The Fourth Best Album of the 1990s

If I could only take four albums from the 1990s on a desert island with me, this would be one of them. How else could I process all the loneliness? 

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4. Elliott Smith – XO (1998)

There’s a generally agreed-upon theory when it comes to vocal harmonies – nothing sounds better than two blood relatives singing together. And there’s a bevy of DNA-sharing crooners to back up this “blood harmony” argument (e.g. the Everlys, Andrewses, Wilsons). But in 1998, Elliott Smith released an album stuffed with dazzling vocal harmonies, without a family member on hand. It was perhaps a depressing exception to the rule. Because the only person this artist wanted to sing with was himself.

After releasing a trilogy of quietly devastating folk albums on indie labels, Smith unexpectedly blew up when director and fellow Portlander Gus Van Sant caught wind of him, using six of his songs on the soundtrack to his movie about how hard it is to be a handsome white genius, Good Will Hunting. The track “Miss Misery” got an Oscar nomination alongside the likes of Celine Dion and Faith Hill. And Smith performed it on the telecast, with artfully mussed hair and a white suit, looking tentative but sounding absolutely at home with the melodic flourishes of the pit orchestra.

After this unforeseen dalliance with the mainstream, it was time for Smith to make good on all the attention, and elevate his game in the recording studio. He was more ready than it may have seemed. The singer/songwriter’s willingness to sound vulnerable on tape didn’t mean he didn’t know how to take control – he spent five years leading the alt-rock band Heatmiser, which landed a contract with Virgin in 1996, right before Smith’s solo career became too big to ignore. So while the songs on XO are rooted in feelings of inadequacy, the arrangements are the work of a confident artist coming into his own.

Take the bridge of XO’s first single, “Waltz #2,” for example. The song is a poetically veiled story about Smith going to a bar karaoke night with his mom and stepfather. He no longer recognizes her, and tries to brush off being triggered by him. All over a waltz tempo sprinkled with rickety saloon piano runs. Which builds to the bridge, a heartbreaking sigh of resignation:

I’m here today and expected to stay
On and on and on
I’m tired

Musically, Smith treats this moment like a rocket launch. The band revs its engines to the first line. Then his multi-tracked vocals reach higher and higher with each ensuing “on.” As we arc back down to earth, our narrator might be tired, but us listeners are inspired. XO is loaded with dissonant moments like these, beauty and sadness spiraling into one another until they’ve bonded. It’s a forensic analysis of what a big fucking mess life can be, delivered in perfect pitch.

All of it is anchored by Smith’s underrated guitar playing. Years spent recording alone into four-tracks honed his chops to the point where he could play the chords, bass line and lead melody simultaneously, giving himself and co-producers Rob Schnapf and Tom Rothrock fully formed blueprints to build on. The opening “Sweet Adeline” relies on little more than his bouncing acoustic melody for a full 90 seconds, before the dam breaks and the drums, piano and backing vocals drown us. And his finger-picked intro to “Independence Day” is so deeply, fluidly melodic, it could’ve worked as an instrumental.

But that first blast of full-bore instrumentation in “Sweet Adeline” showed us that XO was not going to be another tape-hiss-heavy, stripped-down affair. Smith, an avowed Beatles fan, was ready for his big, Revolver-style, studio-driven artistic evolution. And he sealed the deal with an album closer that’s every bit as jarring as “Tomorrow Never Knows.”

“I Didn’t Understand” finds Elliott Smith alone. No instruments, no guest vocalists, a lyric sheet that gives him nowhere to hide. The only sound is his voice, stacked to the heavens in an audacious display of vocal harmony. It begins with yet another majestic sigh, a parishioner in a confessional clearing his throat before laying himself bare. And then he begins, singing in his uniquely cryptic way about a breakup, mostly about how much he deserved it:

And so you’d soon be leaving me
Alone like I’m supposed to be

Then, with the vocals-only arrangement underlining the stakes – intricate waves of beauty when he exhales, nothingness when he inhales – Smith ends his song with a stanza that will crush anyone who has been too stupid or self-absorbed to realize that somebody was right there in front of them, needing them:

You once talked to me about love
And you painted pictures of
A Never Never Land
And I could have gone to that place
But I didn’t understand

A short five years after XO cemented his genius, Elliott Smith left us. But not before he showed us how beautiful it can be to create your own sense of harmony.

