitar that Buckingham ran throughout.

Unsurprisingly, Stevie’s songs provided a robust canvas for Buckingham’s production work. Tusk is best remembered for hit single “Sara,” one of Stevie’s more engaging poetic explorations. Even in the edited version (which chops off nearly two minutes, including the entire second verse), it’s a beguiling mix, with Buckingham using a complex layering of harmonies that builds slowly to surround Stevie’s lead, giving an exotic charm to the mix, while he adds fuzzy touches to the edges to give the song an insistent energy. He transformed “Angel” into a harbinger of the country-pop that would come to dominate Nashville a decade later and gave a jittering, unsettling edge to the gentle “Storms” that set out a roadmap for the contemporary folk sound that was right around the corner. Most daringly, Buckingham used Stevie’s mystic rock opus “Sisters of the Moon” to pioneer the template for the dance rock that would become a staple of alternative radio.

Fans and critics didn’t know what to make of Tusk. The title track became a hit because anything that Fleetwood Mac released after Rumours would have made the Top 10. “Sara” and “Think About Me” succeeded with radio as the best examples of the band’s traditional sound melding seamlessly with Buckingham’s futurist production. But many critics at the time didn’t get the album and fans who had bought Rumours in droves didn’t embrace Tusk. It was seen as a failure and would set the stage for a retrenchment (the far more conventional Mirage (1982) and Tango in the Night (1987) would bring this chapter of the band to a close on a more commercial, mainstream note).

But Tusk has had a healthy afterlife. While it hasn’t enjoyed the long-term sales power of Rumours or the group’s eponymous 1975 album, it has remained available consistently and won over new converts over the years. Critical re-evaluations of the album, especially in the context of the ‘80s alternative revolution that followed, came to appreciate how ahead of its time Tusk was and what a crucial touchstone it became for the development of modern rock music. It grew into an “artists’ album,” one of those works cited by other musicians as one of their influences. Both “Tusk” and “Sara” have remained in regular rotation on classic rock and soft rock radio formats, while “Sisters of the Moon” developed into a cult favorite among Stevie’s loyal fans. The band included several cuts from Tusk on their various “best of” collections and incorporated them into their latter day tours to strong effect.

Tusk makes almost perfect sense when viewed from a remove of forty years. Fleetwood Mac took advantage of the opportunity that success afforded them to go out on a creative limb. And in the process, thanks to Buckingham’s feverish creativity and work ethic, helped advance the evolution of rock and alternative music.

[happymetalgirl]

Coheed and Cambria - Vaxis – Act I: The Unheavenly Creatures

If it weren't for the genuinely enthralling heaviness of the epic symphonic metal banger, "Welcome Home", Coheed and Cambria probably wouldn't really find themselves talked about all too much in metal circles. They've had a few other flashes of metallic vigor since then, like "The Broken" and "Here We Are Juggernaut", but for the most part, Claudio Sanchez and his instrumental company have focused on providing a mostly pop/proggy (and only slightly metal) backing to Sanchez' ongoing comic series, The Armory Wars. The band's momentary break from scoring the series on 2015's The Color Before the Sun took a surprisingly successful and emotive turn for the poppier after the seemingly forced pre-prequel double release, The Afterman.

The band are back to the lore of The Armory Wars on this new album whose lengthy title I'm just going to avoid writing, and with their longest effort to date at almost 80 minutes.

The lead single, "The Dark Sentencer" launches into a blood-pumping beat and chant-driven prog metal opus after the album's spoken word prologue. It's expansive, but it does lose its steam pretty quickly and doesn't really do enough to justify its length. The plincky electronic intro of "Unheavenly Creatures" leads into a standard poppy post-punk cut the band made their name on, one that feels like it would be at home in Hot Topic, but not quite as cringy as the music it would probably be surrounded by on the playlist. The album moves on to its second-longest song "Toys", which does a bit more to maintain its energy, with a somewhat theatrical drum crash intro leading into the kind of skilfully sung emotionally tinged alternative rock/post-punk anthem that I enjoy hearing from the genre, supplememted well with a melodic solo and wrapped up well with the song's empathetic chorus.

The song "Black Sunday" plunges the album into darker waters, but quickly adjusts to the colder temperatures with the band's more familiar, tempered approach to this kind of heaviness. The grand, heavenly sung outro ends the song on an unexpected, but definitely appreciated, cathartic note. The subsequent "Queen of the Dark" rides a floor tom beat through a growing atmosphere of uneasy guitar echoes and distortion. "True Ugly" leans again toward the band's post-punk tendencies, with an emphasis on the punk with the driving snare beat keeping the song adrenalized. Not that the band don't dip into their diva-ish melodies at some points to break it up, though they don't necessarily dip into their best reserve of those melodies. I found the repetitive bridge to be a little unconstructive, but luckily it doesn't stick around too long before the song "Love Protocol" relieves it of its duty with another soaring chorus that would get even the most lovesick emo to lift their chin a little.

Moving on to "The Pavilion (A Long Way Back)", the band again crank out another infectious, soulful alt rock chorus that takes me back to the best days of that style in a rush of lighter-waving melodies. The electro-tinged "Night-Time Walkers" is a bit more dragged out and less passionate than the long string of heartstring-pulling cuts before it does end on a more emotive note, and the following introductory piano of the emo metal cut "The Gutter" kickstarts the album's teeming guitar-cruch-driven and gang-screamed declaration of confidence, reinforced by the angelic soloing surrounding the "maybe over my dead body" refrain.

The song "All on Fire" is one of the milder new-proggy alt metal cuts on the album, but not so low of a slump it drags the album down too far to disrupt its momentum. No, the song "It Walks Among Us" does a bit more damage with a hollow punk rock attitude and a vocal delivery I just can't dissociate from Chad Kroeger. I'm sure that's not what the band were intending, but the rest of the song is pretty autopilot and doesn't do enough to draw my attention toward something notably positive. The album is picked back up from this one-two punch of staleness by the much more feelsy melody of the alternative emo rock of "Old Flames", which eventually concludes with a unifying repetition of emotive "na na nas".

The album's last song, "Lucky Stars", wraps everything up with the calmest display of sentimental balladry on the album, not the most convincing display of it, with songs like "Always & Never" bringing a lot more raw emotion to this kind of ballad. It's a welcome cool down, though, and one that the band certainly deserves.

This is probably the most consistently metallic I've heard Coheed stick to in a while, but also the most vibrantly emotional and unashamed music surrounding The Armory Wars in a while. The break from the story they took in 2015 must have been just what they needed to recalibrate and put their best foot forward on The Armory Wars, because this is quite possibly one of the band's most consistent and well-constructed albums, if not their best, rivaling the mighty Good Apollo, I'm Burning Star IV, Volume One: Fear Through the Eyes of Madness. I mean, damn, this album is the stylistic nostalgia trip I didn't know I wanted. Why the fuck in my mid-twenties do I like this so much. Bravo, Coheed, bravo. I thought I'd be reluctant for this and a potential second volume, but you have me looking forward to a follow-up.

