#the super group formed by Phoebe Bridgers

[onestowatch]

The Top 21 Artists to Watch in 2021

In a world where the only universal certainty seems to be opening every email with “hope you’re doing well,” the only other surefire guarantee is that there will continue to be new music worth discovering. And, we figured with the start of a new year, what better way to say to spend the waking hours of 2021 than introduce you to a few of the artists we currently have a close eye on. Often genreless and belonging to Gen Z, these are the 21 artists we are watching in 2021. 

spill tab

Where to Start: “Calvaire” 

In her breakout single “Calvaire,” spill tab sings in French over an intoxicating backbeat. The effect is akin to a spell, ushering into existence something inherently danceable and transfixing, like an Angèle B-side finding new life as a Billie Eilish cut. It is a standout moment that would be followed by similar standout moments in the form of a series of varied singles, culminating in spill tab’s debut EP, Oatmilk. Short and sweet, the four-song collection holds all the promise of a 2021 artist to watch.

Joesef

Where to Start: “The Sun Is Up Forever”

Emerging from the fog of Glasgow, Scotland, Joesef’s marriage of heartbreak, desire, regret, hope, and sublime joy is nothing short of intoxicating. Immediately making an impression with his tender, heartfelt croon, the Glasgow artist’s songs soon give way to emotionally rife personal recollections–some beautiful in their understated minimalism, some breathtaking in their expansive scope. Whatever the setting, the result is always the same–a passionate, shared moment you will not be forgetting anytime soon.

brakence

Where to Start: “dropout”

Self-described as “self-care punk,” brakence effortlessly pairs the unmatched energy of punk with an impressive showing of vulnerability. While the past few years saw the Ohio native experiment over a range of singles and on his debut album, 2020 was without a doubt the year he found his sound in the noteworthy punk2. Blending Midwest emo, trap production, hip-hop, and alternative, brakence’s sophomore effort is a masterclass in infectious emotional catharsis.

Mustafa

Where to Start: “Stay Alive”

Few artists embody the sentiment of music as poetry as emphatically as Mustafa. First leaving a mark with 2020’s “Stay Alive,” Mustafa introduced himself to the world with a breathtaking, earth-shattering ballad rife with impassioned emotional imagery. Soft-spoken but never lacking for impact, the poet, activist, filmmaker, and songwriter brings to life the lived realities of Toronto’s Regent Park, a public housing project that shaped Mustafa into the once in a lifetime artist he is today.

Holly Humberstone

Where to Start: “Falling Asleep At The Wheel”

In her 2020 debut EP, Falling Asleep at the Wheel, Holly Humberstone proves herself a master at crafting a palpable atmosphere. Rife with emotional highs and cathartic lows, all backed by Humberstone’s magnetic and graceful songwriting, the British artist lays her heart on her sleeve and in turn lays the groundwork for a debut offering poised to stand the test of time. It is no mere hyperbole to say that Humberstone is an artist to watch out for not only in 2021 but in the years to come.

AG Club

Where to Start: “Memphis”

The initial comparison of AG Club to collectives like BROCKHAMPTON and A$AP may be an easy one to draw, but a single listen tells another story. While the genreless Bay Area collective may radiate the same rapturous energy of the aforementioned groups, AG Club is clearly riding high on their own wavelength. Aiming to make hip-hop but not as you know it, the idiosyncratic collective made their vision clear with the release of 2020’s Halfway Off the Porch, an electrifying amalgamation of disparate genres, sights, sounds, and moods.

347aidan

Where to Start: “Dancing in My Room”

Euphoric, difficult to perfectly define, and haphazardly brilliant, aidan347 embodies the adventurousness and inventiveness of Gen Z. The project of 17-year-old Aidan Fuller, the Cambridge, Ontario native has spent the past five years making music. Yet at the beginning of 2020, the Cambridge artist had less than three thousand monthly listeners; now, that number sits well above five million. A testament to 347aidan’s tenacity, his devoted fanbase, and the power of a TikTok-fueled viral hit–arriving in the form of “Dancing in My Room”–it really feels we are only witnessing the prologue of what’s to come.

Frances Forever

Where to Start: “Space Girl”

When thinking of music’s future stars, what better place to look than to the galactic, lovelorn musings of Frances Forever. Making less of a splash and more of a tidal wave with the release of “Space Girl” late last year, the Boston bedroom artist’s ode to intergalactic love has been rapidly climbing the TikTok and indie charts. Now signed to Mom+Pop records, Frances Forever is more than ready to shoot for the stars and beyond in 2021.

Hope Tala

Where to Start: “Lovestained”

Hope Tala is impossible to ignore. A West Londoner to her core, the UK singer-songwriter finds inspiration in everything from ‘90s movies, classic literature, to the constantly changing world around her. Transforming what feels like a lifetime, and some, of inspiration into an undeniably spellbinding fusion of R&B and bossa nova, Hope Tala’s musings of daydreams, heartache, and fear are the sort ready to define a generation’s ails, joys, and mundane triumphs and anxieties. Universal in scope yet deeply personal, Hope Tala is without doubt an artist to keep your eye on in 2021. 

Q

Where to Start: “Take Me Your Heart Is”

Q, much like his name, is an anomaly. Releasing one album a year since 2018, the ineffable soul and R&B artist has somehow coasted under the radar in spite of releasing some of the most breathtaking music out there. And with the release of 2020’s The Shave Experiment, Q feels like he’s finally stepping into the much-deserved limelight. Leading with the striking “Take Me Your Heart Is,” Q brought to life a nostalgic, hyper-emotive track sure to stop you in your tracks. Hopefully, it’s one of many to come. 

Claire Rosinkranz

Where to Start: “Backyard Boy”

16-year-old Claire Rosinkranz has been making music for the better part of her life, and 2020 was the year that scribbling down lyrics and helping her father compose music for TV shows and ad jingles paid off in a major way. The California native’s single, “Backyard Boy,” taken from her debut EP, BeVerly Hills BoYfRiEnd, soon became a TikTok hit, racking up over 80 million streams to date, on Spotify alone. If there are two things to look out for in 2021, make sure it’s your mental wellbeing and Claire’s euphoric self-dubbed “alternative-blues-pop.”

KennyHoopla

Where to Start: “how will i rest in peace if i'm buried by a highway?//”

KennyHoopla is nothing if not electrifying. The alternative, punk, and ‘80s new wave-evoking artist moves through each track with a sense of world-ending hunger, jumping from one ensuing mosh pit to the next. It is a balancing act of new wave nostalgia and genuine inventive alternative that results in a maelstrom of palpable excitement. To best experience this cathartic form of self-expression firsthand, look no further than his debut EP, last year’s how will i rest in peace if i'm buried by a highway?//. No one is quite making music like KennyHoopla, in 2021 or beyond.

MICHELLE

Where to Start: “THE BOTTOM”

New York collective MICHELLE deftly imbues the sincerity of soul and R&B into a uniquely tender pop outlook, and the result is nothing short of infectious. The project of six predominantly queer POC individuals, the group originally earned widespread critical acclaim for their 2018 album HEATWAVE, but it was arguably their subsequent signing with Atlantic Records last year that has them set to be one of 2021’s most promising acts. Quickly making the most of their newfound major label status, MICHELLE released “Sunrise,” the sonic equivalent of the first rays of light breaking through the clouds, signaling the end of a rainy day. It’s safe to say the future is looking bright for MICHELLE.

glaive

Where to Start: “eyesore”

Few artists define and defy the label of hyperpop as readily as glaive. Falling somewhere between 100 gecs and the second coming of mid-2000s pop punk, the newly-signed Interscope artist released his major debut label EP, cypress grove, earlier this year. Yet before finding a home at Interscope, glaive’s official discography only stretched back as far as 2020. Making the most of a year we all would rather soon forget, the 15-year-old wunderkind showcased to the world a continual musical evolution that is looking to only further pick up steam in the coming year.

Claud

Where to Start: “Wish You Were Gay”

From opening for Clairo to releasing a steady stream of resonant singles, Claud has spent the last couple of years making a name for themselves in the indie music world, but 2020 saw arguably their biggest breakthrough moment yet. With the release of “Gold,” Claud became the first artist signed to Phoebe Bridgers’ Saddest Factory Records. Arriving as the first taste of their upcoming debut album, Super Monster, 2021 is looking absolutely golden for Claud. And not to mention the fact they recently started a band with Clairo and friends.

María Isabel

Where to Start: “The 1”

Where has María Isabel been all our lives? First making herself known with the release of “The 1,” an ode to long-distance relationships, which soon became more prophetic than we ever could have imagined, the debut single served as lovely an introduction as they come. Thankfully, we would not have to wait too long to hear more dreamlike R&B from María, who graced us with her debut EP, Stuck in the Sky shortly thereafter. Uniquely heartfelt and velvety smooth, María’s voice is just the thing to carry you through 2021.

Remi Wolf

Where to Start: “Photo ID”

The past couple of years have seen avant-garde pop wunderkind Remi Wolf test the waters with one out of this world single after another, and 2020 felt like the year everything finally fell into place. Arriving on the Bay Area native’s sophomore album, I’m Allergic To Dogs!, “Photo ID,” and its unafraid, in your face anti pop mentality cemented itself as a surefire hit, and TikTok soon took notice. Serving as a testament to Remi Wolf’s mainstream appeal in spite of her outsider approach, “Photo ID” merely set the stage for what is to come.  

