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Devin’s Playlist -2010s Part 1

This is an unfinished retrospective look at what I listened to during the 2010s. This decade was exceptional for me, as it was the first decade where, for almost all of it, I was not a musician myself. 

Being a musician forces you to listen to music like a musician, and being free of that, and able to listen as a listener alone, really made this a spectacular decade for me. I found dozens of incredible albums that were released during the decade, many of which received no significant recognition.

This was a very large project, and I did not finish it. I made it through Retrowave, Shoegaze, and Post punk. If anybody cares, I will finish the entire project, which will add Dreampop (the largest category), Vaporwave, and Dark Ambient.

Retrowave: Retrowave is electronic music that, at first listen, sounds like it may be from the 80s or 90s, mostly because the synths it uses to generate the music are either retro-inspired or literally retro equipment in some of the more extreme cases. It generally features original compositions, often, but not always, is instrumental. Rough vocals would impede the tightness and angularity of the music, so when vocals are used they are often pop produced and highly melodic. This genre gained significant exposure from Nicolas Winding Refn’s 2011 masterpiece, “Drive”.

Galactic Melt (2011) Com Truise

Electronic artist Com Truise rose to prominence off of this fantastic record, which rallies around the undeniable electro anthem of 2012, “Brokendate”. Starting with some found audio (chopped and screwed found audio becomes a big deal later on in Vaporwave) and then dropping in an absolutely thick beat we’re met with a song that eventually, as layers are dropped on, ends up being meditative, romantic, and melancholy. Emotions to that point, not well associated with dance music, but definitely would come to color the entire decade.

Era Extraña (2011) Neon Indian

Electronic solo bedroom pop was pretty cool at the end of the 00s being pushed hard by guys like Twin Shadow. I am not sure how I got ahold of Neon Indian but this album was, in a lot of ways, the true start of my musical decade. I had not been so excited and enthusiastic about a record since I had retired from making music. It really gives you a new perspective to not feel like you’re in competition with everything and trying to learn from everything- just as a listener, I was enthralled with this entire record.

Visitors (2012) Lazerhawk

I did not get into dark retrowave until after 2013 and thus discovered Lazerhawk and this record after the fact. Visitors is, in my opinion, the best dark retrowave album ever made, more consistent and listenable than competitors such as mega drive or carpenter brut. Also. This album absolutely sticks the landing with the street-strutting powerhouse “Arrival”.

I am the Night (2012) Perturbator

Made famous by soundtracking the indie game hit Hotline Miami (one of the best games of the decade), Perturbator carved a niche for himself with fast, brutal, high energy dark electronic music and absolutely bonkers live shows. Perturbator has a large catalog of content- I am the Night is definitely the starter kit. Starting off with a thick minor chord, a church bell, and a sample of Peter Finch’s speech from “Network” you immediately know what’s in store- dark, dystopian and undeniably French electronic dance music, complete with breathtaking beat breaks, big bass synths, and complex compositions.

Innerworld (2014) Electric Youth

I had mentioned that Drive was a major popularizer of retrowave- and one song in particular, a collaboration between another retrowave artist named College, who created the low fi, catchy bassline for the song “A Real Hero”, and the vocals and lyrics, created by an artist called Electric Youth. Their record, 2014’s “Innerworld”, is one of the best retrowave efforts, with the second track, “Runaway”, even better than the song that made them famous. The pop chorus “Maybe we could just run away for good/cuz we’re both mis understood” soaring over thick, atmospheric synth pads will have you slapping the roof of your car, as you race through the freeways of LA at 3AM.

Atlas (2016) FM-84

Speaking of roof-slapping bangers, “Running in the Night” is probably retrowave’s most popular anthem, boasting one of my absolute favorite vocal performances of the decade. A group claiming rock and roll city San Francisco as their home base (despite being both British), FM-84’s Atlas is absolutely packed with a mixture of the atmospheric instrumental Miami Vice type music suggested by the red and purple setting sun cover as well as vocal driven pop songs such as the single mentioned above.