[audreysmusicaljourney]

Album #148: Frank Ocean “channel ORANGE” (2012)

I remember when this album was released. Everybody was talking about it. I listened to it just one time because I did not get the appeal. Time to give it another spin.

“Thinkin Bout You” has a nice sound with a steady beat. I like Ocean’s lower vocals on this track; I don’t really care for his falsetto vocals. The track “Sierra Leone” is R&B infused with a little psychedelic funk. Ocean’s vocals are pretty impressive on the track “Sweet Life.” I like the soulful yet funky sound created by the electronic keyboard and electric guitar on this track. This seems like an elevated version of neo soul. It’s better than what I normally think of as neo soul. I like Earl Sweatshirt’s vocals on “Super Rich Kids.” The track “Pilot Jones” is incredibly soulful. I like the snaps on this track. “Crack Rock” is 100% pure funkadelic soul.  

“Pyramids” is heavy on the synthesizers, giving it an electro-funk vibe. Ocean’s vocals are solid on this track. It gets a bit too repetitive at the end of the track. I like the pop-rock sound of “Lost,” which is a bit reminiscent of ‘80s new wave. The instruments work really well together to create a mood on the track “White.” I didn’t realize it was John Mayer playing the guitar on this interlude. Accidental Mayer compliment. Speaking of interludes, they are weird on this album. Most of them end abruptly, which I’m sure has some deeper meaning, but to me, they just seem more out-of-place than anything. “Bad Religion” has a darker vibe with the organ. Ocean verges on the edge of dropping rhymes on this track. His vocals are nice, but my favorite part of this track is the hand claps. So nice to hear André 3000 make an appearance on the track “Pink Matter.” The track “Forrest Gump” has some unexpected lyrics over a nice slower beat. Ocean’s vocals do remind me of those of Motown groups. 

Rating: 7/10

How I Listened: Spotify

Takeaway: This album was better than I remember it being. Ocean can sing, and he does so nearly flawlessly across many different genres. This is a solid debut album.

[musicarenagh]

PolSky's "Executive Functions" is a Genre-Bending Masterpiece PolSky is a band that has always defied expectations. Their music is a genre-bending mix of indie, pop, rock, and electro influences. Their latest LP, "Executive Functions", is no exception. The album is a masterpiece that seamlessly blends these different genres into something entirely new. The album opens with the urgent dancefloor banger "Switchboard operator". The song is a perfect introduction to PolSky's sound, with its catchy melody, driving beat, and socially conscious lyrics. The album continues with a string of other standout tracks, including the anthemic "100 Million Ways To Die", the caustic social commentary of "Apocalypse now – (Ode to Cracky)", and the introspective ballad "In Love At The Cinema". Each song on "Executive Functions" is a unique and well-crafted piece of music. The album is full of surprises, from the unexpected ska influences in "Rainbow Road" to the lush orchestral arrangements of "Nimbus Cumulus". The album is a perfect blend of old and new. PolSky draws inspiration from a wide range of musical genres, from classic rock to modern electronica. The result is an album that sounds both fresh and familiar. The album is full of catchy melodies and driving beats. PolSky knows how to write a song that will get stuck in your head. https://www.musicarenagh.com/polsky-shares-the-fear-of-the-unknown-in-new-single-song-for-the-silver-surfer/ The production on the album is top-notch. The sound is crisp and clear, and the instruments are all mixed perfectly. The lyrics are clever and thought-provoking. PolSky tackles a wide range of topics on the album, from social issues to personal relationships. The vocals are strong and emotive. The band members all have great voices, and they use them to great effect on the album. Overall, "Executive Functions" is a fantastic album. It is a genre-bending masterpiece that is sure to appeal to fans of a wide range of music. I highly recommend it. The album is thought-provoking and introspective. PolSky doesn't shy away from tackling difficult topics, but they do so in a way that is both engaging and accessible. I highly recommend "Executive Functions" to anyone who enjoys music that is both challenging and rewarding. It is an album that will stay with you long after you finish listening to it. Listen to Executive Functions below Follow Polsky on Facebook Spotify Bandcamp Youtube Instagram

[grimelords]

Hello and god bless, I have finally finished my November playlist a week and a half into december. Disco, Guns N’ Roses, an entire doom metal album and everything in between. Please enjoy.

​Extraball - Yuksek: Aside from the extremely nice electro bass I think what I appreciate most about this song is that the chorus seems like the sort of thing you could sing in a round, or as some kind of children’s clapping game.

Mirror Reaper - Bell Witch: Let me be the first to apologise for putting an 80 minute doom metal album as the second song on this playlist. I’m sorry. It was selfish and it won’t happen again. That said, please listen to this because it is transformative. I’ve listened this a lot this month and it’s really affected my mood I think. Doom metal is one of the only genres that takes itself seriously enough to release an album that’s just one 80 minute track but I really can’t fault them for doing it. This is a piece of music that demands to be listened to in full, and while it does naturally divide into movements like anything else this long would, it would be weaker overall if it were split into individual tracks or listened to individually. A lot of the playing on here, which is very sparse in long sections feels like ritual music of some kind - a feeling that’s compounded by the length when you’re absolutely lost within it. It makes electric bass and drums feel like modern ritual instruments and this album feels like an invocation of the spirit of loss itself.

Sixteen Tons - Merle Travis: For some reason I keep thinking about and listening to different versions of Sixteen Tons. This is Merle Travis, the orginal songwriter, but this is a new recording he did in 1989. Notably I love the very plaintive solo in the middle of this, but I especially love that he changed the lyric at the end to say “I owe my soul to Tennessee Ernie Ford” which feels like an agressive rebuke or a solemn nod but I can’t tell which.

Looking Up - Michael Smith: My girlfriend sent me this song because she heard it on the podcast Good Christian Fun which as I understand it is an exploration of the bizzare world of american evangelical christian media. Anyway this song rocks. It sounds like Todd Terje remixed the theme to some lost 80s sitcom and I really can’t get enough of it.

Wild - Beach House: This is such a beautiful song. I love the tinny drum machine and the live drums that sound programmed constrasting against the huge wall of guitar and synths. I used to listen to this album a lot a few years ago when I worked night shift and it reminds me of standing on top of wine tanks in the cool night air at 2am texting my now girlfriend as she went to bed. Sorry.

Piano Concerto No. 3 In D Minor, Op.30: 1. Allegro ma non tanto - Sergei Rachmaninoff: I had a friend in school who did his licentiate degree in piano in year 12 and was obsessed with this piece. One day he took me through the whole first movement and showed me how the theme is established and comes back in different forms over and over again throughout and basically taught me how to listen to classical music which was very kind of him because it’s something I’m only really appreciating now.

Verklärte Nacht, Op.4: String Sextett for 2 Violins, 2 Violas and 2 Cellos - Arnold Schoenberg: This is an early Schoenberg piece before he got into that good good atonal serialism, but it does still have moments that presage what was to come. I don’t really have much to say about this other than it’s a very good place to start with Schoenberg because it’s like proof that he was a human man at one point.