PawPaw Rod

Where to Start: “HIT EM WHERE IT HURTS”

PawPaw Rod may be the only artist on this list with only one single to their name, but in no way does that disqualify him from being an artist to watch in 2021. Releasing his debut single, “HIT EM WHERE IT HURTS,” out into the ether, the Los Angeles artist immediately landed on something special. Blending elements of hip-hop, funk, and alternative under a mellow, syrupy flow, PawPaw Rod wasted no time in setting himself apart from the pack. And with godmode–the same development company that brought us Yaeji, Channel Tres, LoveLeo, and more–it is safe to say that this is only the beginning.

Evann Mcintosh

Where to Start: “WIYULD”

In her dreamlike take on alternative R&B, Evann Mcintosh attempts to capture the turbulent act of coming-of-age. At times delicate to the touch and at times emanating a self-assured confidence well beyond her 16 years of age, Evann Mcintosh’s 2019 debut album, MOJO, laid the groundwork for an act whose promise knows no bounds. It was a promise she made good on during the tail end of 2020, with the release of singles “WIYULD” and “BULL$HIT.” Showing off two different sides of her continued musical growth, 2021 has us all the more excited for what Evann has in store.

Serena Isioma

Where to Start: “Sensitive”

In her breakout single, “Sensitive,” Serena Isioma fuses modern-day R&B and woozy indie pop with reckless abandon. The outcome is a song that not only sounds quite unlike anything else out there, but one whose own vibe seems to shift and evolve from one moment to the next. It is an electrifying opening moment that begins to define the Isioma’s artistry and her debut EP, Sensitive. The first of two EPs the Chicago-based artist would release in 2020, it is hard not to feel like Isioma is already in the process of creating a one-of-a-kind discography.

Blu DeTiger

Where to Start: “Figure It Out”

Whether you know her as the touring bassist for acts like FLETCHER and Caroline Polachek or as the TikTok famous bassist, the fact of the matter is that Blu DeTiger is an artist you need to know. A bassist since age seven and crowned the “coolest DJ around” by Vogue, the New York native’s music skirts the realms of funk, indie, and dance. Unmistakable, nonchalantly cool, and unsurprisingly bass-heavy, you deserve doing yourself the favor of diving headfirst into Blu DeTiger’s music. Just be sure to come up for air, when you’re ready.

[happymetalgirl]

Five* Outside albums of 2020

I do this little list every year of my favorite albums that fall mostly “outside” the metal sphere and weren’t so metal-adjacent that I reviewed them formally during the year. The past three times I have written this little piece, I have kept it to five, but *this year, I’ve just had a hard time narrowing it down, so I figured, why do that? Well, I could go through a few dozen albums or so that I fucked with this year outside the metal sphere, but I’m compromising with the addition of a new, quick (we’ll see) honorable mention section.

So, in the interest of keeping my verbose tendencies in check, I’ll cut this introduction off and get into the honorable mentions.

Honorable Mentions:

Anna von Hausswolff - All Thoughts Fly

I did review Anna von Hausswolff’s previous record, Dead Magic, back in 2018 as part of my bunch of metal albums reviews that year, because it was kind of tangentially metallic. It wasn’t a lot at a technical level, only a few metallic elements here no there, but it had a lot of harrowing qualities that I thought metal listeners might appreciate. For the Swedish singer and pipe-organist, that album really was the closest she ever came to metal’s territory, and I don’t think any flirting with the genre was intentional on her part. Most of what she does is haunting, neoclassical, organ-based music that’s usually not as wild as what Dead Magic was, and this year’s album is a real scale back to her roots and an appreciation for the pipe organ. While I do miss her bewitching vocals on this entirely instrumental album, All Thoughts Fly stands well on its own merits as both a solid tribute to von Hausswolff’s organ playing and as a beautiful, incredibly immersive ambient album that does so much with its relatively small palette. I’ve talked a few times on here about really shitty ambient music that’s approached with a clearly lazy attitude because of its supposed background role. Rather than being made to be ignored, All Thoughts Fly pulls you in and around in a swirl of lush sounds that aren’t too common in ambient music, and with a relatively minimal approach, relying on the naturally serene tambre of the instrument to fill the space with a lightening, floating ambience and well-structured movements to do the gentle moving. It’s a beautiful example of what an ambient album can achieve if it’s actually made with a lot of love and care.

Shabaka & The Ancestors - We Are Sent Here by History

Okay, that first one went pretty long. I’ll try to keep the rest of these here relatively short. Sons of Kemet band leader, Shabaka Hutchings, takes his other group on slightly less chaotic Afro-jazz odessey that what Sons of Kemet have been delivering us. While more contained on the surface within the genre’s usual light grey areas, Shabaka & The Ancestors move with freedom and flexibility on this album in a way that highlights the natural appeals of the Afro-jazz sound pallet through constantly engaging arrangements from masters of the craft.

Lady Gaga - Chromatica

I know we’re all well aware of Lady Gaga, but the pop icon has been relatively quietly been making the best music of her career since taking the edge rather than the center of the spotlight, from 2013’s diverse Artpop to 2016’s more bare-bones Joanne. And now, after her mellower, more traditional Americana-influenced album in 2016, Gaga cranks the volume and the fun way back up. Chromatica is a blast of an album whose wide span of dance pop albums influences new and old keeps it varied and lively all the way through. This album feels very much like it’s Gaga unleashed, just doing her thing and having a good time with a bunch of dance music styles that she’s always loved, and it’s impossible not to feel that enthusiasm secondhand, and groove the hell out along with it.

Black Thought - Streams of Thought, Vol. 3: Cane & Abel

Black Thought has had nothing to prove since the relative inactivity of The Roots this past decade, but he has sure been rapping as if he does have something to prove on his solo work. The Philadelphia rapper put out a couple of EPs back in 2018 that showcased his impressive modern lyricism and flow, and the third, LP-sized installment in the series is just another offering of further proof of the man’s lyrical chops. There’s a little bit of an understated delivery in the music overall, but Black Thought really lets his words speak for themselves more than his moderate bravado. It’s not super flashy because it doesn’t need to be.

Phoebe Bridgers - Punisher

Indie folk has always loved to soak in the puddles of personal sadness, but Californian singer Phoebe Bridgers takes the style to whole new depths of personally gripping, bordering on the outright emo, and that is by all means a compliment for rather than a shot at. The album’s candid journaling of Bridgers’ personal struggles is so tangible and so genuine that it would probably rival Connor Oberst’s best work with Bright Eyes. It is just a beautiful, yet tear-inducing album.

Alright, now on to the five “main” “non-metal” albums of the “list proper”.

Hexvessel - Kindred

Hexvessel are a Finnish six-piece whose sixth album of psychedelic folk here manages to touch on the same haunting, gothic tones that groups like Opeth and Gazpacho do at their most forest-y. Indeed, Kindred is an enchanting album, with sprawling styles and a full-bodied sonic pallet to keep it interesting the whole way through. And it’s as strong in its more bombastic song like that which opens the album as it is in its more stripped back acoustic tracks like that which closes it. Songs like “Magical and Damned” straight-up evoke Mount Eerie, while songs like “Kindred Moon” hearken to The Beatles at their most minimal and folky, and there’s plenty of spooky, mystical energy to go around. Definitely one of the best finds of the year for me.

The Strokes - The New Abnormal

Coming at the end of a seven-year gap between it and their previous album, 2013’s somewhat fan-polarizing Comedown Machine (which I liked a lot), The Strokes’ aptly named return is a return to the spotlight, but hardly to normalcy or the musical roots in garage rock that so many of the band’s fans have been sweating for. Twisting the electronic alternative rock of their Angles era into some odd, but mesmerizing forms, The New Abnormal is a subtly wild ride of an album through lots of melancholic overtones and undertones whose impact is made all the more potent by the occasional teasing of sorts with the few more traditionally rockin’ moments on here. It doesn’t take long to pull back the seemingly preppy synth rock or 80’s rock curtains to find the melancholy beneath “Brooklyn Bridge to Chorus” and “Bad Decisions”, respectively. But the band aren’t even that subtle with the immediate depression of just the straight-up guitar melodies on songs like “Selfless”, “Not the Same Anymore”, and the chill-inducing soar of “Ode to the Mets”. The album’s prize piece, though, has to be the utterly gorgeous and empathetic minimalist synth song, “At the Door”, whose simple melodies and bare delivery make for one of the most gently heart-piercing songs I know and of my favorite songs of the year and probably my favorite Strokes song ever, as hard as it is to listen to. Welcome back Julien and company.