 

 

The Fifth Best Album of the 1990s

Well lookie here. There are only five entries left in my Top 100 Albums of the ’90s countdown. I’m gonna spend a little bit more time on each of our remaining classics, starting with #5 – the album that transformed Atlanta, Georgia, into a hip hop mecca.

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5. Outkast – Aquemini

There’s something inherently captivating about duos. Two people whose chemistry is inevitably intertwined with their creations, who push one another to heights they could never achieve individually. It’s why Simon was never as good without Garfunkel. Jack is lost without Meg. And Tip sounds incomplete without Phife.

In 1998, the rap duo Outkast released an album that was about this specific dynamic. They called it Aquemini, a portmanteau of the rapper/producers’ zodiac signs (Big Boi is an Aquarius; Andre 3000 is a Gemini), and proceeded to write songs about the intensity of their friendship and the magic of their chemistry, while exhibiting a zen-like acceptance of its eventual demise.

And all of this held water, because musically, these guys were at their absolute peak. They invited live musicians to their Atlanta studio to stretch, deepen and distort their sound, slow-roasting it until any resemblance to East or West Coast rap had sloughed off onto the coals. Aquemini absorbed the sprawling, earthy aesthetic of Parliament-Funkadelic more organically than Dr. Dre’s samples ever could. It set a bar for Dirty South hip hop that has arguably never been cleared. It’s one of the boldest, most self-aware recordings in rap history.

“Stickin’ together like flour and water to make that slow dough / We worked for everything we have and gon’ stick up for / Each other,” proclaims Big Boi on his first verse of the album. The song, ironically titled “Return of the ‘G’,” is a spleen-vent against anybody who was weirded out by Outkast’s 1996 LP, ATLiens (#83 on this list). They’d left the “harder” gangsta rap of their hit debut in the dust, in favor of longer, spacier, more overtly Southern funk experiments. They weren’t pimps anymore. They were aliens. And that was alienating to people who don’t take kindly to change.

“Some of my fashion choices people didn’t accept at the time. I started getting flak from some people, so they were like, ‘Either he’s gay or on drugs,’” Andre shared in an interview. It’s the kind of situation that regularly destroys artistic partnerships – blowback from fans largely directed to one artist, who ends up getting an inordinate amount of attention. Outkast responded by closing ranks.

Aquemini’s lyrical scope is as wide as its sonic palette, including stories about how poverty can strangle hope, detailed deconstructions of failed relationships, and a myriad of ways to let us know why Big Boi and Dre are the type of people that make the club get crunk. But that sense of brotherhood is the common thread, the unifying vision that makes this ambitious, 75-minute album feel not only coherent, but full of exhilarating urgency right up until the last wailing guitar note of “Chonkyfire.” Even the few skippable moments – a pair of skits set in a record store where Outkast haters can’t wait to hear the new “Pimp Trick Gangsta Clique” album – are rooted in the adversity that tempered their bond.

Aptly, it’s on the horoscope-melding title track where everything comes together, and the core ethos of this record is laid bare. Over a syrupy R&B groove where glittering guitar chords can seemingly ring out forever, Andre whispers a chorus about impermanence:

Nothing is for sure
Nothing is for certain
Nothing lasts forever
But until they close the curtain
It’s him and I, Aquemini

Some people use the inevitable end of things as a good reason to give up. This pair of 23 year olds took it as irrefutable evidence that they needed to work even harder. Because the energy created by their duality was special. And thanks to the miracle of recording technology, they had the ability to trap that energy in amber.

Eight years after Aquemini ruled the world, Outkast dropped their clunky film project Idlewild. It was the duo’s first true misstep, and Big Boi and Andre 3000 went their separate ways soon after. They could’ve stayed together and made expertly crafted rap music for years to come. But they could feel that curtain closing. Even when they broke up, they were absolutely on the same page. Today, with popular music an ever-growing cult of personality, there are very few duos making noise. But we can still press play on Aquemini and sit in wonder of what can happen when two driven, talented individuals find inspiration in one another.

 

October’s Bestest Songs

CLean Oct.jpegHere are my favorite tracks from October 2019. I will not be trading these pieces of sonic candy for ANYTHING. Nope, not even Junior Mints.


1. Gang Starr – “Bad Name”

I don’t understand how Gang Starr is releasing new music, and not just because 50% of the group was lost forever when Guru succumbed to cancer in 2010. Rap has evolved and splintered in so many ways since the duo’s mid-’90s peak. Yet when the serpentine rasp of an unearthed Guru verse finds the pocket of DJ Premier’s rumbling, trumpet-flecked beat, “Bad Name” feels impossibly, thrillingly alive.