Day-O (The Banana Boat Song) - Harry Belafonte: I’ve really been thinking about how work songs like this and like Sixteen Tons become international hits. This one especially, in the 50s, was it because it was a really good song (which it is) that a lot of people related to or was it a sort of exoticism about funny banana song (which to be fair, it also is).

Boogie Wonderland (12" Version) - Earth, Wind And Fire: This is the song you hear playing from the other side of the door when you get to heaven.

Apollo’s Mood - The Olympians: This album is basically a collection of Daptone All-Stars under the name The Olympians just doing their thing and it’s really amazing. I especially love the harpsichord in this, an instrument that doesn’t get nearly enough of a workout in soul music. Also, I don’t really know how to describe it but I really love the way the snare roll that starts it off and comes back a few times sounds - buzzy and busy without rushing anyone.

Saturn - The Olympians: This is the song you use for your montage at the end of a James Bond movie that’s just four minutes of him relaxing and drinking different cocktails by himself that the critics called ‘wholly unneccesary’. In the drums and bongo break he does a little dance and falls over.

November Rain - Guns N’ Roses: As far as overblown classic rock epics go, I really wish November Rain had the cultural place of bad song Bohemian Rhapsody or Stairway To Heaven because underneath the 9 minutes of stings and bullshit it’s actually a very beautiful and sad song written by an idiot.

Sisters Of The Moon - Fleetwood Mac: With the current wytchy cult that Stevie Nicks has around her it’s easy to forget that she wrote songs like Sisters Of The Moon, a song explicitly about a witch converting other women to witchery. I love the big extended phrase of guitar chords in the chorus and I’m very mad about how this song fades out just as it’s absolutely going off.

When The Levee Breaks - Led Zeppelin: Rounding out this unexpected classic rock trio is When The Levee Breaks which I was thinking about because I was thinking about The Big Short. This song sounds so good and there’s been so much written about the famous drum sound and the production but what I only learned this month is that it was apparently recorded at a faster tempo and then slowed down afterwards, which explains a lot about a lot of the sounds in here.

Bad Liar - Selena Gomez: This is maybe the pop song of the year honestly. It’s so good in every single aspect, especially the when she says’ oh baby lets make reality, actuality, reality’ which is a very weird lyric. So is 'you’re taking up a fraction of my mind, every time I watch you serpentine(?)’. Great stuff all around.

Hello Miss Lonesome - Marlon Williams: I saw Marlon Williams a year or so ago and it was one of the best gigs I’ve been to because things just kept going wrong. Broken strings and misunderstandings and all that sort of thing, and the highlight for me was in this song the drummer got overconfident and started pushing the tempo near the end and eventually tripped over himself so badly they had to stop and start again.

The Voice Of Q - Q: Here’s how you can tell a song is good: you can only find it on Spotify on a compilation album called 'Cocaine Boogie: 24 Kilos Of Underground 80s Dance’. This song seems like a classic case of 'somebody bought a vocoder’ and it’s very very good, another fantastic entry in the canon of interplanetary disco. I also love the children sadly pleading with Q to come back at the end, because the song hasn’t really given you any understanding of who or what Q is other than a being with a voice who is from space.

Take A Trip - Rev. Utah Smith: If I were, hypothetically, to start, for example, a UFO cult, I would definitely have my congregation sing this song. I love it so much. Outside of the fun premise it does what good gospel music should do and completely uplifts my spirit by promising a better life after this one, and if I get to go there by rocket ship, well that’s all the better.

Normal Person - Arcade Fire: I love the little 'do you like rock and roll music? 'cause I don’t know if I do.’ he sings at the start because it sounds like they’re into their 13th hour of recording or something. I love the lead guitar that sounds like it’s severely undernourished but trying its best and I love how strangely heavy the bass and rhythm guitar is compared to a lot of their other songs. A good song to sing along to while you’re driving.

Top Of The World - Kimbra: I don’t know exactly how or why but Kimbra made a Kanye song. Playing the dual roles of Kanye and Featured Artist she does a great job and once again defies whatever I thought she was going to do next. I can’t wait for the album, I hope it has even more Raps.

Eric’s Trip - Sonic Youth: I’ve never gotten much into Sonic Youth because they seemed way too New York Cool for me, so imagine my heartbreak when I found out the lyrics to my favourite song of theirs are wholesale lifted from an Andy Warhol film. I still have a lot of love for 'my head’s on straight, my girlfriend’s beautiful, it looks pretty good to me’ though.

I Hope I Sleep Tonight - DJ Seinfeld: God I’d be embarrassed if I blew up on soundcloud with the name 'DJ Seinfeld’ and then had to keep it when I put my album out. This album varies pretty wildly in quality but I really love this track, the synth melody that just careens around wildly while the rest of the song happens nearby is what does it for me I think.

Problem With The Sun - Nicolas Jaar: “In an interview with Self-Titled Magazine, Jaar said “I was watching a documentary about bugs. It said that if they looked at the sun, they’d die. I thought ‘Oh, that’s funny; that’s cute’ and I wrote a track about it (…). If you find something really special in a tiny story about bugs, it could have a much bigger meaning than that. I like the idea of turning life into this miniature thing”.” He’s used this particular voice modulation on a couple of song and it really cracks me up because it so thick and textured and just plain silly but somehow it suits the song perfectly.

Long Strong Diamond - Baggsmen: This is a song I remember seeing on Rage late at night years and years ago. The guy was dressed up as a werewolf and kidnapping some girl but he gets so distracted by his song about being a werewolf that she ends up escaping. Extremely mad to find out that the guy in this song from years ago that I love is none other than personal enemy of mine Jake Stone from Bluejuice.

XO/The Host/Initiation - The Weeknd: Trilogy could well be the best album of the decade. Remember when The Weeknd was this mysterious anonymous guy who was firmly a character and not an actual guy who seems to actually believe what he’s singing? I love Trilogy because the progression across the three discs from like 'cool indifferent party guy’ in House Of Balloons to extremely deranged cult leader in Echoes Of Silence is very satisfying. Initiation especially is great because it’s like a cool fun song about a party mixed with some extremely dark shit about the clocks not working so you can’t tell the time and the blinds not working so you can’t see outside in a scary pitch shifting voice. “And all I wanna do is leave 'cause I’ve been zoning for a week and I ain’t left this little room, trying to concentrate to breathe” but you absolutely MUST meet my boys.

This Guy’s In Love With You - Herb Alpert & The Tijuana Brass: Anyway here’s a change of pace. A very peaceful song about just fucking dying if she won’t be your girl. I love how dramatic this song gets before completely stopping and starting again into a very relaxed trumpet line.