Rina Sawayama - Sawayama

Quite possibly the best outright pop album I have heard in a long while, Sawayama sounds simultaneously fresh and vintage in the landscape it was born into, making use of a lot of early 2000’s pop rock instrumentation, even some heavy metal guitars here and there, but most importantly, a real sense of passion that seems to be flat-out absent from so much of the pop that I (usually inadvertently) hear. I don’t want to overstate the prominence of the metal elements, but the album does have a bubbling, infectious energy both vocally and instrumentally from front to back that the occasional bursts of heavy guitars between Sawayama’s charismatic, dance-inducing performances do provide a good snapshot of. Furthermore, there’s a rich diversity of song types across the album that dive into the pop sphere beyond the standard trend-hopping that dominates streaming playlists and make for a dynamic and fun, rather than disjointed, pop album. And that’s all only possible with the consistently tight compositions o the album. Indeed, this is one of the best pop albums I have ever heard, certainly in recent years.

clipping. - Visions of Bodies Being Burned

clipping. are the second artist to be on here two years in a row after last year’s spectacularly spooky There Existed an Addiction to Blood, and Denzel Curry’s one-two punch of TA13OO and Zuu in 2018 and 2019 respectively. There Existed an Addiction to Blood was a thrilling and fresh take on many tropes of horrorcore with the band’s already forward-thinking and creative noise-driven instrumental production guiding harrowing stories of femme fatales and street violence in a more modern setting that often flipped the script on victims and perpetrators, as well as settings themselves. Visions of Bodies Being Burned is quite literally a continuing sequel to that explosive album, also released in time for Halloween this year; the material was recorded in the same sessions as the previous album and in the same unique vein. Consequently, there’s not really a whole lot I can say about this album in contrast with the last without getting way too in-depth and spoiling the fun. Whereas MC Daveed Diggs’ hooks were one of the biggest strong points of last year’s album, the creatively noisy production is the big star on this album. The fans seem to be leaning a bit more toward this year’s release, but I think I’m still a little partial to There Existed an Addiction to Blood. Nevertheless, Visions of Bodies Being Burned is a blood-pumping follow-up not to be missed.

Mac Miller - Circles

The posthumous release from Pennsylvanian rapper Mac Miller captures the man at his most chill and contemplative. The album is more of a minimalist ambient singer-songwriter sort of album than hip hop and its serene atmosphere becomes kind of inadvertently tragic in the posthumous context, but it serves as a beautiful swan song for the creative rapper whose struggles with addiction sadly prevented him from being able to bask in the deserved wide appreciation of his sixth album. Circles is a soulful, bittersweet cap to Mac Miller’s legacy that I think anyone will be able to feel the love and raw humanness of.

[taste-in-music]

taste-in-music’s Year End Wrap-Up

Hello everybody! We’ve finally reached the end of 2020. While I’m glad to leave this miserable year behind, one of things that undeniably got me through it was the vast amount of awesome music we got. In past years I’ve made favorite album and EP lists, but this time around I’m going to tackle them all in one go, giving reviews on the projects that had some significances to me over the course of the year. I’m going to make a post for my favorite songs too, so keep an eye out for that in coming days. Now, without further ado, let’s get started, shall we?

folklore by Taylor Swift: This was an incredible year of growth for Taylor Swift. As much as I’ve enjoyed her past music, the way she constantly felt the need to address what people thought of her always irked me, (though after watching her documentary, I do understand why she did it.) It wasn’t Taylor Swift the public persona that was most interesting, I thought. It was Taylor Swift the artist, the songwriter, the storyteller. What I wanted was an album focused on that. This year, I got one, (well... more on that later,) and it’s my favorite project she’s ever done. The tales Swift spins on folklore span across love triangles, heiresses, and battlefields, and she nails each and every one. While the chilly indie-folk influence from the likes of Aaron Dessner and Justin Vernon is prominent, Swift’s warmth and charisma always cuts through the fog like a beam of sunlight. So yeah, this is my undeniable album of the year.

Fetch The Bolt Cutters by Fiona Apple: I only started listening to Fiona Apple last year and had thoroughly enjoyed her music, but this album cemented her as one of my favorite songwriters and performers of all time. Everything about Fetch The Bolt Cutters is so idiosyncratic yet fits together in just the right way, like watching an entire house being dropped from the sky and falling perfectly into place. It is a testament to the creative process, emotional honesty, and breaking free from all the cages you may find yourself in, whether they be societal, personal, or those of your own making. And in a year that was so isolating, it felt like Apple was whispering everything I needed to hear right into my ear, just when I needed it. In short, my boltcutters have been motherfucking fetched. 

Punisher by Phoebe Bridgers: When Punisher was announced, I had no clue how Phoebe Bridgers would match the quality of Stranger In The Alps. Upon first listen, I wasn’t sure she had. By the fifteenth time I was listening to this album and every lyric was hitting like Cupid’s arrow to the jugular, I knew she’d surpassed it. Punisher presents a sonic scope that both comforts and crushes all at once, like with the upbeat yet mournful horns on “Kyoto” or the cathartic swell on standout “I Know The End.” In my opinion, Bridgers is one of the greatest songwriters of our generation in the making, and I can’t wait to see what the future brings for her. She may know the end, but she’s far from it. 

SAWAYAMA by Rina Sawayama: This is the album I see becoming a new shorthand for the true potential of pop excellence, a cult hit that never got its time to shine but is beloved by pop music geeks to the ends of the earth, like EMOTION by Carly Rae Jepsen. SAWAYAMA so effortlessly blends diverse genres and influences like disco, nu metal, and arena rock, and it yet it remains cohesive due to Rina Sawayama’s sheer strength as a performer. She deserves a spot on the pop girlie hierarchy, and one near the top. 

Future Nostalgia by Dua Lipa: I really enjoyed Dua Lipa’s debut album, but even I didn’t expect her to come through with such a fully realized, consistent, downright fantastic follow up. Future Nostalgia is a pop album that feels studied, like Lipa did her research of pop’s past as she made it. The result is an album that synthesizes several different sounds under her vision, one that is always trained ahead, and it simply slaps. In a perfect world, nearly every song on this album got spun off into a hit single. 

evermore by Taylor Swift: 2020 was already my year of listening to Taylor Swift, (I went through her whole discography, cultivated a favorites playlist, and at the end of the year I was in the top 2% of her yearly Spotify listeners.) evermore was a lovely cherry to top it all off. While folklore enchanted me with its stories, evermore captivated me with its melodies. I haven’t been able to get snippets of this album out. of. my. head. for weeks now. It’s a bit less consistent than it’s older sister, (and likely to live in its shadow,) but there is still so much to love. 

I’m Allergic to Dogs! by Remi Wolf: This EP is so much goddamn fun. It’s a blend of many different sounds, indie pop, electronic, maybe hip hop, I think reggae at points? It’s such a colorful, textured, quirky listen bristling with energy and undeniable hooks. “Woo!” conquered my Summer, and months later the bridge of “Photo ID” conquered TikTok. Keep your eye out for Remi Wolf in the coming year, she’s going to make a big splash. 

Good At Being Young by Charli Adams: Good At Being Young was the first EP this year that I could not get enough of. It drifts through dreamy indie-pop sounds, with melancholic guitars and cloudy synths, and Adams has a deep vocal timbre that delivers tales of adolescent tribulations with just the right amount of wistfulness. Overall, it builds the perfect soundscape for a late-night drive.

Cape God by Allie X: Allie X has been keeping us FED with content. It seems like only yesterday that Super Sunset came out, and yet her output remains impressively consistent. This album has impressive highs, some lower moments, but the danceability, duets, and enticing darkness under its shiny pop veneer make it a record you won’t want to skip. 

La vita nuova by Christine and The Queens: Perhaps the biggest flex of 2020 was Christine and The Queens dropping a fantastic EP and accompanying short film right out of the gate. The grooves on this are infectious, wiry, and air-tight, (the Caroline Polachek feature was another added bonus,) but that doesn’t mean there isn’t plenty of emotional weight too. 

Lighter by Donna Missal: This was one of my most anticipated albums of the year, and it’s hard to determine whether it disappointed or not. I think the only thing holding Lighter back is that This Time was such a formative album for me, (my favorite of 2018, to the uninitiated.) In fact, this album flows way better than This Time, more cohesive with its storytelling and more consistent in folk-rock sound. And, of course, Donna Missal’s vocals stun on both the bangers and the ballads. 

SURF by BLACKSTARKIDS: There was no record this year that was more instantly likeable than this one. The blend of low-fi indie pop and hip hop makes for a whirlwind of sunny fun and youthful malaise that would make the perfect soundtrack for a road trip to the beach. Standouts include the opening track “SOUNDS LIKE FUN,” the chill “WIGS,” and blissful title track “MUSIC TO SURF TO.”

The Baby by Samia: I’ve had my eye on Samia since “Milk” dropped years ago. Seeing her live sparked my belief that she was an indie darling in the making, and The Baby confirmed that she definitely was. The lyrics on this album mix quiet contemplation with just enough sardonic wit and raw emotion throughout a varied selection of sunny rock bops and gut wrenching ballads. If you enjoyed Punisher, then I can’t recommend this enough.

Season 2 by Nasty Cherry: Nasty Cherry is a group that I will not stop rooting for. Their EP from last year showed their potential for nailing monster hooks, but this sophomore effort shows just how versatile they can be. This EP covers everything from Dylan Brady produced hyperpop to early-2000s reminiscent pop rock to emotional balladry, and they pull it all off flawlessly. 

A Little Rhythm and a Wicked Feeling by Magdalena Bay: This album became a fast favorite way late in the year, there is such a sweetness to Magdalena Bay’s music that makes it stick in your brain like a piece of blue raspberry bubblegum. This EP is spacey, catchy, and filled with electronic synthpop mastery, with countless catchy hooks that’ll make you feel like drifting and dancing all at once.