Hardwired (2018) Mitch Murder

Mitch Murder is a retrowave institution, having made the soundtrack to the viral youtube movie Kung Fury, and also, I suspect, the original music used by twitch personality Dr. Disrespect. However, he almost entirely releases 3-5 song Eps, making it tough to pick out a standout. However that all changed in 2018 with the release of Hardwired, the most accomplished mitch murder release to date. Starting off with the Jan Hammer style “Altered State”, it stays on brand throughout but tells a very unified instrumental story of cyberpunk dystopian adventure. Vangelis-style synths bring in the closer track, “Revision Control”, one of Mitch Murder’s greatest tracks. Evolving through different moods, different scenes, we can imagine the “human” protagonist confronting his cyborg nemesis he has been tasked to execute.

Retrowave Album of the Decade:

Dark All Day (2018) Gunship

As the decade wore on, retro wave slowed down for me. I thought it might be over but- without warning, Gunship, an artist I had listened to but not been completely impressed by, released what is probably the most accomplished album in the genre. Spanning various tempos and musical themes, utilizing several guest vocalists, the scope of “Dark All Day” keeps you listening to the record again and again. This record represents an evolution in a format that was at risk of being just a fad. “Come on lost boys, lets stay alive” over a ripping saxophone lead suggests mere 80s fetishism, but there is more substance than just that. The following track, “When you Grow Up, Your Heart Dies”, takes an upbeat electro jam, and really goes for emotional impact with a series of samples of characters from pop culture saying inspirational things, my favorite being “Everything worth doing is hard” which I think is just Teddy Roosevelt. My favorite track of the record, the slow ballad “Artemis & Parzival”, begins with swooning, Vangelis-style pads and then into guest vocalist Stella Le Page’s gorgeous vocals. This track definitely belongs on anybody’s make out playlist. “Were all gonna die that’s just how it is, there’s no escaping the future, nobody gets what they want in this world, even for you and me” is one of the greatest lyrics of the decade.

 Nugaze/Shoegaze-Adjacent: Shoegaze is a genre of music that features highly layered guitar effects (often run through 10 or more effects, creating a signature “vacuum cleaner” sound with a ton of distortion and white noise) and breathy vocals. Relying heavily on the depth of character of the sound, shoegaze guitar tone and production is a major creative point and almost all of these records are self-produced. Vocal themes are usually depression-inspired and lovelorn meditations, the music sounds, to most, dull and dreary, but to some, it speaks deeply to their feelings about the past and future. Shoegaze is often mixed with other guitar genres on this list, from Post Hardcore(Nothing, Title Fight), Black Metal(Deafheaven), and Thrash Metal (Astronoid).

Road Eyes (2010) Amusement Parks on Fire

Around 2010, I was promoted at my job to a new role that would require a bunch of travel. I was not a big fan of riding on airplanes. Also around that time, my brother had moved into my apartment, then out of it, and I only had a few months left on the lease. My favorite shoegaze band of the 2000s, Amusement Parks on Fire, played a gig at 330 Ritch, a club in san Francisco. I had a fantastic time at the show, and particularly loved their new material, which made it onto a record they called Road Eyes. 2 months later I moved out of my apartment in San Francisco and never would go back to living as a single dude.

Anyways, the travelling. The opening and title track to the record came to symbolize change for me. And it also was the song I would listen to every time my plane would take off. It helped me deal with the fear that something might happen- no matter how insignificant the chance – and if it did, while that song was on, it would be okay. Indeed, this was, and I will warn you I am not qualified to treat mental illness, but this actually really made flying much easier for me and it is a ritual I continue to do to this day, whenever possible.

Pipe Dreams(2013), Sway(2014), Feels like You (2019) Whirr

San Francisco nugaze/dronegaze band Whirr, large and complex, problematic, aggressive, are behind some of my favorite music of the decade. Their three album career reflects to me upon the primary feelings of youth: euphoria, anger, and sadness.