Jasmine (demo) - Jai Paul: I’m obsessed with the cult that develops around guys like Jai Paul and Jay Electronica, who put out two songs that are so good that it drives people insane when they don’t put out any more. There’s apparently a bunch of stuff happening with Jai Paul currently that I haven’t been keeping track of but The Fader had a really good article earlier this year about how the Jai Paul leaks and how insane it made everyone. Aside from all that, the song is pure magic - just listen to it and you can understand why everyone was obsessed as they were.

Freaking Out The Neighbourhood - Mac Demarco: I remember I saw an interview with Mac Demarco talking about this song and he described the riff as just some dumb little thing he made up which is shocking to me because I am totally obsessed with how good it sounds. It’s perfect!

Bob - “Weird Al” Yankovic: Yes baby it’s Weird Al’s all-palindrome Bob Dylan parody! I was telling my girfriend about how this is actually really good songwriting because even though it’s essentially gibberish it has enough good imagery and fun sounds that it works anyway and really how different is 'may a moody baby doom a yam’ to 'transient jet lagged ecto-mimed bison’ from the Mars Volta which also appears on this list? Anyway she hated it, and rightly so.

I Have Good News To Bring - Sister Rosetta Tharpe: Live from the basement church of my UFO cult, a beautiful version of Take A Trip that sounds like it was recorded on the organ of an empty baseball stadium at night.

Julia - Jungle: I have been desperately waiting for three years now for another Jungle album and they finally posted about new songs the other day and I got very very excited. This is an amazing song, every sound in it is so perfectly placed and the vocals are very beautiful and have such a rich bass for such a high tenor. I love the way the drums subtly get very busy in the last few choruses, I could listen to this song for hours.

Ray Gun (feat. DOOM) -BadBadNotGood & Ghostface Killah: I love that this song is maybe 20bmp faster than Ghostface or Doom are expecting. Doom especially sounds far more excited than he has in years and they both do really well with it. Also, I was certain the melody it breaks into in the last third was some Lalo Schifrin bit I’ve heard before but I can’t seem to find any info corroborating that. If it’s familiar to you or you know where it’s from, please reply to this post because it’s been driving me crazy.

Confessions Pt. III - BadBadNotGood & Colin Stetson: Any song where Colin Stetson has to play with others is funny to me. He’s such a self contained ball of power that him joining a traditional group like it just wouldn’t work. Sure, this song does sort of sound like him doing his own thing for seven minutes while the band sort of reacts to him but it is absolutely fantastic anyway.

Everyone Nose (All The Girls Standing In The Line For The Bathroom) - N.E.R.D: Remember when Pharrell was crazy? This song is total chaos. The pitched down sample in the hook, the two note bassline, the sax that just hoots once a bar. And I absolutely love the contrast of the beautiful bridge, especially the 'achooo’ backing vocals.

Parties - Shlohmo: Bad Vibes was such a moment. It is such a beautiful album, and a very easy album to fall asleep to and then wake up 20 minutes later terrified and choked by your headphones because Trapped In A Burning House, the song that sounds exactly like its title and nothing like the rest of the album, came on. I have such a strong emotional reaction I really can’t explain to the cutoff samples of people laughing near the end of this song.

Bering/Human Till Born -Talkdemonic: I have no idea how I came across this album but I’ve been listening to it constantly for ten years now and I still find new things to appreciate in it. The drums especially in Human Till Born are a source of obsession for me.

Don Caballero 3 - Don Caballero: For a long time I never 'got’ Don Caballero or Hella or any of these supposedly legendary math bands, despite loving so many bands obvously influenced by them. But then one day this album, and this song especially just clicked for me. It also happened to coincide with one of the most surreal weeks of my life when I was on a cruise ship and all I listened to was this and a field recording album that seems to have completely deleted itself from my computer since then. The best advice I’ve heard for listening to this is, and bands like it is that it’s backward. The drums are the lead instrument and everything else works around that, if that helps. This song has a twisted sort of morose quality that’s really hard to pin down. Some days it is absolutely heartbreaking, which sounds silly but it’s true.

B.Y.O.B. - System Of A Down: There’s a few reasons I was thinking of this song. First and most importantly it’s because of that dog vine but the other reason is I was thinking about how there hasn’t been a good anti-trump song yet outside of YG’s FDT, and that came out before the election. This and American Idiot came out in 2004/5, and I suppose it’s only been a year since the election so we’ve got a few years yet until the real hits come out I guess. Or I suppose he’d have to actually properly declare war, which, you know.

4D/MTI - Koreless: These songs are so intertwined in my head I feel like you can’t have one without this other. 4D is such a simple, beautiful piece of music. The synth that sounds like glass and the chopped vocals getting more and more contorted as the song goes on contrasted with the propulsion of the drums is so great. Both of these songs have a meticulousness and restraint to their sound, every single piece is perfectly where it should be and nothing else is allowed. Even MTI using so much white noise feels incredibly controlled and when it totally drops out it feels like coming up from underwater.

New Lands - Justice: Remember when Justice took 4 years to write a follow up to their album that lit the world on fire and instead of doing the same thing again they made a classic rock album? Everyone was so mad. Luckily this song is incredible and everyone was wrong once more.

You Discovered The Secret And Juiced It For All Its Majesty - Venetian Snares: This is from an EP called Cubist Reggae which I think a lot about in concept alone. This is probably the song that illustrates the idea worst but I love it a lot. My incredibly unpopular opinion is that Venetian Snares is miles better of Aphex Twin and whoever but everyone’s written him off as the Rossz Csillag guy so he doesn’t get no respect. I love how detailed his music is, how every one of the million sounds seems to be perfectly placed. I think he’s in a similar position to Autechre where he’s been making and listening to only his own music for so long now that he’s forgotten how normal music sounds, which is good.

Blues Run The Game - Jackson C. Frank: I made a playlist a couple of years ago of all the songs I sing to myself when I’m just walking around or whatever and it turned out about 6/10 had 'blues’ or 'hard times’ in the title, which is tough but it’s ok, and this was one of them. If you want to read a wiki article that’ll make you cry, read Jackson C. Frank’s, but mostly you should just listen to this, his only album.

Thermal Treasure - Polvo: I played this song for my girlfriend and during the intro she said 'you have such a wide variety of tense, off kilter music seeminly designed just to put people on edge’. I’m a huge fan of this very defensive sentence in Polvo’s wiki article 'Their sound was so unpredictable and angular that the band’s guitarists were often accused of failing to play with correctly tuned guitars’.

FML - Kanye West: This is such a strangely affecting song and it’s hard to be sympathetic to Kanye as a narrator sometimes (especially when he insists on doubling down on dogshit lines like “'I'mma have the last laugh indian cause I’m from the tribe called chekaho’”) but against all odds you can identify and relate to his struggle to hold onto the woman he loves and not be undone by his own worst instincts. Musically this is the best The Weeknd has ever sounded and I already love him a lot, and the way the drums lead into the sample at the end is just perfect.

Roulette Dares (The Haunt Of) - The Mars Volta: This is the album I’ve probably listened to the most in my life. As a teenager I would listen to this album every night for easily a year and somehow there’s still something new to hear in it. It’s almost hard to listen to it now because I have so much Teenage Feeling attached to it but it’s still an incredible piece of work. Jon Theodore deserves a statue for his drumming on this album, and this song especially, in my humble opinion.