Miss Anthropocene by Grimes: The bubblegum bombast of Art Angels fully redefined my taste in pop years ago, so I was fascinated to see how Grimes would follow it up. On Miss Anthropocene, she leans into darker, more industrial textures, but also anchors it back to Earth with acoustic touches and some of her most introspective lyrics to date. Grimes painted a version of a world on the brink of disaster on this album, a picture that was hypnotically beautiful. And in a year where the word was a certified disaster, that was strangely comforting.

Plastic Hearts by Miley Cyrus: I’ve been wanting Miley to go rock for so goddamn long, Plastic Hearts was bound to make this list by pure validation alone. But what can I say? This breed of glossy 80s rock suits Cyrus’s rougher voice so well! I hope she stays in this lane a bit longer, but as we know, she’s one of pop’s most chameleonic figures. Only time will tell. 

Where Does The Devil Hide by Zella Day: I have been patiently awaiting new Zella Day music ever since getting hooked on Kicker back in 2017, so this was one of my most anticipated releases of the year. This EP sounds nothing like Kicker, and I couldn’t be happier. It shows Day leaning even more into her influences from the past, (the 60s/70s vibes are intense with this one,) but also breathing a refreshing new life into them. 

SOUL LADY by Yukika: When I imagine the ideal of pop music, what it would sound like in a perfect world, this is what it sounds like. SOUL LADY is full of pristine, glossy production and catchy hooks that feel like they’ve come down from the clouds. I’ll admit that I can have trouble forming a connection with music when I don’t understand the lyrics, (it’s something I’m working on,) but this album cleared that hurdle with ease. If you’re curious about city pop or K-pop this is a great place to start. 

Heaven Is Without You by Love You Later: Give me lush pop production and heartbroken lyrics finished off with a heaping helping of nostalgia and I’ll eat it up with a spoon. Love You Later has been feeding my addiction to this genre for years, and this latest helping is particularly sweet. 

IN A DREAM by Troye Sivan: Troye Sivan has always supplied the bops, but it was about time that he started experimenting with his sound a little bit more. This EP offers some harder-hitting electronic textures, but also the addictive hooks that’ll keep you coming back for more.

Ungodly Hour by Chloe X Halle: These women are so TALENTED! If there is any word I’d use to describe this album it would be “effortless,” the harmonies, grooves, and chemistry between Chloe and Halle feels so natural and free-flowing. Charisma just rolls off of them in droves, I see full-blown stardom and several Grammys in their future.

Watching You by Robinson: This EP was one of the first on this list to arrive this year, and it still hits months later. Robinson’s confessional lyrics work wonders over the buoyant pop grooves, and “Don’t Say” remains one of the best pop songs of recent years. 

Manic by Halsey: I respect Halsey for dipping her toes into a myriad of different genres, (synth pop, rock, hip hop, and acoustic balladry,) but it does make for a jumbled listening experience. Still, I appreciate that this album features some of Halsey’s strongest tracks and writing to date, offering greater experimentation and emotional imtimacy than album’s past. 

We Don’t Stop by Aly & AJ: Should this count? It’s more a compilation of their past EP and singles... I don’t care, I’m counting it because there’s some new stuff too. This is an excellent display of Aly & AJ’s pop prowess in recent years, the hooks, vocal chemistry, and shimmery production are undeniable. 

Under My Influence by The Aces: The Aces returned in 2020 with a more laid-back, groovier record than their debut, exploring a wider variety of sounds. They’re as magnetic and likeable a group as ever, each member giving it their all, but I think I’ll return to the debut more often. 

Strangers/Lovers by Dagny: I’ve been anticipating a longer Dagny project, as she’s been drip-feeding us singles for a while now. This was a lot of fun, with Dagny pairing her upbeat earnestness with stories of romantic tribulation. While the hooks aren’t as memorable as her past offerings, there is still so much to enjoy. Lead single “Come Over” and “Let Me Cry” are my favorites.

DUALITY by Tatiana Hazel: I came across this via recommendation on Tik Tok and it’s a solid pop record! The music is swooning, synthy, and tinged with disco and Latin influence. The record doesn’t waste a second of its runtime, clocking in at less than half an hour and grooving the whole time.

After Hours by The Weeknd: The sonic palette of After Hours is so engaging, a neon-drenched blend of synthwave, electropop, and R&B. I’ve always felt lukewarm on The Weeknd’s musical persona of brooding, villainous party monster, so the strongest moments on this album tend to be when he subverts that in some way. Still, in full, this album is an undeniable force of smash hits, stadium-shaking ballads, and cinematic flair. I can’t wait for his Super Bowl performance. 

Petrol Bloom by LAUREL: It’s no secret that this year was chock-full of 80s revival albums (there’s what, five others on this list?) LAUREL wasn’t an artist I was expecting to go in that direction after the brooding folk pop of her debut album, but her deeper timbre works great alongside the synthy soundscapes. 

positions by Ariana Grande: I’ve just come to expect that nearly all of Ariana Grande’s albums are going to be growers to me. My first listen to positions was underwhelming, but the songs have grown on me more and more. This album feels like being let in on a giggly, fun slumber party with Grande and her friends. I wouldn’t call this her strongest album by far, and while I tend to prefer when she favors the more powerful parts of her range, (and her enunciations could still use some work,) there is a lot of good material here. 

THE ALBUM by BLACKPINK: We may just have to stan. I checked this out after watching their Netflix documentary, and while this breed of cacophonous, in-your-face electropop isn’t something I can listen to all the time, the hooks and charisma are undeniable. It certainly makes me feel like a bad bitch whenever I’m working out. 

Kid Krow by Conan Gray: Conan Gray burst onto my radar offering dreamy tracks rich with teen malaise and suburban restlessness, and a good amount of that initial appeal carries over onto this album. Kid Krow has both a larger instrumental scope and more stripped-back moments. In the end, it still feels like Gray is finding his voice as an artist, but he's giving up great bops to jam out to as he does.

Petals For Armor by Hayley Williams: Hayley Williams is one of my favorite vocalists, so seeing her venture out for a solo project was exciting. This album offers a mixed bag of danceable jams, emotive moments that showcase Williams’s powerful voice, and a few skips. But overall it showcases Williams’s strength as a performer as she tackles her past with vulnerability and versatility.

Apart by LÉON: Oh, man. This one was kind of disappointing. For context, LÉON’s self-titled debut was my favorite album of last year. This follow-up is by no means bad, but every song on her first album was instantly memorable. This one, not so much. LÉON’s vocals are beautiful, and there are some stand-out tracks, but I don’t see myself returning to this nearly as much. 

Blush by Maya Hawke: Maya Hawke’s Blush was to my 2020 what Tōth’s Practice Magic and Seek Professional Help When Necessary was to my 2019, (and that makes sense, as they’ve collaborated in the past.) This album is so blissful and nonchalant, and Maya Hawke has a gentle, soothing voice that feels wise beyond her years. While the writing isn’t as hard-hitting as, say, the Phoebe Bridgers album, sometimes I just want to listen to something that could rock me off into a dream world. If you like folksy, down-to-earth ballads, you’ve got a solid collection of them right here. 

Dedicated Side B by Carly Rae Jepsen: Of course Queen Carly would pull through with B-sides for Dedicated, did we expect anything less? Jepsen’s brand of controlled yet carefree shimmery poptimism drenched in 80s nostalgia that never fails to put me in a good mood. This album has some lusher, more tropical instrumentation than Dedicated proper, but works great alongside it.

Missing Person by Kelsy Karter: To the Plastic Hearts fans out there, your homework now is to give this record a listen. This rock album presents pop hooks, but a lot of reckless rock fun too. Kelsy Karter has so much irresistible swagger and carefree spirit as a performer, speeding through the emotional highs and lows like she’s burning rubber in a cherry red Cadillac. 

how i’m feeling now by Charli XCX: I’ll admit, this album was a bit abrasive to me on first listen. But tracks like “anthems” and “forever” made me return, and it’s a huge grower. If you listen closely, you’ll find the sugary-sweet hooks and relatable sentiments nestled deep in the crunchy hyperpop textures, begging to be discovered and eventually loved. 

Jaguar by Victoria Monét: If you enjoyed positions, then check out the debut from one of that album’s most prominent co-writers. Jaguar’s concise collection of silky R&B slow-burners show that Victoria Monet’s is a superstar in her own right. 

Some great albums I listened to that didn’t come out this year: Blue by Joni Mitchell, BLACKPINK IN YOUR AREA by BLACKPINK, I Need to Start a Garden by Haley Heynderickx, Plastic Beach by Gorillaz, Out in the Storm by Waxahatchee, 7 by Beach House, Dummy by Portishead, Lovers Fevers by Babygirl, and Red by Taylor Swift. 

Whether you liked, reblogged, or commented on a post, sent me an ask, or interacted with this blog in any way, thank you so much for all the support throughout the year! I can’t express how much I appreciate it. 

What were your favorite albums from this year? Did I miss anything? Send me an ask and let me know. I’ll tell you my thoughts, or put it on my to-listen-to list if I haven’t heard it. 

Here’s to 2021! May it clear the extremely low bar set by this year. 