2. Caribou – “Home”

You know you’re doing something right in life when the return of a daily routine is cause for celebration.

3. Neil Young & Crazy Horse – “Eternity”

On Neil Young’s new LP, which seethes with environmental outrage, this sweet, ramshackle love song is the eye of the storm – an effective reminder of all we have to lose.

4. Pusha T – “Succession (Remix)”

Pusha T sounds completely at ease rapping over the theme to HBO’s white-collar depravity drama Succession. And of course he does – he’s our poet laureate of dirty deals.

5. Kim Petras – “Close Your Eyes”

EDM Elvira realness.

6. Sudan Archives – “Glorious”

Violin-fueled R&B is not something I knew I needed.

7. Danny Brown – “Combat”

Danny Brown might be the most versatile rapper working. He’s got a voice that could drown out a marching band, but here he is, gently cracking wise over a muted trumpet loop: “I don’t give a fuck / I could talk a cat off the back of a fish truck.”

8. Coldplay – “Arabesque”

Based on this advance track from its impending double album, Coldplay is getting back to doing what they do best – writing catchy, atmospheric songs that shamelessly, earnestly embrace us. Don’t we all need a hug these days?

9. Ghetto Sage – “Haagen Dazs”

A memo to Chance & Kanye: Chicago has left you behind. Ghetto Sage is the second dynamic Windy City rap crew to make this list in 2019, and they’ve got the heady slam poetry of Noname to anchor this ice cream-metaphor-laden jam: “Looking at Ben and Jerry / Hope one of my n—-s coming through.”

10. Wiki – “Fee Fi Fo Fum”

As sitars burble under the surface, this self-proclaimed New York giant casually raps about sipping Arnold Palmer. Damn, does it go down easy.

11. Bask – “Three White Feet”

Celebrate the early darkness of late fall by cranking this – a beautiful, billowing cold front of progressive Southern metal.

September’s Bestest Songs

September.jpegHere are my favorite tracks from September 2019, the month in which the temps started dipping, it got easier to sleep at night, and it became socially acceptable to make chili again. I am going to make pounds of chili, and it will be just for my wife and me. STEP AWAY FROM THE LADLE. BAD!


1. Hannah Diamond & Danny L. Harle – “Part of Me”

A luminously sad banger from two of the PC Music collective’s fiercest talents. As Diamond sings about the imprints we make on one another, Harle’s dreamy xylophone leaves its own indelible mark.

2. slowthai (feat. Denzel Curry) – “Psycho”

This intense British emcee invites one of America’s finest to shred syllables over a diabolical, Bernard Hermann-sampling beat.

3. Sturgill Simpson – “Best Clockmaker On Mars”

Of all the compelling ways this country visionary has bucked the Nashville establishment over the years, this ZZ Top Eliminator cosplay is the most fun.

4. Begonia – “Fear”

Over a stripped, claps-and-bass groove, this Manitoba singer/songwriter laundry lists her fears. Taking musical risks is not one of them.

5. Danny Brown – “Dirty Laundry”

Danny Brown is one of the best rappers alive, and his new Q-Tip-produced LP is imminent. If it’s as loosely confident as this track, we might have to lose “one of.”

6. Van Morrison – “Dark Night of the Soul”

It’s extremely reassuring to learn that, at 74, Van still sounds like Van. Buoyant, just a little bit restless, and hopeful as the morning sky after a rainstorm.

7. Mariah Carey – “In the Mix”

On the theme song to the new Black-ish prequel, Mariah Carey also takes a look back – to that carefree, roller-blading-in-the-sunshine, “Fantasy”-era sound.

8. Red Death – “Face the Pain”

I’ve never met a chugging Motorhead riff I didn’t like.

9. Charli XCX – “White Mercedes”

Charli XCX’s brand of delirium-inducing club-pop often sounds best at full volume. On this majestic synthed-out ballad, the artist confesses why: “I hate the silence / That’s why the music’s always loud.”

10. Bull – “Love Goo”

Long live the Kinks.

11. Angel Olsen – “Lark”

Sometimes an artist releases a song so epic, so overwhelmingly emotional, so technically awe-inspiring, that it can’t go anywhere but at the end of a mix. Like “Lark,” which rises from folk murmurs to orchestral eruptions, like the ocean engulfing a volcano.