Life’s A Beach! - Studio: God I love Studio. I think if you tried to describe them on paper you could never make it sound like good music. “It’s sort of, balearic , reggae, guitar-led dance music and the songs go for about 15 minutes most of the time.” But it is good music! I absolutely promise it’s incredible music!

The Number Song (Cut Chemist Remix) - DJ Shadow: I love this remix because it feels like theseus’ ship as demonstrated via remix. How many parts can you swap out for similar but not identical parts before it’s a completely different song. The drums are almost the same beat, but a totally different sample.The Jackson 5 horns in the original that signal the transition to the second half are still here with the same function, but it’s an entirely different horn sample, and an entirely different second half save for 'the party’s already started, and it’s about to end’. 

listen here

[shemakesmusic-uk]

This segment features artists who have submitted their tracks/videos to She Makes Music. If you would like to be featured here then please send an e-mail to shemakesmusic@hotmail.com. We look forward to hearing from you!

Zoë Zohar

Raised in Israel by a South African mother and Israeli father, Zoë Zohar shares her story and take on life through upbeat melancholic ambience. By incorporating live with electronic instruments, Zohar constantly shifts between raw nostalgic tones and futuristic elements, searching for a new authentic sound. After moving to London at the age of 19, Zohar and her team began working together on her much-anticipated EP of four songs, one of which features her recent release ‘Paper Airplanes’. Through her EP, Zohar tells a story of feeling overwhelmed in a trapped environment. In this song, she portrays a sense of loneliness and feeling on the edge of defeat, only to realise that one may find comfort in this state of mind. Zohar aims to take the viewer on a journey that reveals the conflict of befriending our inner voices and running away from them. Listen below.

Zoë Zohar · Paper Airplanes

RIVITA

Hailing from the colorful escapades of India, Rivita creates electro-acoustic landscapes with her music. After completing an extensive education in music, she is currently based in LA and is focused on writing new music and playing virtual shows. Her latest single ‘Lonely With Someone’ is a story of the consequence of addiction and the unsaid hidden scars that it leaves. The song is a segway from her previous release ‘Someone Else’s Arms’, Rivita states “With this piece of work, I wanted to express the strength an individual really holds. There have been many moments in my life, I have surprised myself with my own strength and while facing some of my biggest fears in tough situations. While growing up I watched someone get lost in the sea of addiction. As I got older, I realized just how common addiction is across the globe and how well it is masked sometimes. It has caused me pain and it felt like I had no right to feel this way because I was not the one with the disease. I wanted to find a way to release my feelings without the consequence of being told to get over it or to stop thinking about it. This is the only way I thought I’d ever be able to fully express myself, through this song”. Listen below.

Rivita · Lonely With Someone

Alicia Lov

Spanish-Canadian artist Alicia Lov took to music at an early age. Music and dance lessons pushed her passion further and led to where she is now. Alicia has a love for lots of different genres including rap/hiphop, alternative, dancehall, latin pop and so much more. Dance is a big part of her inspiration and will continue to be a prime part of her career. Her latest single 'Magnetic' delivers a smooth romantic R&B feeling that makes you want to get cuddled up with that special someone. She explains further, "'Magnetic,' has romantic R&B vibes that were inspired by love between the sheets. Smiling and tracing each other with your fingertips. Love can sometimes just be free and chaotic. Head in the clouds, floating in another dimension." Listen below.

ALICIA LOV · Magnetic

Lyla DiPaul

Lyla DiPaul is an American recording artist based out of New Orleans. DiPaul grew up in Takoma Park, MD where she fell in love with playing guitar and writing songs at the age of 10. She draws musical inspiration from a variety of songwriters including Taylor Swift, Joni Mitchell, and Phoebe Bridgers. DiPaul eloquently relays the feeling of love and heartbreak through her music, and hopes to connect to people through her work. Her latest single is ‘Still Unwell’ and here is what Lyla had to say about the release: ”I wrote ‘Still Unwell’ with my friend MC in the fall of 2019. Simply put, it is a breakup song. We always describe it as being about nostalgia for a relationship. When you miss all the good things and bad things about a person, and just cannot move on. We recorded the bulk of the song in the studio at Loyola University, New Orleans and then ended up finishing up the guitar work and the vocals in my bedroom after things became unsafe due to the pandemic.” Listen below.

Lyla DiPaul · Still Unwell

Mango In Euphoria

Starting her project in London after being employed in Florida and travelling through the United States, French-born alternative artist and songwriter Mango In Euphoria quickly found her audience when she dropped her first experimental work at the end of 2020. The singer is an emerging talent noticeable by her quirky style and her mysterious signature voice, matching her very own unique musical tracks mixing Electronic Rock, Dream Pop and Dark-wave genres. Creating melodies coming from her mind with virtual instruments and recording with a very basic microphone during the global Coronavirus pandemic, Mango In Euphoria also began to work remotely with Belgian producer Philippe Francq who helped her in developing a lot of demos with physical instruments inspired from vintage influences such as the Twin Peaks series soundtracks, The Cure, and Garbage. As Mango was mainly musically influenced by Grimes and Lana Del Rey, there's no doubt that the result would be quiet outstanding. Her new song ‘Golden Shrine’ is about celebrating who you are as a unique person, embracing this uniqueness “and also about someone who started to copy everything I was doing when everything was coming from my creativity so instead of getting more pissed off I created a song about it!” she laughs. Listen below.

MangoInEuphoria · Mango In Euphoria - Golden Shrine

Shannon

East London singer-songwriter, Shannon is an indie-pop artist that brings soulful tones through her vocals. Her music shares stories and experiences through heartfelt lyrics and production driven by acoustic guitar. Her latest single ‘But He's There’ is an upbeat track about the complications of falling for a close friend. The lyrics reveal inner thoughts of uncertainty about stepping out of one's comfort zone to fulfil an exciting idea of love. As the song builds, the story unfolds and reflects the fantasy for a closer relationship. Shannon's high notes introduce an unexpected direction to the vocal line that mirrors the feeling of being caught unaware by your thoughts and feelings. Whilst picturing the production for this song, some influential tracks from the 90's came to mind from artists such as Corinne Bailey Rae, Lauryn Hill and Natasha Bedingfield. The laid-back drums and organ keys give off a chilled vibe, almost as if the song acts as a passing thought during a relaxed Sunday morning. Listen below.

officialshannonuk · But He's There

Heff VanSaint

East London-based alternative pop artist, Heff VanSaint has released her debut track ‘Nothing Lasts Forever’. The former one half of synth-pop duo Miracles has gone back to her roots with a song that fuses old-school storytelling, with a contemporary lo-fi indie sound. ‘Nothing Lasts Forever’ is a tale of lost friendship, at a time of carefree hedonism. It’s a bruised, melancholic song tinged with sadness. Lyrically sublime, its evocative lines hit deep and leave the listener experiencing a sentimental yearning long after its over. Listen below.