[asweetprologue]

All the billboards say this is the end?? So evocative, I'm curious!

this is a lyric title, from I Know The End by phoebe bridgers (great song). this is my sort-of-zombie au! a lab opens up a portal between worlds and unleashes creatures that can turn humans into walkers. geralt is part of an experimental group of essentially super soldiers, but they end up being kind of half zombies who hunt full zombies. ciri is fully immune and geralt tries to bring her to kaer morhen labs to develop a cure. I haven’t seen last of us dont at me

here’s a description of the aliens <3 

It was beautiful, Jaskier thought, fascination and terror inseparable as they spread through his chest. There was nothing about it that looked human, despite its overall shape being somewhat similar. Every angle was uniquely, unequivocally alien. Its limbs were overly long, and he watched as it shifted smoothly from crawling on all fours to standing upright, easily eight feet tall. Its hind legs were jointed in two places, almost like a deer, and the creature stood almost on the tips of its clawed toes. Its torso and arms were humanoid, but the proportions were twisted, the barrel of the chest much too short to contain any familiar organs and the arms long and reaching. At the center of its chest a blue light emanated from what looked almost like crystals embedded - or maybe growing - from its form, the crystals fading to black as they moved away from the center. Its skin was dark, slate-like almost, cracking in places like dry, dry dirt. Its face was the most inhuman at all - the only thing Jaskier could really grasp about it was its bright, gold glowing eye sockets, like its face was a mask covering a fire burning within. When the creature opened its mouth he could see rows of wickedly sharp teeth backlit by that fire.

dunno when I’m gonna finish this one! it might be something I work on as a series of vignettes

ask me about my wips

[obtusemedia]

Top 25 songs of 2020: Honorable mentions

2020 was not a good year in many respects. But despite the world collapsing around us, there was a shocking amount of great new music.

Some of 2020′s best songs were a good fit for this terrifying year — we’ll get to those ones much, much later in the countdown. But 2020 also gave us gorgeous folk ballads, euphoric dance music and infectiously fun pop and hip-hop that had nothing to do with COVID-19 or any other awful aspects of the year.

Before we get to the proper list, here are 15 nearly-as-good songs that juuuust missed the cut, listed in alphabetical order by the artist’s name.

“Shimmy” by Aminé

Oregon’s most prominent rapper — okay, fine, Oregon’s only prominent rapper — came out of the gates blazing this year with “Shimmy.” 

Aminé may have heavily sampled Ol’ Dirty Bastard’s classic “Shimmy Shimmy Ya” on his second album’s leadoff single, but he replaces ODB’s chaotic vibes with a cold, snarling precision. He almost evokes Pusha T in his gleeful takedown of his rivals over the ice-cold beat. Pair this banger with one of the year’s best music videos, and there’s no doubt it would sneak onto this list.

“Dakiti” by Bad Bunny and Jhay Cortez

I am all about this nocturnal, new wave-y style of reggaeton. The melody is catchy as hell, yet the production has a sinister, chilly vibe that wouldn’t sound out of place on an Italians Do It Better complication. 

Megastar Bad Bunny’s husky vocals and Jhay Cortez’s more nasally voice make for a fun contrast as they trade verses. It’s a winning and charismatic combination!

“Boomer” by Bartees Strange

When you hear the phrase “rap-rock,” you’re likely shuddering at the thought of Limp Bizkit. But that style can work, as promising new artist Bartees Strange — stage name of D.C. alt-rocker Bartees Leon Cox — proves on “Boomer.”

Cox spices up a solid mall-punk banger with some rap verses. And unlike the Fred Dursts of the world, he can actually, you know, rap. 

But it’s the song’s explosive chorus, where Cox unleashes his howling vocals over charging guitars, where “Boomer” goes from an interesting song to a great one. If there’s any justice, he’ll be rising up the indie ranks very soon.

“Kyoto” by Phoebe Bridgers

I think I might be the only music nerd who didn’t adore Phoebe Bridgers’ new album, Punisher. For me, her mix of hushed, mostly-sincere singer-songwriter ballads with snarky lyrics just came off as tonally awkward. Her quips about Scientology and outlet malls in otherwise-sad ballads left a sour note for me.

But Bridgers’ unique songwriting style shines most on the few uptempo songs on Punisher, particularly “Kyoto.” Her goofy non sequiturs fit much better in a driving, anthemic song. And I’m immediately primed to enjoy any tune with a strong resemblance to Sufjan Stevens’ “Chicago.”

“Dynamite” by BTS

I’m not sure what it says about me that I didn’t learn to love BTS, the insanely-beloved South Korean boy band, until they finally recorded a song in English. 

It’s not that I dislike their earlier, Korean-language stuff — “Boy With Luv” in particular is a banger. And BTS’ English-language lyrics on “Dynamite” don’t really have any meaning (they’re basically just a bunch of random catchphrases jammed together ... but they do sound good).

But there’s something immediate and pristine about “Dynamite” that makes it impossible to not adore. It’s a little too cleanly produced to be on the level of the Bruno Mars hits BTS were clearly aping, but the sense of fun is infectious. At the very least, it’s on equal footing with Taio Cruz’s classic of the same name.

“Comeback” by Carly Rae Jepsen feat. Bleachers

Carly Rae Jepsen can knock out wistful synthpop nuggets like this in her sleep. So can Jack Antonoff, who produced the track and provides some backing vocals. 

But just because this isn’t anything new for the duo doesn’t mean the winning formula’s gone stale. “Comeback” is a worthy addition to both of their catalogues.

“Hollywood” by Car Seat Headrest

I can’t, in good conscience, put this song in the top 25. It’s an intentionally abrasive misfire from the Seattle indie rockers, who’ve done much better. Complaining about the vapidness and sleaziness of Hollywood is an overplayed topic, and letting side members of the band rap some of the verses (in goofy voices, no less) was maybe not the best call.

...but at the same time, there’s something to this objectively bad song that I keep returning to. Maybe it’s the embarrassing bluntness of the lyrics. Maybe it’s the forceful guitar riff. Maybe it’s because the aggro, visceral nature of “Hollywood” makes it a perfect workout song. Maybe it’s the goodwill left over from Car Seat Headrest’s last two albums, which were both stone-cold indie rock classics. I’m not sure! 

But even though I know it’s not a good enough song to make the proper list, I can’t lie to myself and leave it out of the honorable mentions. It’s a banger in spite of itself.

“24 Hours” by Georgia

"24 Hours” is the best possible version of a left-of-center synthpop club banger. 

What makes it great — the pulsating energy, Georgia’s yearning vocals, the “whoo!” vocal samples — are obvious on immediate listen. But perhaps what makes “24 Hours” worthy of this list is its replay factor. It came out in January, and it still sounds great 11 months later.

“1985″ by Freddie Gibbs and The Alchemist (song starts at 1:35)

We already knew — thanks to his two collaborative albums with Madlib — that Freddie Gibbs’ gruff flow sounds incredible over dusty samples. So why not team up with another producer who does something similar?

“1985″ is a prime example of knowing one’s strengths. The Alchemist’s production is stunningly gorgeous in his typical style, with a soaring guitar solo and a shuffling, dreamy beat. Gibbs pounces on it with the same ferocious street-life verses he’s been spitting for years. I’m glad to see Gibbs has figured out exactly which production sounds best for him to make Tiger King jokes and tell coke-dealing stories.

“Say Something” by Kylie Minogue

Aussie icon Kylie Minogue has been at it for 33 years at this point, reminding us every decade or so exactly why she’s stuck around.

“Say Something” is one of those reminder tracks — a burbling, irresistible, futuristic-yet-retro disco banger. The production is stellar, from the clanging guitar riff to the bouncy synth bass, and Minogue has a winking confidence on the track like she’s been doing this for decades (which, of course, she has). It’s exactly what you want out of a bubblegum pop jam.

“Right Round The Clock” by Sorry

With their very-British boy-girl dueling vocals, new London indie rock outfit Sorry definitely have more of a whiff of The xx. But instead of hyper-minimalist, whispered tunes, “Right Round The Clock” has a thundering, droll swagger that grabs you by the throat when the chorus comes slamming in.

The thumping, piano-based sound of “Clock” has a bit of a jazzy flair, thanks to the flecks of sax that pop in here and there. And Sorry interpolates Tears For Fears’ classic “Mad World” in a gloriously tongue-in-cheek way on the chorus (at the very least, it’s far superior to that awful gloom-and-doom Donnie Darko cover).

“Brooklyn Bridge To Chorus” by The Strokes

In a year FILLED with improbable comebacks from ‘00s and ‘90s artists (we’ll get some of to them in the top 25!), The Strokes may have been the least likely. The early ‘00s indie rock standard-bearers had been in sharp decline for nearly 15 years before their new album, The New Abnormal, dropped and the group returned to form.

“Brooklyn Bridge To Chorus” is a prime example of The Strokes’ invigorating comeback. It’s a killer new-wave jam that could’ve been been written by The Cars, with its jittery keyboards and impossibly catchy chorus. And of course, The Strokes’ most valuable asset — lead singer Julian Casablancas’ impossibly cool vocals — is here in full force. 

It’s not quite Is This It, but “Brooklyn Bridge To Chorus” is still The Strokes’ best song in 14 years.

“Spotlight” by Jessie Ware

After a career making increasingly dull ballads, “Spotlight,” and Ware’s new What’s Your Pleasure? album, is a refreshing change of pace into sleek dance-pop. 