The Top 100 Albums of the ’90s (10-6)

So here we are, gang. Ten albums left. Can you believe it? It’s only taken me eight years to get here! EFFICIENCY. These next five LPs certainly meant a lot to me as a mumbling high school and college student who smelled weird because he’d never learned to wash properly.

ATribeCalledQuestTheLowEndtheory10. A Tribe Called Quest – The Low End Theory (1991)

In 1991, it was getting harder to disregard rap music as a fad. A year earlier, “Ice Ice Baby” and “U Can’t Touch This” gave the world a preview of the genre’s inevitable crossover dominance. (On the day I’m writing this, 9 of the top 20 songs on the Billboard Hot 100 come from rappers.) A Tribe Called Quest was decidedly not celebrating this. “Rap is not pop / If you call it that, then stop,” scolded rapper/producer Q-Tip on the Queens trio’s second LP. Here were young artists on the cusp of stardom, who had already landed a hit by sampling “Walk On the Wild Side,” abandoning that path and consciously pursuing a different type of hook – anchored in the syncopations of jazz and the pentameters of poetry. “Don’t you know that things move in cycles?” Q-Tip asks his father on his iconic opening verse, openly acknowledging that this new and exciting genre was indebted to the record and book collections of generations past. And with this bold, anthropological mission driving them, Tribe recorded some of the wisest, funkiest, most sweepingly joyful rap songs in history. Tip and the forever-underrated Phife Dawg trade bars about everything from growing up together to dealing with psychotic A&R guys, giving other artists a blueprint for their own careers. They were never pop stars as a result. They’ll just have to settle for being legends.

220px-Pnyc9. Portishead – Live from Roseland, NYC (1998)

Of the handful of James Bond movies I’ve seen, my favorite parts are the songs. A talented vocalist belts their guts out, their voice trembling with emotion, the minor-key arrangement inevitably boiling over with a scalding spray of brass. Then the director credit fades, along with that feeling. Because James Bond is about as passionate as a cold shower. The Terminator feels more. A love of Bond themes was central to the aesthetic of Portishead, the Bristol trip-hop pioneers who combined throwback ’60s horn and string charts with blasts of synthetic noise and head-spinning displays of record scratching.  But it was singer Beth Gibbons that made the trio so much more than a formula. She approached these songs like a self-aware Shirley Bassey, who knows that these intense feelings are unrequited, marveling at the energy she can muster for one so undeserving. And Live from Roseland, NYC is the ultimate document of her achievement. Backed by a full orchestra, which gives Portishead’s ambitiously cinematic sound the dynamic scope it deserves – from whispering strings to trammeling trombones – Gibbons sings with the concentrated energy of a spirit trying to move something corporeal. “I can’t hold this day / Anymore,” she bemoans on “Over,” as a lone guitar delivers a two-note eulogy. By the end of that song, its singer is wailing; the orchestra is at triple fortissimo; the DJ is scratching like there’s bugs in the vinyl. And we are both shaken, and stirred.

Magnolia_album8. Aimee Mann – Magnolia: Music from the Motion Picture (1999)

The soundtrack album for the film Magnolia – Paul Thomas Anderson’s indulgent masterpiece about the intersecting lives of despairing Californians – contains tracks from four different artists. Yet it’s credited, right there on the cover, to Aimee Mann. This is entirely appropriate, because Anderson has admitted that Mann’s lyrics heavily influenced these stories. At one point, Melora Walters’s character delivers the first line of “Deathly” in conversation: “Now that I’ve met you / Would you object to / Never seeing each other again?” That line is peak Mann, untangling the complicated internal lives of the victimized in a handful of syllables. Like the movie, she makes sure to let pinpricks of hope shine through over the course of nine tracks, making the sadness ring even truer. The richly layered folk arrangements have the color palette of a sunset – nuances of warmth form a halo around Mann’s steady, reassuring voice. And songs like the Oscar-nominated “Save Me” express a stubborn, foundational belief in romantic alchemy – broken hearts can find understanding souls. And when they do, they fuse together to create something new, and strong, and good. The balance of the Magnolia soundtrack is also spot-on – a pair of Supertramp classics about self-actualization and its aftermath; the cheerful self-help R&B of Gabrielle’s “Dreams”; the fairy-tale malaise of Jon Brion’s theme. But this soundtrack belongs to one person, who suspects they could never love anyone, singing songs that will immediately appeal to anyone who ever has.

https___images.genius.com_0e92782dd80e4fc1b0ea056705fba60b.1000x1000x17. Erykah Badu – Baduizm (1997)