Nille Nyc

Following up on the release of her debut EP PowerPainPillsPercussion, Danish electro pop artist Nille Nyc has just released new single ‘Someone Else’, her first of 2021, as a per cursor to her upcoming full-length album. Let’s face it, we’ve all been there: a relationship that seems to constantly be teetering on the edge of the abyss, until one day when it finally implodes. Afterwards, all that we can do is pick up the pieces and move on. ‘Someone Else’ is a story about looking back at the aftermath of a bad relationship from the safety of a better place. With a playful guitar, heavy R&B beat and edgy vocals, ‘Someone Else’ opens a new chapter in Nille Nyc’s musical journey. “Throughout our lifetime we experience relationships which challenge our core values as human beings, both professionally and personally. Every relationship needs to grow and mature; to look to the future while keeping the lessons of the past in mind. The same holds true for music. Every musician needs to keep innovating and experimenting. They need to take risks and challenge themselves by exploring new ideas and new ways of expressing themselves. If they don’t, then they run the risk of becoming static and their music will suffer for it”, Nille Nyc says. Listen below.

Nille Nyc · Someone Else

Natasha Ghosh

Natasha Ghosh originated as a professional Dutch-Indian fingerstyle ukulele player, but nowadays she also focuses on singing and releases her own music. Natasha's main styles are R&B, indie electronic, lo-fi, and hip-hop. Her new single ‘Paradise’ is a deep and emotional vocal-led lo-fi track with a relaxed sense of beauty. It's a personal song about romantic escapism between lovers. Lush synthesizer melodies, emotional vocals, and dynamic, but the chill drums make this track a perfect fit for study, Lo-fi, chill, and dreamy playlists. This is a song that Natasha wrote with her girlfriend in mind. "I believe that it's important to show the people you love what they're worth to you. In an ever-changing society where all kinds of stuff are happening around the globe, it's good to focus on the good things.” The track was a COVID-19 project, made in collaboration with the famous lo-fi artist Kid Kio from home studios. Listen below.

Natasha Ghosh Music · Natasha Ghosh (feat. Kid Kio)- Paradise

Olivia Void

Berlin based experimental artist Olivia Void uses her highly recognizable voice and songwriting style to introduce us to her unusual sonic cosmos. Her debut ‘Made for You’ was published in October 2020. After collaborating with members of the local and international electro and folk scenes in the meantime, she now prepares for the release of her debut EP PHYSICAL later this year. Unpredictable and captivating, Olivia Void’s new single ‘Glory to Glory’ is a hommage to our physical selves. Led by the Berlin singer‘s characteristic voice and electric guitar play, we get carried away high and low until we want to join in the glory. Talking about the powers of the self-reigned body, the song‘s unique structure creates a whirl that drags you in. As more and more layers are added or taken away we find ourselves in a state of vibrant emotion. Listen below.

Olivia Void · Olivia Void - Glory to Glory

[evergreenreviews]

Top 20 Songs of 2017

Spotify Playlist

Long post under the cut

20. ‘Laps Around A Picture Frame’ - Broadside

In my AOTY post, and throughout this year, I commended Broadside on their ability to write fun, upbeat songs, so it surprised me that ‘Laps Around A Picture Frame’, one of the album’s darker tracks, ended up making this list. This song is more interesting - both musically and lyrically - than a lot of Broadside’s other work, and it still really stands out to me as a fantastic piece of songwriting.

19. ‘There’s Nothing Holdin’ Me Back’ - Shawn Mendes

If I had any sort of shame whatsoever, Shawn Mendes would be my guilty pleasure. As it stands, I unabashedly love his music, particularly this song. It’s considerably less depressing than pretty much everything else he’s ever written, and it’s an unbelievably fun and catchy song. I dare you to listen to ‘There’s Nothing Holdin’ Me Back’ without at least tapping your foot.

18. ‘Guilty Melody’ - ROAM

ROAM has got to be one of my favourite current pop punk bands, and I remained loyal to them despite the disaster that was Backbone. That loyalty paid off because their second LP, Great Heights and Nosedives, is full to the brim with great jams, none more so than ‘Guilty Melody’. Although the two singles that came out before this one were also really good, this track was the one that restored my faith in ROAM. It’s pretty much a perfect pop punk song, with an unerringly catchy tune, solid lyricism, and a vast improvement in singing ability from both vocalists.

17. ‘The Line’ - Foo Fighters

Although Concrete and Gold was generally a disappointment, ‘The Line’ is an absolutely fantastic soft rock song. It’s super laidback and chill, the melody is simple, which to me (as someone who knows nothing about rock instrumentation) seems to complement the slightly more intricate instrumental parts, and it sounds more like Foo Fighters than anything else off this record.

16. ‘The Last Of The Real Ones’ - Fall Out Boy

While I will readily admit that I’m not the biggest fan of Fall Out Boy’s new sound, this song is brilliant. It’s a great electro-rock anthem while remaining a recognisably Fall Out Boy song. The keyboard part works perfectly under the melody, which is simultaneously very simple but also quite interesting. I also love the contrast between the anthemic chorus and comparatively relaxed verses.

15. ‘One Foot’ - Walk The Moon

After being absent for a year or so, Walk The Moon returned in September with this indie pop bop. ‘One Foot’ has all the hallmarks of a classic WTM song - it’s super upbeat and very catchy with a solid melody and instrumental and synth parts that work perfectly underneath the vocal line. While it may not be the next ‘Shut Up And Dance’, it’s a fantastic pop song and the perfect tune for Walk The Moon to return with.

14. ‘All My Friends (feat. State Champs)’ - Hoodie Allen

It may surprise you to see a hip-hop song on this list - I feel the same way - but this song is just too good not to include. While ‘All My Friends’ may not be Hoodie’s best song, the way he and State Champs manage to blend their very different sounds is incredible and works surprisingly well. From the hip-hop beat during the verses to the almost breakdown in the bridge and the build-up to the explosive last chorus, every aspect of this song ties in wonderfully with the others and creates a very interesting and very fun song.

13. ‘Scatter My Ashes Along The Coast Or Don’t’ - Seaway 

While I’d be hard pressed to pick a favourite song off Vacation, ‘Scatter My Ashes...’ would definitely be in the top three. It’s a ridiculously fun song, with some not so fun lyrics hidden under the upbeat melody and catchy riffs. It also features Caleb Shomo of Beartooth on a fantastic guest vocals spot. His voice works so well on this song and complements the Seaway boys’ perfectly, and it really just gives the track that extra boost.

12. ‘The Man’ - The Killers

I’ve never really listened to The Killers that much, and I think I only listened to this song in the first place because of Brandon Flower’s bicep in the thumbnail for the music video on YouTube. But thank god for that because ‘The Man’ very rapidly became one of my favourite songs. It’s got a lyrical theme that I’ve never seen before, as the band explores what it means to be a “man”, and it’s all laid over a funky 70s-esque disco beat with a fantastic melody.