I don’t know if “classy” has ever been used to describe disco, but that’s the best way to describe “Spotlight.” It’s undoubtably a dancefloor filler, with a funky groove and ‘70s string stabs, but there’s also a stateliness to it. It could fit equally well at Studio 54 as it would at a black-tie affair. I credit Ware with that, using her breathy vocals and charisma to strong effect here.

“Lilacs” by Waxahatchee

Any time you can write a song that sounds like an outtake from Tom Petty’s Wildflowers, I’m on board. 

That’s a bit of a reductive way to describe “Lilacs” — Katie Crutchfield’s vocals are much more fiery, for starters. But there’s something nostalgic and welcoming about this southern-fried folk-rock song with oblique lyrics and catchy hooks for days.

“Mood” by 24kGoldn feat. iann dior

Much of this new wave of emo-influenced rap isn’t really my thing. Maybe I’ve grown out of super-angsty and blunt songs about depression? Although I still love Smashing Pumpkins, so maybe that’s not the case. I can’t really answer why I don’t adore Juice WRLD or Lil Peep like so many others seem to.

But “Mood” — an unabashed sell-out, watered-down version of that sound – immediately clicked for me. I know 24kGoldn is trend-riding here, and that this is essentially a wildly shallow pop song. BUT! It’s a really catchy wildly shallow pop song! With bouncy pop-punk production that sounds like trap-ified Blink-182! (okay, it’s much better than that sounds, but you get the point)

I allow myself a guilty pleasure or two on my lists. “Mood” is one of those guilty pleasures this year. As the kids (presumably still?) say, it’s a vibe.

[goldentshirt]

Day 235

Today’s album: boygenius, boygenius (2018)

This group is basically an indie rock/folk rock female super group. It is comprised of Julien Baker, Phoebe Bridgers, and Lucy Dacus, who all have solo indie folk rock careers. In fact, I think I have listened to an album from all of them earlier. They formed this group when they met through touring and such. This EP is so beautiful, soft, and at times moody--basically all the things I love of indie folk rock. Their voices and styles are distinct, but all go together so well. Their harmonies on songs like Ketchum, ID are perfect and haunting. Basically, I need them to make more music together, because this EP is so promising. 

2020 music challenge

[toogoodmusic]

TOO GOOD TUESDAY INTERVIEW: EXES

Allie McDonald and Mike Derenzo of the indie-pop duo EXES are currently gearing up for the release of their second project Before You Go which is the follow up to their first project – an EP titled The Art of Saying Goodbye. In between the two have also released a slew of singles which is quite impressive when we learn that the two are bicoastal. And not bicoastal as in one of them is simply from the East coast and the other from the West but they actually live and create music together on separate coasts! While it may seem surprisingly (although maybe not nowadays considering technology) this separation clearly hasn’t hindered the quality of their music. Luckily, Allie and Mike took some time from their upcoming project Before You Go to answer some questions from Too Good Music. See below to find out what they say about being bicoastal, finding out that they were apart of Taylor Swift’s playlist of Songs Taylor Loves, if they’ve broken any bones and more.

TGM: What’s the story behind “Bones Break?”

MIKE: For this track, we collaborated with our drummer Peter Martin. Inspired by the constant movement of the snare drum in Dave Mathew’s “Crash Into Me” [after a viewing of Ladybird] we set out to make a contemporary version of songs we loved as teenagers. Taking in influences from Dave Matthews to Death Cab for Cutie, we tinkered away until we created "Bones Break”.

ALLIE: Lyrically, I wrote Bones Break following a difficult breakup. It was at my lowest moment that I remember thinking the heartbreak was so painful that I’d rather feel my bones break. And from there, we ran with it. It’s definitely one of our more honest and vulnerable songs, but it was important for me to tell the story. 

TGM: Have you ever broken any bones? If so, what’s the story behind it?

ALLIE: I’ve always been clumsy, awkward, and tall (so naturally far away from the ground). I’ve broken some toes and fingers just by existing. The most embarrassing was when I broke my arm from literally running into my sister.

MIKE: I’ve never broken a bone! I got stitches for the first time last month and that was enough

TGM: What’s the creative process like for you two?

ALLIE: It’s honestly different every time. Sometimes I’m sending Mike voice memo ideas in the middle of the night. Sometimes he sends me tracks that I’ll write over. Usually Mike focuses on production and I focus on lyrics and melodies, but we aren’t afraid to share ideas. We’ve been doing this for a few years now, so it’s nice to have a process that works and that we’re comfortable with. 

MIKE: I like to start the tracks with sounds that I know Allie and I both like. Once we have a grasp on what the song is going to be about I like to go back in and make sure the production matches the sentiment Allie has lyrically/melodically. I try to make sure all of the tracks are grounded in a organic space with room for contemporary flourishes and electronic touches. 

TGM: What’re the benefits of being “bicoastal?” What’re the challenges? Is there a coast that you draw more inspiration from?

ALLIE: Every time we tell people we’re bicoastal, they give us a strange look. Yes, in theory, it should be difficult, but for us, it works. We’ve been working together for so long that we don’t need to be in the same room to create songs anymore- there’s a level of trust now. I’ll take writing trips and fly back to LA every once in a while, which is definitely helpful. Mike has a better mic than me so I suppose that’s a challenge hah. Since I moved to Brooklyn in March I am honestly overwhelmed with inspiration. It’s been an interesting transition, but it’s inspired so many new EXES songs. Stay tuned.

TGM: How do you guys work through creative differences you may have about a song?

ALLIE: Like any relationship, it’s important to compromise. We don’t always have the same opinions, but I view that as a strength and not a weakness. I think that’s what makes EXES our “baby”- 50% of it is Mike’s perspective and 50% of it is mine. 

MIKE: We try to not be too precious about any particular idea and always be flexible to the others opinion. Luckily Allie is my favorite songwriter [LOL] so there haven’t been too many times we disagree! 

TGM: How did it feel knowing you were included on Taylor Swift’s list of “Songs Taylor Loves?” Where were you when you found out?

MIKE: Allie always texts me when things pop up on our Twitter. This time was a particularly urgent flurry of texts. Lots of “OMGs”, exclamations points, and definitely some “aioefdsfsdajkf” excitement gibberish lol. 

ALLIE: yes, I found out from twitter- we had fans tweeting to alert us. And yes, I definitely fangirled. I’ve been a fan of Taylor Swift for ages. It’s a cool feeling to be noticed by someone like that.

TGM: Opening for Børns and Ella Vos had to be pretty cool experiences. What was the best thing you learned from sharing a stage with them?

ALLIE: It was awesome opening for them. As a fan of both Børns and Ella Vos, I felt very lucky to share a stage with them. We learned a lot from Ella Vos as it was our first “mini” tour where we played LA and San Francisco. She’s so humble and sweet. Plus she has such a calm presence. It was honestly an unforgettable couple of shows. 

TGM: If you guys were to form a super group titled “EXES and OHS” who would you like to join your band as the “OHS?” (aka which (2) artists or musicians would you like to form a super group with?)

MIKE: We work with producer Christoph Andersson and writer/singer Jesse Epstein a ton and they have a band called JOME [who we’ve collaborated w/ before]. Jesse and Allie’s voices sound wonderful together!!!

ALLIE: I grew up playing the violin, so I’d love to collaborate with an orchestra. I realize this isn’t 2 artists, but it still remains a dream of mine- Mike and I backed by a full orchestra. That would be insane.

TGM: Which song of yours was the first to rack up a million streams? What’s it feel like having a song of yours be streamed over a million times?

ALLIE: I think it was “twentythousand”? I remember thinking it was crazy when twentythousand had 20,000 streams. It’s still very surreal to think that over a million people have heard a song that two kids made in a garage in Venice Beach. I feel very lucky. It feels very much like a dream still.

TGM: I laughed seeing your tweet where you said that when you meet a group of new people, your favorite thing to do is play who would die first in a horror movie…so between you two, who would die first in a horror movie?

ALLIE: Don’t get mad, Mike, but I think it would be you hah. I’m very into horror movies, Halloween, and true crime. I have anxiety about getting murdered, so I always have an escape plan figured out at all times. I’m also the opposite of brave so I’d never go into an isolated cabin in the woods pretty much ever. I’d probably be the girl at the beginning of the movie who warns her friends, “I don’t have a good feeling about this” and ends up staying home.

TGM: I also laughed when I saw another tweet where you said an Uber driver asked you if he could take you out to Subway and that he might be the one. If someone were to propose to you with a ring inside a Subway sandwich – what would that ideal marriage-material sandwich have on it? 

ALLIE: I’m a breakfast-for-all-3-meals-of-the-day kinda girl so I’d have to say: an everything bagel, crispy bacon, scrambled egg, and cream cheese. I know, very nutritious. I would for sure say yes.

TGM: Which music festival would be a dream to headline at? 

ALLIE: I think for me it would be Outside Lands. I’ve been once before, and I remember having the best time. The weather is always beautiful and fall-like. And it’s in one of the best cities. We haven’t played a festival yet- it’s definitely on the bucket list. Cross your fingers for us!

TGM: What can fans expect from the upcoming album, Before You Go?

ALLIE: As we’re growing, our sound is also maturing. It feels like a great next step for us. We’re still creating music based on our real life struggles, heartbreaks, fears, and joys - but the sounds and the ideas are more unique and explorative. We weren’t afraid to try new things this time around.