When Motown label head Kedar Massenburg introduced the term “neosoul” to describe artists like D’Angelo and Erykah Badu, it was marketing at its emptiest. And most successful. “Neosoul” records, of which Baduizm remains the gold standard, were actually “retrosoul” records – summoning the organic warmth of ’70s Motown while supposedly slighting the slick, rap-influenced R&B that was ruling the charts. It was a white lie to make traditionalists feel like they weren’t out of touch. Lulled by Badu’s nightclub jazz arrangements and laconic, Billie Holiday drawl, they probably never picked up on just how much this Dallas singer, songwriter and iconically headwrapped Soulquarian loved hip hop. “You rush into destruction cause you don’t have nothing left / The mothership can’t save you so your ass is gon’ get left,” Badu sings with the swaggering syncopation of a rapper, on Baduizm‘s first single, “On & On.” This quiet confidence propels her performance throughout, as she dismisses those who dismiss her intelligence, confronts a guy who tries to roofie her, and wrestles with the risks of loving a drug dealer. Her songs and the way she sings them elevate the midtempo jazz vamps that are Baduizm‘s stock in trade. Also like a rapper, she turns to bass lines for guidance, wrapping her syllables around them until they become indelible earworms. In the process, Badu made an intergenerational soul album that reassured her elders, inspired countless rappers, poets and R&B singers, and wove a spell that holds to this day. It was something new, after all.

220px-Radiohead.okcomputer.albumart6. Radiohead – OK Computer (1997)

Countless rock bands have written songs about life on the road. Because touring is what bands do, and you write about what you know. But no artist has used their experience on tour to communicate larger metaphors as effectively as Radiohead did on its third album. Singer/songwriter Thom Yorke mined some terrifying and disorienting travel experiences for material, resulting in songs about car and plane crashes, insane thoughts in tight spaces, and grabbing your bags before dawn in a panic. “Transport, motorways and tramlines / Starting and then stopping / Taking off and landing / The emptiest of feelings,” he observes. But this is not an album about airports. By taking that odd sense of disconnection we feel while traveling and applying it to our relationships with our bosses, political representatives, and inner selves, OK Computer tapped into a creeping cultural malaise that would eventually overtake us. Listening today, its themes resonate as strongly as ever, pulled from the brink of fatalism time and again by the music, which is as towering and tender as the band has ever sounded. The six-minute anti-capitalist epoch “Paranoid Android” shifts from buzzsaw guitar screaming to a spine-tingling choral breakdown, giving Gen X its own “Stairway to Heaven” moment in the process. On “Let Down” and “Subterranean Homesick Alien,” Jonny Greenwood’s clean guitar sounds wash over Yorke’s dour observations like cleansing foam. And the arrangement on “No Surprises,” featuring a major-scale glockenspiel loop that could just as easily have been whistled, sounds like brainwashing feels – just a little too perfect. As a result, Radiohead made an album about hopelessness that achieved unforeseen levels of melodic uplift. Like a plane that’s just left the ground, it’s a miracle. One that doesn’t give us much room to breathe.

August’s Bestest Songs

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Here are my favorite tracks from August 2019, during which I spent a glorious week in Western Newfoundland, listening to Bill Callahan sing about romantic contentment with the person I love, creating a feedback loop of bliss that has carried me to this very moment. September, you’ve got your work cut out for you.


1. Donny Benét – “Second Dinner”

Over an irresistible midnight snack of a post-disco groove, this Aussie sings about his preferred pathway to pleasure these days – overeating.

2. BROCKHAMPTON – “Boy Bye”

Confessional millennial lounge-rap realness.

3. Sheer Mag – “Blood from a Stone”

This Philly quartet doesn’t just re-create 1970s working-man hard-rock like some novelty act. Singer Tina Halladay gives the supposedly tired sound an adrenaline shot to the heart, to the point where you can almost smell the spilled Miller on your Dickies.

4. Rosalía (feat. Ozuna) – “Yo x Ti, Tu x Mi”

Steel drums and iron-clad devotion were meant to be paired.

5. Esther Rose – “Only Loving You”

Some things never lose their power. Like starry-eyed country songs that rhyme “I love you” with “It’s true.”

6. Young Thug (feat. Lil Baby) – “Bad Bad Bad”

When Young Thug is at his best, every syllable is a hook. When he raps about rose gold helicopter seats on “Bad Bad Bad,” it’s not just an insanely evocative depiction of wealth – it’s a goddamn singalong.