11. ‘Hearts Don’t Break Around Here’ - Ed Sheeran 

This may be a slightly sappy choice, but I’ll admit that I love a good romantic ballad, and by God if ‘Hearts Don’t Break Around Here’ isn’t exactly that. I feel like this song didn’t get the credit it deserved and was kind of brushed aside in favour of ‘Perfect’ but from day one this was my favourite track off Divide. It’s a perfect relaxed, stripped back, typical Ed Sheeran love song with very simple instrumentation and a gorgeous vocal melody that I can’t help but sing along to.

10. ‘Bad Behavior’ - The Maine

Lovely Little Lonely is made up of wall to wall jams, and none more so than lead single ‘Bad Behavior’. It’s an irresistibly fun song, that you can’t help but dance along to, and it’s impossible not to smile when you’re listening to it. It’s an incredible pop rock song, with that alternative edge that The Maine do so well. You might worry that after 10 years they would’ve stagnated, but this song is proof that The Maine are better than they’ve ever been.

9. ‘On My Own’ - Niall Horan

On an album full of beautiful ballads and acoustic slow jams, ‘On My Own’ stands out as the most upbeat song of the lot. It’s an Irish folk influenced anthem for the happily single, about having fun by yourself when you’re young. It may not be Niall’s strongest vocal performance on Flicker, but it shows the diversity in his writing and provides a welcome interlude from all the slower songs on the album. It’s another song that you just can’t help but nod along to, and perfectly blends the style of pop rock on One Direction’s later albums and the folk and country influences of Niall’s solo work.

8. ‘Soap’ - As It Is 

This is arguably one of the most musically diverse and interesting pop punk songs of the decade. ‘Soap’ is a spooky, sinister, slightly aggressive track which is totally unexpected of As It Is. It probably wouldn’t sound out of place on a gothic horror movie soundtrack and is a fascinating take on the genre. The vocal performances from both singers are fantastic, with Patty effortlessly transitioning from the subdued verses to the almost screamed choruses. The guitars in the intro perfectly set the tone for the rest of the song, and the rumbling bass sounds incredible under everything else. ‘Soap’ is, without a doubt, the standout track from January’s okay. and possibly As It Is’ discography in general.

7. ‘Drowned In Gold’ - Boston Manor

This is a very late addition to this list, seeing as it only came out earlier this month, but in the space of 24 hours it had already pushed its way up to this position. I reviewed ‘Drowned In Gold’ when it was released, and all of the sentiments in that post still ring true today. The “choose life” lyrical structure of the verses is still one of the most interesting writing techniques I’ve heard in a while and I really can’t get over the creepy sound Boston Manor manages to create with the instruments in this track, and the musical progress they’ve made in the past year.

6. ‘Hurt’ - Trophy Eyes

This is probably the most depressing song on this list, and easily one of the most emotionally evocative. ‘Hurt’ is Trophy Eyes’ first release since their album Chemical Miracle last year, and you can tell they’ve put that year to good use with immense improvements across the board. The most noticeable improvement is John’s vocals. As far as I can remember (correct me if I’m wrong), this is the first song on which he’s only done clean vocals, and he sounds better than I ever imagined he could. ‘Hurt’ almost has a kind of stadium rock type vibe to it, and I, for one, love it.

5. ‘Praying’ - Kesha

‘Praying’ is the eagerly anticipated comeback track from beleaguered pop icon Kesha, and the perfect song to show not only how she’s progressed as an artist, but also the struggles she’s faced the past few years. The song alludes to her legal battle with her producer, but it is mostly a song about personal growth and overcoming your struggles. It’s a beautiful stripped back, piano-laden ballad which really lets Kesha’s immense vocal talent take the spotlight. ‘Praying’ is an incredibly powerful song, which has the ability to draw a huge amount of emotion from its listeners - if you haven’t cried listening to this song, you’re probably not human.

4. ‘Gone’ - Knuckle Puck 

I don’t think it’s any secret that I love Knuckle Puck, but if you’ve been following this blog for a while and read my review of Shapeshifter, it’s also no secret that I wasn’t its biggest fan. However, I absolutely adore ‘Gone’. It may just be because it was the first thing to follow the hugely disappointing Calendar Days/Indecisive release earlier this year, or it may be because it’s a brilliant song. It has attitude and a certain aggressiveness that I love. It’s got the lyricism we’ve come to know and love from KP, and it’s unbelievably catchy. The duel vocalism works amazingly on this track and the slightly dotted rhythm in the guitar riff provides another interesting layer to the instrumentation.

3. ‘Atlantic’ - Grayscale 

I can honestly say that this song has been the soundtrack to my 2017. Grayscale very quickly became one of my favourite bands this year, and their album Adornment was even my Album of the Year. ‘Atlantic’ is definitely what one could refer to as an anthem, with a powerful chorus that contrasts perfectly with the relatively chill verses and bridge. It’s a very mature sounding song, showcasing a writing ability far beyond what one would expect of such a young band, although there are a couple of very minor issues in the vocal line. But overall, this song is a brilliant piece of writing that I can imagine aging very well.

2. ‘Out Of It’ - The Story So Far

The excitement that I felt when this song dropped truly cannot be expressed in words. I still feel the same excitement every time 'Out Of It’ comes on, and I don’t think I’ve skipped it once since adding it to my playlist. It doesn’t stray too far from the classic TSSF sound, and probably wouldn’t sound out of place on The Story So Far. I love the change in rhythm between the verses and choruses, which isn’t something I’ve really seen that much in this type of music, and the punchy tune is just perfect for the attitude of the song. It’s just a shame Parker Cannon still can’t annunciate his words properly.

1. ‘In Bloom’ - Neck Deep

From the day ‘In Bloom’ was released I knew it would be in competition for my favourite song of this year. After listening to it maybe 4 or 5 times in a row, it was promptly named my favourite Neck Deep song and I stand by that decision. It’s the most musically interesting song they have released, and it’s so unique from the rest of their work. It showcases so well the improvement Ben has made in his vocal performance over the past couple of years - did anyone see that high note coming? - as well as the progress that the band has made as a whole in terms of their songwriting ability.

[bakagamieru]

At the end of 2015, One Direction fans around the world were feeling sad and uncertain. It was the beginning of One Direction’s hiatus, and while the guys claimed it would only be an 18-month break, Directioners had a sinking feeling that there wasn’t actually a plan for the guys to come back together in the foreseeable future.

Shortly after that, Zayn Malik (who left the group on March 25, 2015) delivered the first of many One Direction solo projects with the sultry and (scandalous) “Pillowtalk” on Jan. 26, 2016. Although he was already not part of the group, it was the first time fans heard a 1Der do his own thing — and it was just the beginning.

A year and a half later, all five One Direction guys (Malik, Niall Horan, Harry Styles, Louis Tomlinson and Liam Payne) have released solo material, with Horan becoming the third to release a full-length album, Flicker, this Friday (Oct. 20) -- also the same day that Payne released his second official single, “Bedroom Floor.”