Pipe Dreams is a blissful set of jams, meditative, energetic uptempo and with almost totally co-ed vocals. Noisy production casts a hydrocarbon haze over the songs, raw vocal melodies reach out of the fuzz and suck you in. “Junebouvier” and “Toss” capture the euphoric and  youthful energy of a summer in San Francisco: starting off with breakups May thru July, and hot hookups until September or October when people settle into relationships. Two hungry eyes emerging from straight-bangs to make eye contact with you, and hold it- the exhilaration of touching somebody new.

Sway, the band’s masterwork, starts off with a heavily muff-distorted major 7th chord suspending us until the massive drums, now a hallmark of the band’s sound, kick off the beat into the opening rocker Press. The band switches up rhythms between drums, guitars, and bass to bring rock and roll-type turnarounds and breaks that really keep you on your toes and engaged. The lead guitar is classic legato shoegaze, using delay to achieve a long, sustained scream. Compositions are key on this record- not following just simple A/B patterns there’s some thought to the structure of the songs and record. “Dry”, in particular, demonstrates some of these ideas. A/B sections, underscored with “Drown me everytime… Dry”, give way to breaks, ethereal echo guitar solos, giving a hint of the powerful ending. A 4 chord progression accented by breathtaking drum fills finaly flourishes into a screaming cymbal-laden guitar finish.

Feels like You, the bands purported final album, starts off with some quiet echo piano. The melancholy major 7 chords the band has leaned on throughout their music are laid bare as we press play on the record. Add guitar. At a little after 90 seconds the band jumps in after with a thick blanket of lonesome self-reflection and chemical depression. The bands penchant for composition remains to the end, with changes keeping you engaged as the noise soothes your heart. “Younger than You” is one of the band’s greatest tracks, starting with an almost Smashing Pumpkins/Silversun Pickups esque clean unison guitar/bass into distorted and layered noise, ending with a drum-guided, rock and roll style outro.

 Guilty of Everything (2014) Nothing

One of the things I mention in my preface to this is, for me, the 2010s were the first decade of my life that ended with me not being a musician. And it opened some doors for me, creatively, to be able to hear music and think about it purely as a listener and a person. Something others have frequently described to me, that I had never really done, was just spend an entire weekend listening to an album.

I saw Nothing on KEXP 5 years ago when Guilty of Everything was out and they were on tour. I’ve seen them twice in person since them and bought every one of their records. The weekend that I got Guilty, I was attending a close friend’s sisters wedding, and pretty much was in a hotel room drunk in overcast-as-fuck santa cruz all weekend. And you know what was being played through headphones at practically all times.

Nothing is mostly the musical project of a guy named Dominic Palermo, a punk from the Philly scene that had spent more than a year in prison for a stabbing. He isn’t much of a vocalist or guitarist, but he is a fantastic artist, writer, photographer, and visionary, and the creative force behind what is now a rotating cast of other musicians.

Guilty of Everything is definitely their best record, opening with the massive meditation Hymn to the Pillory, into the definitive single Bent Nail, a perfect marriage of hardcore punk and shoegaze elements, falling apart into the 90mph crash, into a wall, final outro chorus “If you feel like/letting go…” repeated over and over over pure drone guitars, seamlessly flowing into the romantic slow jam “Endlessly” The closing title track is one of the best closers of the decade, perfectly sticking the landing on this brilliant lyric: “My hands are up, I’m on my knees I don’t have a gun, you can search me please. I’ve given up, but you shoot me anyway, I’m guilty of everything. I’m guilty of everything”.

Hyperview (2015) Title Fight

Nothing wasn’t the only Pennsylvanian post-hardcore band to bend their sound a bit shoegaze. Title Fight also sneaks onto this list with their outstanding record Hyperview from 2015. Appealing compositions and melodies combine with harmonized vocals, even some 16 beats on the hats- things we expect from post hardcore, but slowed down and smeared out a bit into the shoegaze aesthetic. My favorite track from the record, “Hypernight”, combines some screamo hype man chorus, math rock inspired guitar and bass lines, and is just all in all one of the most unique tracks to come out of the decade. “I don’t want to see things differently, its what I am taught myself to believe”.