MIKE: GUITAR! Lol. I made a point to try and have more organic instruments across the whole project. Allie and I both grew up loving indie music and whats indie music without guitars!! We also messed around with song structure in ways we never had before. The 2nd song and 2nd to last song mirror each other structurally and really help bring home the thematic narrative of the project.

TGM: Individually, if you could only listen to (5) artists for the rest of your life, who would they be? 

ALLIE: ok, these might be a bit all over the place but: Frightened Rabbit, Regina Spektor, Phoebe Bridgers, Arctic Monkeys, and Dashboard Confessional (I’m an emo girl at heart)

MIKE: Death Cab for Cutie; Kanye West; Frank Ocean; Blink 182; Bon Iver 

TGM: What does the rest of 2018 look like for you?

MIKE: Writing more music! We just had a great writing trip in July and have another planned for October! Trying to explore more avenues of what EXES can be.

A HUGE shout-out to EXES for taking the time to answer some questions from Too Good Music. Be sure to follow along with their journey through the links below and be on the look out for the upcoming release of Before You Go!

           Facebook | Twitter | Instagram | Youtube | Soundcloud | Spotify

[popradar]

Weekend Planner: 20 Awesome Things to Do in Los Angeles

Here are 20 of the coolest events happening in L.A. this weekend. Want the 411 on additional events and happenings in LA? Follow editor @christineziemba on Twitter or Instagram.  

If you like what you’re reading, consider donating to PopRadarLA.com to help defray the costs of the site. Thank you! 

FRIDAY, FEB. 2

GIRLSCHOOL FESTIVAL 2018 (Music + ideas)

Girlschool’s third annual woman-centric music festival returns to the Bootleg Theater this weekend (Friday through Sunday). Founded by Anna Bulbrook of The Bulls and The Airborne Toxic Event in response to the dearth of women in alternative music and festivals worldwide, Girlschool’s mission is critical. The schedule is filled with performances and afternoon talks, panel discussions and more. Highlights include a Friday keynote conversation between Carrie Brownstein (Sleater-Kinney, Portlandia) and poet Morgan Parker; Shirley Manson performing Garbage songs with string quartet, harp, the Girlschool Choir...and a “very special secret guest”; and sets by Jay Som, Bosco, Moon Honey and more. Day passes: $22-25. Weekend pass: $60. 

AN INVITATION TO DANCE (Film series)

The Norton Simon Museum presents An Invitation to Dance, a film series that screens four films starring dance legends Fred Astaire and Gene Kelly every Friday in February at 5:30 pm. The series celebrates the many dancers on view in the current exhibition, Taking Shape: Degas as Sculptor. Screening this week: Top Hat (1935). The film is free with general museum admission ($12-$15). 

CULTURE CLASH: SAPO (Film)

Culture Clash, one of the nation’s most prominent Chicano-Latino performance troupes, debuts SAPO at the Getty Villa on Friday at 8 pm. The production, based on Aristophanes’ The Frogs, features L.A.-based band Buyepongo, whose sound fuses cumbia, merengue, punta, jazz and funk. From the Getty: “Culture Clash’s riotous adaptation takes place in three epochs as it dissects three important elements inspired by Aristophanes’ original: An ancient journey on the road to Hell, recent fire storms near the 405 and an after party in the 1970's with a Latin rock band from the Bay Area also called SAPO (Frog), hoping to meet a record industry God but ending up somewhere between Malibu parties and the El Monte Swap Meet.” The show runs Fridays at 8 pm, and Saturdays and Sundays at 4 and 8 pm. Tickets: $20. 

OFFICIAL MONTY PYTHON INSPIRED ART SHOW (Art)

Gallery 1988 holds an opening reception for an Official Monty Python Inspired Art Show at the gallery on Friday night from 7-9 pm. The group art show honors the British comedy troupe, and prints will be online and available for purchase the following day.

SWEET VALLEY GROUNDLINGS (Comedy)

The Groundlings present their newest stage show Sweet Valley Groundlings, following the gang’s typical teenage stuff every Friday and Saturday night. The show opens on Friday night at 8 pm, and this show features bites catered from The Darkroom. Sweet Valley Groundlings runs Fridays at 8 pm and Saturdays at 8 and 10 pm through April 14. Tickets: $50 for opening night; all other shows are $20.

MEOW MEOW / THOMAS M. LAUDERDALE (Cabaret)

UCLA’s Center for the Art of Performance (CAP UCLA) presents torch singer Meow Meow in concert with Pink Martini founder and pianist Thomas M. Lauderdale on Friday at The Theatre at Ace Hotel on Friday night at 8 pm. Get ready for a night of music, comedy and mayhem and a century-spanning repertoire. Tickets: $29.50–$69.50. 

Classic Photographs Los Angeles 2018 opens at Bergamot Station this weekend. | Image: Julie Blackmon, 'Lost Mitten,’ 2010.

CLASSIC PHOTOGRAPHS LOS ANGELES 2018 (Photo)

The 9th edition of Classic Photographs Los Angeles 2018 returns this weekend to Bergamot Station in Santa Monica. Discover, browse and/or buy the best in vintage and contemporary photography from 30 dealers from the U.S., Canada and Japan. Free admission. The opening night preview takes place on Friday night form 6-8 pm. 

“FIGHT FOR YOUR RIGHT REVISITED” / AWESOME; I FUCKIN’ SHOT THAT  (Film)

American Cinematheque presents the series, 10 Years of Oscilloscope Laboratories: A Weekend of Celebration, beginning on Friday night at 7:30 pm. Oscilloscope Laboratories, founded by Adam Yauch (MCA of Beastie Boys fame) and David Fenkel (co-founder of A24), is noted for its esoteric film choices for distribution and production. The opening night features Fight for Your Right Revisited (2011, directed by Yauch), followed by Yauch’s Beastie Boys concert film, Awesome; I Fuckin' Shot That! A discussion follows with Mike D and Ad-Rock of the Beastie Boys, and Fight for Your Right Revisited cinematographer Wyatt Troll. Special Ticket Prices: $20 General, $18 Students/Seniors, $15 Cinematheque Members. No vouchers.

FIRST FRIDAYS (Science + music)

The Natural History Museum’s First Fridays returns for 2018 on Friday with the theme, L.A. Invents: A Becoming Los Angeles Series. The programs explore the intersection of nature, culture and creativity in LA. Longtime veteran journalist Patt Morrison returns to moderate and host the series, and Friday’s performers include Phoebe Bridgers at 8 pm; John Doe and Exene at 9 pm and DJs KCRW Resident DJ Anthony Valadez and DJ Reflex. Tickets: $20. 

SANTA BARBARA INTERNATIONAL FILM FESTIVAL (Film fest)

If you want a little mini-road trip this weekend, then head north to the Santa Barbara Film Festival, which runs through Feb. 10 at the Arlington Theatre. The festival showcases films representing 58 countries and includes 45 world premieres, 53 U.S. premieres, along with tributes, panel discussions, and more. In addition to film screenings this weekend, tickets are still available for a Gary Oldman ($35) tribute on Friday and a Saoirse Ronan tribute ($20) on Sunday. Saturday’s Virtuosos Award honoring Daniel Kaluuya, Gal Gadot, Hong Chau, John Boyega, Kumail Nanjiani, Mary J. Blige and Timothée Chalamet is sold out. 

SATURDAY, FEB. 3

ICE CREAM FOR BREAKFAST DAY (Food + politics)

Saturday is Ice Cream for Breakfast Day, and to mark the occasion, all Jeni’s Splendid Ice Creams scoop shops open their doors three hours early on Saturday, donating 50% of sales from 9am to noon to She Should Run, a nonprofit organization that is working toward getting 250,000 women running for elected office by 2030.

SMORGASBURG DUMPLING DAY (Festival)

The first Smorgasburg Dumpling Day comes to Santa Anita Park on Saturday from 12-4:30 pm. Come to the park for horse racing, beer and dumplings from Workaholic, Brothecary and more. Buy the Dumpling Package ($30) and get an order of dumplings, one craft beer, a $5 betting voucher, club house admission, program and tip sheet, and trackside and grandstand seating. A 4-pack package will set you back $110.

PANTIES ON A BUDGET: COUPLES THERAPY (Comedy)

The L.A. sketch comedy troupe Panties on a Budget brings back its Couples Therapy show to the Ruby Theater at The Complex this Saturday and next at 8:30 pm each night. The show focuses on a couples theme: first dates, longtime married couples, old friends and coach/athlete. This show includes sketch comedy, theater and audience interaction. Tickets: $10-$15. 

GIANT ROBOT: AUTOKITE (Art)

Giant Robot presents AutoKite, a solo art exhibition by Jacky Ke Jiang aka AutoKite. His portfolio includes industry work for the Walt Disney Animation Studio, Cartoon Network, and illustration, animation and art direction on the game Sky: Light Awaits. There’s an artist’s reception on Saturday night at GR2 Gallery from 6:30-10 pm. The show runs through Feb. 28. 

Movement + Narrative is a group art exhibition that opens this weekend.| Image: Andrew Hem, 'All The Way Low' 2017, Acrylic on linen, 25 x 36 inches, Courtesy of sp[a]ce gallery.