When they were a unit, the quintet was able to go in, well, one direction musically. But since they've been given the individual freedom to try whatever genre they wanted, it's been evident that they actually all had very different aspirations for the kind of music they wanted to make — or at least where their voices best fit, whether it's R&B or classic rock.

The first indication of where the guys wanted to take their careers genre-wise occurred before 1D was even a thing, when they each auditioned for The X Factor UK in 2010. As Billboard previously pointed out, their audition songs were comparable to the music they're making on their own -- and without the voices or even just opinions of four other members, each guy has really been able to hone in on their specific sounds and skills.

Inherently, all five still carry a pop influence in their music, but have each found a unique lane. Here’s how all five members have ultimately found their own direction.

Zayn Malik — R&B

Although Malik’s early departure from the group hinted that his music would also be a departure from the pop-rock hits One Direction became known for, the booming bass and NSFW lyrics (like "In the bed all day, bed all day, bed all day/ Fucking and fighting" of his debut single "Pillowtalk" made it very clear that his PG-related days were over. And while Malik’s voice worked flawlessly for the belt-out moments of a 1D classic, doing things his own way resulted on his debut album Mind of Mine in an edge we hadn’t ever seen from him before, especially on the scornful “BeFoUr” and the haunting “iT’s YoU."

Since Mind of Mine, Malik has collaborated with Taylor Swift, PartyNextDoor and Sia, each of whom has allowed him to flex his falsetto, as well as try out different sounds, like the tropical vibe on the PND team-up “Still Got Time.” His most recent release “Dusk Til Dawn” (with Sia) has a building melody and booming chorus that makes for perhaps Malik’s most dynamic release yet, also further showing that pop-influenced R&B is where his voice was meant to be from the start.

Niall Horan — Singer/songwriter

Horan was the most soft-spoken member of One Direction, with his solos providing a sweet, soothing balance to Malik and Styles’ power moments. He honed in on the pleasantness of his voice with his solo debut single, “This Town,” an entirely acoustic track that highlighted just how pure his vocals can be -- and with his new album, Flicker, he ran with that simplicity.

Putting soft guitar behind a voice like Horan’s is exactly the way to help him shine, especially when it involves heartfelt lyrics like "I forget you're not here when I close my eyes/ Do you still think of me sometimes?” Horan has stuck with 1D producer Julian Bunetta for his solo material, which has really helped him highlight the best parts of his voice. But while there are other slow melodies like “This Town” on Flicker (the title track, as well as album-enders “Fire Away” and “You and Me”), there’s also plenty of riskier digressions like the sexy “Slow Hands” — which earned Horan his first No. 1 on the Pop Songs chart — and the country-tinged Maren Morris collaboration “Seeing Blind."

Upbeat tracks like “Since We’re Alone” make it pretty safe to argue that Horan has stayed closest to the wholesome One Direction vibe, especially the material on the group's latter two albums. But rather than trying to achieve every special moment 1D had, Horan has stuck with a tone he can really drive home, creating special moments of his own.

Louis Tomlinson — EDM-pop

Less than two months after Horan surprise-dropped “This Town,” Tomlinson revealed a Steve Aoki collaboration, “Just Hold On” — a song that was almost even more unexpected, simply because EDM was a genre One Direction had never even waded into in their five years. Like Horan, Tomlinson has a bit of a softer tone to his voice, but also has the capability to belt when he wants. His voice pretty seamlessly intertwined with an electronic topline melody on “Just Hold On," and passionate screams in the chorus also allowed him to show off a little.

Tomlinson carried the electronic influence with him on his second single, “Back To You,” enlisting Digital Farm Animals to produce and frequent dance collaborator Bebe Rexha to split vocals. The production is a little more stripped back than Aoki’s thumping track, with the bouncy beat helping to bring more attention to Tomlinson’s voice. He finally got the full spotlight on his most recent release, “Just Like You,” which meets his previous two singles in the middle, showcasing his vocal smoothness over an electro-pop bass line (or drop) — and that that’s where he feels most comfortable musically, at least for now.

Harry Styles — Classic rock

Any Mick Jagger comparisons Styles may have faced during the One Direction era have basically come to fruition, since he debuted with the poignant power ballad “Sign of the Times” back in April. The rock ballad spawned plenty of other classic comparisons, with the climb of the chorus mirroring David Bowie’s “Life on Mars” and Styles’ wailing finale bringing Foreigner’s "I Want to Know What Love Is” to mind. As mentioned, Styles and Malik were the two primary power-moment 1D guys -- and Styles hasn't lost that prowess in his own music, but now it's set to heavier guitar that he matches with vocals more risqué than he attempted in the 1D days.

Harry's self-titled album brings both his vocals and vintage instrumentation to the forefront, yet it feels less kitschy and more raw than any such One Direction track. The classic rock sound makes it possible for him to be more fearless in his delivery, which is displayed in feistier tracks like the thrashing "Kiwi", and more intimate feels like those in acoustic opener "Meet Me in the Hallway." Styles was always a standout vocalist in One Direction, but the rough-around-the-edges sound of his solo material almost feels like he has been reborn into another era -- one he was always supposed to be part of.

And to top off the vocals, Styles sports some seriously rock star suits while performing. Talk about owning the rock vibes.

Liam Payne — Hip-pop

Unlike Tomlinson’s trio of EDM-influenced pop hits, Payne’s three releases are all rather different, so it's hard to tell exactly which direction Payne is going to take musically. But if he wants to use the metrics of his debut single “Strip That Down” to gauge where he should go from his first release, the hip-hop/pop crossover feel isn’t necessarily a bad lane. The Quavo-featuring track recently took over Horan's "Slow Hands" for the top spot on the Pop Songs chart, proving that going in a racier direction both lyrically and musically was definitely not a bad thing for Liam.

"You know, I used to be in 1D (now I'm out, free)/ People want me for one thing (that's not me)/ I'm not changing, the way, that I (used to be),” Payne sings in “Strip That Down” — and actually, the 24-year-old’s subsequent releases hold true to that sentiment. While “Strip That Down” was a bold move into a more hip-hop sound, Payne dabbled in dance on the Zedd team-up “Get Low” and most recent single “Bedroom Floor” highlights his falsetto through a combination of pop, EDM and hip-hop. Payne has the most eclectic solo repertoire so far, and with his malleable vocals, he’s been able to experiment with where his sound best fits. As for where he’ll end up overall, we’ll wait and see, but clearly he’s doing things right for now.

If there’s one thing that the One Direction solo endeavors have done for all five guys, it’s reminding the world that they’re each individually talented in their own right, and there’s a reason they were all part of one of the most successful boy bands of all time. Sure, a group full of young, adorable British men is a big sell in its itself, but it’s ultimately the guys' voices that won people over -- and now, they’re each getting a chance to do what they want with their talents, with their individual styles remaining distinct enough that they really can each have their own direction.