Grandfeathered (2016) Pinkshinyultrablast

I admit that I bounced off of Russian electro-shoegazers Pinkshinyultrablast the first time I listened to them a few years ago. There was just too much going on and I didn’t really have the inclination to jump in and grab on. Operatic female vocals, noisy djenty guitar, shimmery, clean guitar, all swirl together in what is undoubtably a great record for having a tinder date IF, and I say IF, you’re willing to run a musicological acid test on them.

Whether it was listening to a bunch more music, particularly ambient music, or just changing taste now I can’t get enough of this band. They do slam from idea to idea in a song, but it’s a controlled speed- it’s not pleasant to a lot of people, but once you get yourself situated, you’ll wonder how you ever missed this band to begin with, if you’re not one of the people reading this and thinking, naw dude, I got this shit RIGHT AWAY.

The compositions on the record are, in fact, carefully considered and composed, combining noise rock with clean ambience deftly and changing up styles repeatedly throughout each song and the record. Everybody knows we can no longer control dynamics via volume in today’s world of headphone/device listening,  ultramaximizing mastering, laptop speakers, etc. So Pinkshinyultrablast controls it with style. This record is definitely the more guitar-driven of the albums from this decade, with their release 2 years later being more electronic and vocal focused.

Slowdive (2017) Slowdive/My Bloody Valentine (2013) mbv

There are two bands that are credited with creating and or popularizing the Shoegaze movement during the late 80s and early 90s. Those bands are My Bloody Valentine, and Slowdive. Both of whom released albums during the 2010s. And frankly, both records are damn good for two bands that have been basically on hiatus for 20 years. Neither has really stood the test of time for me, although I listened to both exhaustively upon release. 

The opening tracks of both records are absolutely mesmerizing, this slow, sexy intro is clearly the part of them that became stronger with age. The manic rock energy of their more upbeat tracks however is absent or at least forced, and I think is what keeps these from being really what I’d call strong records. Nevertheless, both albums belong on any shoegazer’s playlists both for the quality of the music as well as the nod to the progenators of the genre we love so much.

Time n Place (2018) Kero Kero Bonito

KKB was already one of the biggest indie rock groups in the world when they released this their second full-length album. Making a big move sound-wise from super squeaky clean hip hop style production to sloppy shoegaze guitars and drums, they alienated a lot of fans with Time n Place, but I don’t see how. For me, coming in for Time n Place and then going back in the catalogue to Bonito Generation, I see it as a very natural progression. As the artists become more confident and mature, it’s natural they should explore some other emotions and moods.

That said I am not the usual KKB fan. Actually at their show in San Francisco in 2018 I was probably in the top 95 percentile of being an old fart. Around me, mostly twentysomethings on the first half decade, casually doing key bumps right on the show floor, something scared old gen Xers like me, still remembering their friend’s divorced dads in cigarette boats they sold for coke in the 80s, are still too paranoid to do. The crowd definitely starting pogo jumping at the chorus to “Only Acting” a grungy, poppy metaphor between acting on stage, and being young and in love.

Right after that, “Flyaway“ is the upbeat shoegazey manic anthem that really got me sucked into the band to begin with. Combining fuzzy guitars that are more reminiscent of Japanese rock bands of the 00s than shoegaze with a crystalline clear melodic vocal line from Sarah, this is the track where I grab a handful of dirt from my dying hill, and say if you don’t like this song, you don’t like the band, the record, or my musical taste.