7. Normani – “Motivation”

If an early-’00s R&B revival is upon us, I am here for it.

8. King Gizzard & The Lizard Wizard – “Planet B”

These Aussie psych-rock weirdos just released their seventh LP in three years. But instead of jumping the shark, they’ve become a shark jumping at us, screaming about our dying planet over ’80s-throwback thrash-metal riffs.

9. Rapsody (feat.a Leikeli47) – “Oprah”

These bars about circulating your wealth through the world, paired with that boom-bap stand-up bass loop? It’s the thrill of winning a car, in sonic form.

10. Miranda Lambert – “Bluebird”

Miranda Lambert singing about resilience will always be a good thing: “Don’t like where I’m at, 34 was bad / So I just turn to 35.”

11. Missy Elliott – “Throw It Back”

The world is less vibrant when Missy Elliott isn’t dropping singles. And wouldn’t you know it, the sky just got bluer.

12. Lana Del Rey – “The Greatest”

This just in: Lana Del Rey’s writing has officially caught up with her persona. Over a weepy classic rock chord progression that Martin Scorsese will be tempted to use over an extended montage, Del Rey sings about a failed relationship with poetic authenticity.  That would be enough. But then she goes on to capture the devastating ennui of the present, more concisely than any songwriter I’ve heard this year: “LA’s in flames, it’s getting hot / Kanye West is blond and gone / ‘Life On Mars’ ain’t just a song.”

July’s Bestest Songs

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Here are my favorite tracks from July 2019, a month in which it got so hot that I would’ve killed to have a fever of 103º. (Foreigner, you had no idea.)

1. Purple Mountains – “Maybe I’m the Only One for Me”

This delightfully suicidal sad-sack country jaunt from ex-Silver Jews frontman David Berman will have you LOLAL-ing (laughing out loud about loneliness): “If no one’s fond of fucking me / Maybe no one’s fucking fond of me.”

2. YBN Cordae (feat. Anderson .Paak) – “RNP”

This optimistic Chicago newcomer is full of the kind of easy charisma that Chance the Rapper gave up for lent back in 2016. This track pairs him with Anderson .Paak in full guest-spot assassin mode, over a beat that sounds like The Neptunes producing “If I Ruled the World.”

3. Bleached – “Heartbeat Away”

Sober people deserve fist-pumping, scream-along Camaro rock too.

4. Charli XCX (feat. Christine and the Queens) – “Gone”

“It feels so cold in here / I am just now realizing they don’t care,” belts Charli XCX on this triumphant dance-pop duet, using her social anxiety to fuel a flight to incandescent heights.

5. Maxo Kream – “Pray 2 the Dope”

Nobody’s telling stories like Maxo these days. On this one, he raps about working at Panera Bread. It’s riveting.

6. Bat for Lashes – “Feel for You”

Over an undulating swirl of ’80s synths and drum machines, Natasha Khan repeats the same two lines – “I love you / I feel for you.” Sometimes honesty trumps poetry.

7. Ty Segall – “Ice Plant”

The prolific garage rocker leaves the guitar in its case on this a cappella ballad, his unpolished harmonies trembling like emotions laid bare.

8. ShooterGang Kony – “Charlie”

It’s been awhile since rappers leaned on straightforward funk loops to further embolden their swagger. Here’s proof they should do it more.

9. Angel Olsen – “All Mirrors”

One of our most dynamic singer/songwriters seems to be going full, mid-’80s, peak-era Kate Bush, and I’m here for it.

10. High on Fire – “Into the Crypts of Rays”

Is there anything more metal than starting a song with 22 seconds of screaming? Sludge legends High On Fire have done this, and the effect is like one of those Benedictine Monk CDs from the ’90s. At around the :15 mark, the screams start to sound more like a chorus, beckoning us to a higher plane. And then the universe explodes.

11. Lil Nas X (feat. Billy Ray Cyrus, Young Thug and Mason Ramsey) – “Old Town Road (Remix)”

“Old Town Road,” a country track recorded by a gay black man, is not just the longest-running #1 song in pop history. It’s a miracle of sonic science, mutating into different forms at all times, beginning with Billy Ray Cyrus’s savvy remix and moving on to inspire artists like Cupcakke, RM from the Korean boy band BTS, Young Thug, and possibly Dolly Parton. LNX’s song has more than a catchy Trent Reznor banjo loop going for it – its positivity and disregard for labels is even more of hook. How else could Thugga and the yodeling Walmart kid sound so damn good together? I hope it’s #1 forever.