MOVEMENT + NARRATIVE (Art)

Movement + Narrative is a group art exhibition, curated by F. Scott Hess, that opens at sp[a]ce gallery at Ayzenberg in Pasadena on Saturday. Artists include: Alla Bartoshchuk, Carl Dobsky, John Griswold, Kenny Harris, Andrew Hem and others. “The works in this exhibition promote interwoven themes of movement and narrative, with perceptions of the former creating the latter.” The opening reception takes place on Saturday from 6-9 pm, and the works remain on view through March 11. 

THE WORKJUICE PLAYERS: UNDER COVER (Comedy + variety)

The Thrilling Adventure Hour's WorkJuice Players [Busy Philipps, Janet Varney, Autumn Reeser, Mark Gagliardi, Annie Savage, Marc Evan Jackson] and surprise guests sing their favorite songs about songs in a special benefit for Education Through Music LA at Largo on Saturday night. Doors at 7 pm, show at 8 pm. Tickets: $30.

DEMETRI MARTIN (Comedy)

Comedian Demetri Martin plays The Theatre at Ace Hotel on Saturday night as part of his Let's Get Awkward Tour. Doors at 7 pm, show at 8 pm. All ages. Tickets: $39.75-$49.75. 

STRFKR + REPTALIENS (Music)

On Saturday and Sunday, Reptaliens and STRFKR  play a sold-out Teragram Ballroom. Get there early for Reptaliens—the husband and wife team of Cole and Bambi Browning—before headliners STRFKR Doors at 8 pm, show at 9 pm. All ages. Tickets: $26-$30. 

SUNDAY, FEB. 4

SUPER VEGAN SUNDAY (Food)

On Sunday, Smorgasburg LA teams up with Eat Drink Vegan and Vegan Street Fair to bring you the first Super Vegan Sunday at Smorgasburg LA. The event features 12 popup vegan vendors, including Amazebowls, Donut Friend, Senorita, curated by Eat Drink Vegan and Vegan Street Fair, with more than 35 other weekly Smorgasburg LA vendors offering special vegan dishes for the day. 

THE BLACK BOOK, VOLUME IV: BLACK LOVE IN THE HOUR OF CHAOS (Talk)

The Hammer Museum presents The Black Book, Volume IV: Black Love in the Hour of Chaos on Sunday at 3 pm. Writers Tisa Bryant and Ernest Hardy use film clips, music videos, excerpts from literature and social media to celebrate black love in all its forms. From the Hammer: “This dense but fast-moving presentation looks at the creation, manifestation, nurturing, and resilience of black love in the face of white supremacy and anti-blackness across generations.” Free. 

[yasdnilmac]

2017 Favourites

Albums

1. Slowdive: Slowdive (Dead Oceans)

2. Vince Staples: Big Fish Theory (Def Jam)

3. King Krule: The OOZ (True Panther)

4. Mac DeMarco: This Old Dog (Captured Tracks)

5. Kelly Lee Owens: Kelly Lee Owens (Smalltown Supersound)

6. Jefre Cantu-Ledesma: On The Echoing Green (Mexican Summer)

7. Bedouine: Bedouine (Spacebomb)

8. Phoenix: Ti Amo (Glassnote)

9. Kelela: Take Me Apart (Warp)

10. Alvvays: Antisocialites (Polyvinyl)

11. Alex Lahey: I Love You Like A Brother (Dead Oceans)

12. Japandroids: Near To The Wild Heart Of Life (Anti)

13. Sampha: Process (Young Turks)

14. Jens Lekman: Life Will See You Now (Secretly Canadian)

15. Charly Bliss: Guppy (Saddlecreek)

16. Jessie Ware: Glasshouse (Island)

17. Destroyer: ken (Merge)

18. Phoebe Bridgers: Strangers in the Alps (Dead Oceans)

19. Here Lies Man: Here Lies Man (RidingEasy)

20. The War On Drugs: A Deeper Understanding (Atlantic)

21. Paramore: After Laughter (Fueled By Ramen)

22. She-Devils: She-Devils (Arbutus)

23. Hannah Peel: Mary Casio: Journey To Cassiopeia (My Own Pleasure)

24. Big Thief: Capacity (Saddlecreek)

25. Julien Baker: Turn On The Lights (Matador)

26. Sheer Mag: Need to Feel Your Love (Wilsuns RC)

27. GAS: Narkopop (Kompakt)

28. The New Pornographers: Whiteout Conditions (Dine Alone)

29. Foxygen: Hang (Jagjaguwar)

30. Alex G: Rocket (Domino)

31. The Mountain Goats: Goths (Merge)

32. Syd: Fin (Columbia)

33. The Afghan Whigs: In Spades (Sub Pop)

34. LCD Soundsystem: American Dream (Columbia)

35. SZA: CTRL (Top Dawg)

36. Metro Riders: Europe By Night (Possible Motive)

37. Thundercat: Drunk (Brainfeeder)

38. Future Islands: The Far Field (4AD)

39. Vagabon: Infinite Worlds (Father/Daughter)

40. Björk: Utopia (One Little Indian)

41. Quicksand: Interiors (Epitaph)

42. Rozwell Kid: Precious Art (SideOneDummy)

43. The xx: I See You (Young Turks)

44. Thurston Moore: Rock N Roll Consciousness (Ecstatic Peace)

45. Partner: In Search of Lost Time (You’ve Changed)

46. The Stevens: Good (Chapter)

47. Colter Wall: Colter Wall (Young Mary's Record Co.)

48. Upper Wilds: Guitar Module 2017 (Thrill Jockey)

49. Grandaddy: The Last Place (30th Century)

50. L’Rain: L’Rain (Astro Nautico)

Reissues/Compilations

1. Acetone: 1992-2001 (Light In The Attic)

2. The Necessaries: Event Horizon (Be With)

3. John Carpenter: Anthology: Movie Themes 1974-1998 (Sacred Bones)

4. Cocteau Twins: Four Calendar Café / Milk & Kisses (Mercury)

5. The Replacements: For Sale: Live At Maxwell’s 1986 (Rhino)

6. Various: Singles Original Motion Picture Soundtrack (Epic)

7. Goo Goo Dolls: Superstar Car Wash (Warner Bros.)

8. Various: KIDS Original Motion Picture Soundtrack (MVD)

9. The Nils: The Nils (Label Obscura)

10. The Creation: Action Painting (Numero Group)

11. Evan Dando: Baby I’m Bored (Fire)

12. The Afghan Whigs: Up In It / Congregation / Uptown Avondale (Sub Pop)

13. Slow: Against the Glass (Artoffact)

14. Catherine Wheel: Ferment / Chrome (Music On Vinyl)

15. Helium: Ends With And (Matador)

16. Lift To Experience: The Texas- Jerusalem Crossroads (Mute)

17. Super Furry Animals: Radiator (BMG)

18. Roni Size/Reprazent: New Forms (Talkin’ Loud)

19. Plumtree: Mass Teen Fainting / Plumtree Predicts the Future / This Day Won’t Last At All (Label Obscura)

20. Various: Seafaring Strangers - Private Yacht (Numero Group)

Tracks

1. Carly Rae Jepsen “Cut To The Feeling”

2. Young Fathers feat. Leith Congregational Choir “Only God Knows”

3. Alvvays “In Undertow”

4. Paramore “Hard Times”

5. Alex Lahey “Every Day’s The Weekend”

6. Ralph “Cold to the Touch”

7. Mac DeMarco “On the Level”

8. Frank Ocean “Provider”

9. White Reaper “Judy French”

10. Thundercat feat. Michael McDonald & Kenny Loggins “Show You The Way”

11. Raye “The Line”

12. Japandroids “No Known Drink Or Drug”

13. Phoenix “Fior Di Latte”

14. Jessie Ware “Love To Love”

15. Superorganism “Something for your M.I.N.D”

16. Kesha “Praying”

17. She-Devils “The World Laughs”

18. Feltworth “Forget This Feeling”

19. Drake “Passionfruit”

20. U.S. Girls “Mad As Hell”

21. Sigrid “Strangers”

22. The New Pornographers “Whiteout Conditions”

23. Poppy “Pop Music”

24. Ride “Cali”

25. Vince Staples “BagBak”

26. Harry Styles “Sign of the Times”

27. Dom “Gud Tymes”

28. LCD Soundsystem “How Do You Sleep?”

29. Chastity “Flesh”

30. Frank Ocean “Chanel”

31. Gorillaz feat. Vince Staples “Ascension”

32. Parcels “Overnight”

33. Sampha “(No One Knows Me) Like The Piano”

34. Jens Lekman “What's That Perfume That You Wear?”

35. Supercrush “I’ve Been Around”

36. Taylor Swift “Getaway Car”

37. Men I Trust “Tailwhip”

38. A l l i e “Bad Habits”

39. Justin Bieber & Blood Pop “Friends”

40. Amber Mark “Lose My Cool”

41. Nelly Furtado “Pipe Dreams”

42. Rostam “Gwam”

43. Young Galaxy “Elusive Dream”

44. Khalid “Young Dumb & Broke”

45. Blue Hawaii “No One Like You”

46. The xx “Say Something Loving”

47. Sudan Archives “Come Meh Way”

48. Liars “No Tree No Branch”

49. Broken Social Scene “Skyline”

50. Pierre Kwenders “Sexus Plexus Nexus”