Miserable Miracles (2018) Pinkshinyultrablast

Reinventing themselves record by record, Pinkshinyultrablast keeps on the cutting edge and doesn’t make a habit of anything. Miserable Miracles is more electronics driven, lead and pad synthesizers bringing in the music with their trademark soaring, operatic vocals. Guitars are present as well, but heavily stretched with cathedral reverb and long delay. A smoother sound than Grandfeathered, but well-poised to issue a majestic, meditative prayer such as “Find your Saint”, my favorite track. Like walking into a Germanic church on Sunday, the vocals rise to the ceiling forcing you to look up at the light breaking in through stained glass synthesizers. At about 100 seconds, all of the pieces drop in together to lift you into wherever it is you are going. “I used to talk- about it” brings the heavenly outro to bear, one of the most powerful musical moments of the decade.

Astronoid (2019) Astronoid

I am part of a few music groups on Facebook, and one of them mentioned this band, calling them “Dream Thrash”- a combination of dreampop and thrash metal. I’d say its more thrashgaze, with heavy effects/djenty guitar and the more whispery vocals than are a hallmark of the shoegaze genre, not the clear pop produced vocals that are the hallmark of dreampop.

That out of the way, this is possibly my favorite record of 2019. The opening track, “A New Color”, brims with energy and hopeful optimism and replaced Road Eyes as my airplane take off song. Right around 3 minutes in, when the plane is airborne and gaining climbing u to cruise, when we’re often breaking through the clouds, comes in possibly my favorite guitar solo of all time. On this record, Astronoid are unquestionably uptempo metal yet somehow at the same time being slow-changing enough to carry the emotional weight of shoegaze. The second track, “Dream in Lines”, is an aggressive, more metal-informed rocker, and the third is a power ballad that absolutely sealed the deal for me in terms of loving this album.

Other high points include the uptempo thrash jam “Breathe” and “Water”. Again infusing the metal, djenty mute strum guitar with soaring vocals and heavy backing harmonics, this record continues again and again to deliver head-banging jams that touch and heal a deep sadness in the soul. “Water” is a darker exploration, starting with a heavy chunky two-guitar & bass instrumental, virtuous breaks, and expansive echo and reverb. The band sounds like they are playing in the middle of an interstellar arena, fists human and alien in the sky.

The album sticks the landing with the penultimate track “Beyond the Scope”. This incredible song starts slowly, but upon reaching a turn, goes double-time as the melody and music climbs in pitch at 100 seconds in. This transition takes us into a greater urgency, with sustained, over-flying guitar notes keeping the harmony rich and complex.

Then, the beat drops out and a single guitar chord rings- “My hands are on my ears/They won’t stop ringing” smashes into your brain and your heart. Then again, the building section- “Feeble-minded/I can not decide/in my world, now I know/there’s no such thing as dying/so leave with a goodbye” and into another build and back to the chorus-

“My hands are on my ears/they won’t stop ringing”. I don’t think any lyric can better express the decade than that. If it were somehow possible for this album to end on this song, it would be at the head of this category.

Everything Starts to Be a Reminder (2019) Echodrone

As a former musician, I have a lot of friends who are musicians. I am very brutally honest about my feelings in music and that can make it awkward to have to comment on a friend’s hard work. Echodrone’s latest record made this very easy- the record is simply amazing. Echodrone’s earlier records bounced off of me a bit, but this one has just the right mixture of drone-drenched empty space, ethereal vocals, emotional anguish and euphoria, and a strong connection to the last 10 years in my mind. The tracks are named after the four seasons, starting with Winter and ending with Autumn. Interestingly, the tracks do not really stand out as being separate in my mind, much like how you cannot easily separate a season from another season in the same year.

“Winter” explodes with an epic, cymbal-laden meditation, that continues to grow and grow and expand, then finally becomes quieter, more melodic, and less drony in the second half of the 18 ½ minute song.

“Spring” features a finger-pick echo guitar interspersed with a beautiful co-ed vocal line guiding us down a pathway of different melodic and harmonic ideas. It then enters into a several-minutes long jammy contemplation that is utterly ecstatic to me- synths layered with effects-laden bass and more echo guitar into a full stop.

The best song on the record, “Summer”, begins with a vocal sample into a more or less straight-ahead rock and roll jam. This gives way to a downtempo effects section, then at right after 4 ½ minutes, gives way to a sound I can only call Olympian in hugeness. Fuzz bass, echoing guitars, and multilayered female vocals create this trance-like atmosphere that is rarefied and deeply marked with potent and everchanging imagery at the same time, like cream on top of coffee.

The sound continues to change and becomes quiet again once again with echo guitars carrying the music through. Back to a rhythmic return at 12 ¾ minutes. A synth flute melody flies over the whispered vocals, complex drum patterns- an opine to the end of life’s summer, the bitter sweetness of being old enough to not be hurt anymore by unlikely things failing to fly.

 Shoegaze Album of the Decade:

Sunbather (2013) Deafheaven

A single distorted guitar chord progression holding several notes through the chords for changing harmonics, exploding into double kick and even more guitars, into black metal screaming- this is the unmistakable beginning of Sunbather by San Francisco black metal band Deafheaven.

Due to its downtempo sections, overall distorted and layered production, and emotional scope, this album is loved not just by black metal fans but also by shoegaze fans such as myself. It is a perfect example of a successful crossover- not anticipated or forced in any way by the creators- but it just happens to work on so many different levels.

There are really only four songs on this record, the tracks in between them are much needed interludes. Something all Deafheaven songs do very well is compositioning. These tracks play out, in a way, like classical pieces, with many different sections, transitions, themes, changes, openings, closings, callbacks- it’s so incredibly dense and accomplished that you can listen to this album for weeks on end and still be surprised.

“Dream House” is the blazing opener of the record and puts on display everything we love about every song on here. To make this song the first track is insane, simply because of how over-the-top insanely powerful it is. After a brief interlude of just picked echo guitar, a single chord strum, the entire band comes back in a beat later, and this isn’t even the most emotional part of the song. That’s going to be at 7 minutes, 20 seconds in “I watched/It die!!!” screeches the vocalist as a guitar ostinado plays over the key notes that have been presented throughout the song in brutal crystal clarity. Then at 8 minutes- the vocalist and guitar break down, screaming and double picking guitar notes. It is difficult not to cry at this ending- and this is only the first song on the record.

“Sunbather” is both the title track and the album’s dark heart. Thrumming with a complex beat from the start, the other instruments are layered over this like a tangle of vines across an iron fence. Skillful use of double kick and drum fills keeps the band on target as we get to the breaks and turnarounds. The cymbals and guitars swirl creating complex patterns. Listening to this song from far away with extremely poor speakers would sound like static- similar to how Jupiter looks like a pale gold smear- turn up the volume a little, get a little closer, and you see the rich, threatening complexity of the swirling clouds of music and emotion. The song ends with a slow section about ¾ of the way through the 10 minute piece. An unforgettable echo guitar line plays sparsely over drums- invoking a Cure-like gothic sensibility. Then the band comes back in, playing the same melody and expanding upon it, a lighting bolt magnified to a thousand forks and twists going in all directions. It is the melodies at the end of Sunbather that were stuck in my head, unforgettable, after listening to this record. Unlike Dream House, this song ends on a down note, a question- the rest of the album is to give an answer, and incredibly, you will not be disappointed.

“Vertigo” is the longest song on the record at 14 ½ minutes, a blazing, minor key rocker that is meant to emotionally drag us down as far as we can go after Sunbather. The ending of the song invokes the Beatles “She’s So Heavy” before heading into “Windows” an ambient and spoken word piece featuring a drug deal gone bad- unquestionably a node to The Tenderloin, one of the more drug-laden districts in San Francisco and likely location of the band’s rehearsal studios.

Into “The Pecan Tree”, a song that has an seemingly impossible task: To somehow stick the landing of an extremely powerful and emotional record. We are looking for something coming into this track, but we are not totally sure what it is. We need something, but we can only follow the lights. The song opens up with insane double-kick guitar madness, 2 step rhythm, and then at 1:20 we see a glimpse through the storm, a hole of blue, that we can make it to, if we keep on going. Keep on going. Keep on walking. Smashing, swirling guitars and screams return, our view obstructed. Everything seems to be going at maximum at the end of this first section of the song.

At just after 3 minutes, the sonic assault finally begins to slow down, a march tempo into double kick continuous cymbals, back to march tempo, then, at 4 minutes 19 seconds, only picked echo guitar heralds us into the second section. The star of this section is a piano ostinato combined with the echo guitar, with a second guitar playing playful melodies over it. This is the starry night we can now see that the storm has cleared- this is the most optimistic and life affirming music on the record. A found audio recording of a detuned radio signals the ending of this section.

Eventually, this music fades just before four metal beats brings us to the conclusion- an octave-fingering guitar line and screeching vocal that is in my view one of the most awesome emotional turnarounds that I have ever experienced musically. The remaining outro sums up the entire record- life is big, difficult, unknowable, chaotic. Great albums stick the landing- and this ending does so, with incredible energy, on a record that did not even need it. Sunbather. One of the greatest rock records of all time and one of the very few of those albums to come out now, just about half a century after the 60s.

Post Punk Revivalists: The king of indie rock genres in the 00s, post punk was largely set down at the end of the decade with the major acts of the decade releasing milquetoast or downright laughable fare (are we human, or are we dancer?). However, post punk exploded back onto the scene in 2012 with The Money Store by Death Grips. Some returning groups from the 00s did end up releasing fantastic records, Roma 79 and Daughters being my favorites.

Cardinal Star (2014) Roma 79

I discovered north San Francisco bay area band Roma 79 through their single from the 00s, “Gold”, a sort of heavy, post-punk rocker with a few-thousand views on Youtube. I was very surprised when they reunited and recorded this followup album, which was one of my favorite records of 2014. Featuring a good amount of synth and dreampoppy guitar lines, the main standouts are the vocals and the brilliant drumming, which is a hallmark of great post-punk records of the 00s such as Fever to Tell or Turn On the Bright Lights. The strongest single on the record, “Seventeen”, features a complex drum lines, interlaced with vocals and synths. The song slowly builds up in emotional intensity and drops in layers of vaguely Phil Collins-esque drums and backing vocals, blossoming into a powerful meditative love song. “I’ll wait for it with you.” The final song on the record, is almost an answer to this track, closing the record on a strong point.

You Won’t Get What You Want (2018) Daughters

Daughters is another post-punk band that returned to release a followup nearly 10 years later with 2018’s “You Won’t Get What You Want”. Like all great post punk records, there are a number of characters in this room, and they all can be heard, each having their moments in the spotlight and their moments in the shadows.

One such character is the drums. A crushing combination of live and multitracking effects create a rhythm that provides both the constant heartbeat required by driving rock and roll based music, but also the texture, the complexity, that we seek out in the genre. Lots of tom toms used to keep the beat as opposed to cymbals, practically no hat. Invoking Killing Joke, except when they don’t want to right away, but bring it in later.

Another character is the vocals. Spoken word/sing song type delivery, where the mood and the words and more important than the melody. Lyrics invoke isolation, depression, contraction, abandonment, decline. It would almost be enough with just that, these drums and vocals- but this will also be added by another character, the music. The music seems to be generated mostly by guitar and bass, but there are clearly some synthesizer elements as well, used sparingly and to great effect. I can’t really describe the guitar tone, I would say, it shimmers, but not in an enlightening way. It’s like flashes in the dark, disorienting more than illuminating. The sound is like wood coming off a circular saw. It’s definitely this guitar sound that draws people into this record. All elements are moody, dark, aggressive, but it’s the guitar that really lays down flashes over the blackness.

“Satan in the Wait”, one of the best single tracks on the record, features an off-balance drum beat, carried by toms, and an air-raid siren like guitar sound. A throbbing, distorted bassline in time with the kick drum. At 1:30 in we are given a guitar riff that is beautiful and invoking of a banjo, lending a sensation of urban, southern gothic emotions. Horror film soundtracks come to mind, a combination of unsettling ambience and clear, unforgettable melodies. “Their Bodies are open” the chorus goes, making me think of world-ending events, a transformational death as seen in Arthur C. Clarkes Childhood’s End.

Another of my favorite tracks, “Daughter”, begins with a “bela legosi is dead” kick and snare rim drum beat, possibly electronic, along with a shimmery, surf-rock toned guitar riff. As the song proceeds, more elements are dropped in, and the drums are of particular note here, at 1:23 or so, they drop into a complex beat involving toms, cymbals, and snare. At 2:05 they drop in a clear guitar riff on top of raw noise, building to a climax with the vocal “There’s a war!” At this point, the noise drops out, just a clear guitar riff reminiscent of “Satan in the Wait”, drums coming in at 3:15 or so are particularly impactful.

The final track, “Guest House”, opens on a nearly unbearable sonic assault, the lyrics invoking somebody trapped outside of a bomb shelter during an apocalypse. Once again the gap between unbearable noise and beautiful melody is bridged, as the final dissonant chords give way to deep, harmonic, peaceful orchestra swells.

Post Punk Album of the Decade:

The Money Store (2012) Death Grips

The first time somebody played “Get Got” for me, it was during a really chillwave phase in my music taste and I was completely lost, and didn’t really understand what people saw in Death Grips. I was intrigued enough though, and circled back on some tracks from Exmilitary, their prior record. The more laid back tone and empty space present in tracks such as “Culture Shock” kept me interested enough to give The Money Store another shot a year or so later.

As my interest in chillwave started to fade, and I sought more emotional substance to my music, I returned to the Money Store, and was hooked. Each track is a relentless blast of aggressive drum beats, synthesizer driven melodies, and of course the unmistakable rap vocals of MC Ride.

A strong comparison for me, is between this record, and Joy Division’s second and final record, “Closer”. Relentless beats, but never getting boring, always inventing new rhythms to cast a texture over the musical landscape. Short, fast songs, transitioning from one beat and tempo to the other, never giving you a chance to catch your breath.

The music is highly influenced by hip hop, appearing to be a chopped and cut style, with synthesizers combined with production on the vocals, adding vocals, filter sweeps, reverses, etc- so much energy and craft went into creating what is on its surface very simple music- drums, vocals, and production. Standout track “Hustle Bones” does a fantastic job of expressing what is so great about every song on this record. Everything barely makes sense, but then it all comes together in a singular moment that anybody can nod their head to.

MC Ride’s best is on display in the classic hit, “I’ve Seen Footage”. In his relentless, attacking rap style, he tells us the story of watching gore or wtf videos from reddit or 4chan (or Stile Project if you’re really old like me)-  describing what he’s seen, and then underscoring that with the chorus, “I stay noided”- the character Ride creates is deeply anxious and paranoid, while at the same time being insatiable in the quest for knowing more, something I believe is nearly universal to the experience of the internet-informed human, a phenomenon that would later in the decade lead to diseases thought dead brought back by anti-vax movements, and the election of conspiracy theorist and popularizer Donald Trump as president of the united states.

And that’s the formula to each track on Money Store- working around something more or less literal, Ride’s poetry brings us into the dark state the world was only beginning to enter at the start of the decade.

Closing track “Hacker” opens with a recording of Ride, yelling, presumably at a concert “No ins and outs!!! You come out, your shit is GONE”, then into a 4-on the floor dance beat to end the record on an absolute banger. The music, carried by the beat and Ride’s systematic delivery, is left to its own devices, with glitchy, cut-off synth arpeggios, everything getting out of the way of the beat. “Having conversations with your car alarm”, “you speak with us in certain circles, you will be dethroned or detained”, and “Gaga can’t handle this shit” are some of the lyrical gems that Ride has saved for last here, closing out a post punk record that stands alongside Closer or Turn on the Bright Lights as one of the best of all time.