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.

The Top 10 Outkast Songs

Until Big Boi and Andre 3000 came along, it wasn’t cool for rappers to brand themselves as outsiders. They could be antiheroes, or media moguls, or poets, or rock stars – but outcasts? Aliens? Georgians? Outkast rose from the hip hop backwater of Atlanta by not pretending they were from New York. They made records with the patience of a BBQ chef, backloading them with luxuriously long, funk opuses, showcasing their love for George Clinton more deeply than Dr. Dre ever could. They exuded confidence on the mic by being themselves, rapping in rapid-fire triplets over organically produced funk and R&B compositions, establishing Southern rap as we know it. Even their failures were bold and individualistic, like Andre’s off-key Prince impression/electro-jazz opus The Love Below. It’s no coincidence that rap artists have reveled in being different ever since. Lil Wayne is “not a human being.” Young Thug rocks designer parasols and celebrates Slime Season. Migos tops the charts while dressed like 19th century fur trappers. Largely because of these two dope boys in a cadillac, who scored a massive hit by bragging, “I am for real.”

Here are the 10 best Outkast songs, now and forever until the inevitable comeback album. Playlist below.

10. “Git Up Git Out” (1994, Southernplayalisticadillacmuzik)

This Southern-fried, horn-fueled triumph from Outkast’s debut is the funkiest self-help seminar of all time: “You need to git up, git out and git something / How will you make it if you never even try?”

9. “Aquemini” (1998, Aquemini)

On a song that uses a portmanteau of the rapper’s Zodiac signs as its title, they expound on the impermanence of it all, over a cascading opiate of a groove. You never want it to end. But like everything, it does.

8. “Da Art of Storytellin’, Part 1” (1998, Aquemini)

Boasting a hypnotic, descending melody that aliens should use to calm us upon arrival, this song also delivers on the promise of its title, especially when Andre 3000 fits an entire tragic story arc in one verse.

7. “Elevators (Me and You)” (1996, ATLiens)

“We done come a long way like those long-ass cigarettes,” shares Andre on “Elevators,” the first truly special Outkast single. The beat doesn’t slap; it sinks into a cavern of reverb, making this reflection on success sound more like a séance than a celebration.

6. “I’ll Call Before I Come” (2000, Stankonia)

To this day, the idea of a man being a considerate lover does not jive with our toxic, “they only care about one thing” concept of masculinity. Yet 18 years ago, Outkast teamed up with Three Six Mafia’s Gangsta Boo to make a witty, boisterous summer jam about putting your partner’s pleasure first. The older it gets, the more incredible it sounds.

5. “Babylon” (1996, ATLiens)

This harrowing, slinky masterpiece of mood is drenched in lapsed Catholicism. As Andre outlines how religion demonizes sexuality and Big Boi takes down every preacher that blames rappers for crime waves, the background vocals ominously hum.

4. “The Whole World” (2001, Big Boi and Dre Present … Outkast

In 2001, Big Boi and Dre were on top of the world. But on this single, they were also feeling the weight of it. Over a careening carnival beat, they vented about the appropriation of black culture, and the extremist hatred that the 2000 presidential election did nothing to quell. Dre’s opening lines are as honest as a hit song ever gets: “Yeah I’m afraid / Like I’m scared as a dog / But I’ve got a new song / And I want y’all to sing along.”

3. “So Fresh, So Clean” (2000, Stankonia)

Unlike most of their peers, Outkast wasn’t in the myth-building business. They just rapped about how they felt, whether that was vulnerable, or proud, or sexy. So when they claimed “ain’t nobody dope as me” over a slick-as-hell Joe Simon sample, we believed them. That’s the kind of self-confidence that catches.

2. “SpottieOttieDopaliscious” (1998, Aquemini)

Here is where we started to wonder if the alien metaphors were metaphors after all. This otherworldly seven-minute slow jam blurs the line between rap and spoken word, exhaling between verses with a horn arrangement that dances up our spines, on the way to flooding our pleasure sensors. We hear Andre talk about a drunken night at the club, and Big Boi opine for the mother of his child – “Her neck was smelling sweeter / Than a plate of yams with extra syrup.” The vibe was so relaxed, it almost made us feel like we were spending time with these guys, finding out what was on their minds as they so casually blew ours away.

1. “B.O.B.” (2000, Stankonia)

Outkast’s best song is fueled by an almost dangerous level of energy. “B.O.B.” is a sky-splitting sonic boom; when it’s over, you can smell the ozone. Its beat is a monster that would swallow up most rappers – snare hits spray the vicinity like AK-47s while a pipe organ soundtracks the funeral of our preconceptions. What a thrill it is to hear Andre 3000 and Big Boi enter this maelstrom and tame it. “Like a million elephants and silverback orangutans, you can’t stop a train,” flexes Dre, perfectly describing the breathtaking energy, speed and dexterity on display. Many of the songs on this list could be described as “electrifying.” This one could power the Eastern seaboard.

 

 

 

 

 

 

The Top 25 Songs of 2017

So you’ve read my Top 20 Albums of 2017 and find yourself wanting more. Here you go, person who doesn’t exist! It’s my Top 25 Songs of 2017. My all-time favorite songwriter is on here. A segment from a radio show is on here. And Fergie is on here? Yes, Fergie is on here. There’s a full playlist below, after I’m done yammering.

25. Fergie ft. Nicki Minaj – “You Already Know”

Over a dynamite interpolation of Rob Base and DJ EZ Rock’s “It Takes Two,” Fergie catches fire, outrapping her legendary guest against all odds.

24. Laura Marling – “Soothing”

“I banish you with love,” croons Laura Marling over one of the grooviest bass lines of the year. Getting dumped never sounded so good.

23. Young Thug – “Do U Love Me”

This preternaturally melodic rapper sings a love letter to himself over a sprightly dancehall beat, teaching us the difference between ego and self-confidence.

22. Randy Newman – “She Chose Me”

If you’re lucky enough to know how it feels to have a partner you don’t deserve, this stark ballad from our greatest living songwriter hits hard.

21. Courtney Barnett & Kurt Vile – “Continental Breakfast”

Two brilliant slacker/songwriters, singing about their intercontinental friendship over a loose, rolling groove. Should be played in lieu of presidential speeches to the UN from now on.

20. CupcakKe – “Barcodes”

This sex work empowerment anthem is a blast of exuberance from a Chicago rapper on the rise. “Pay the damn price or go home to your wife,” CupcakKe demands, backed by the funkiest horns we heard all summer.

19. Bebe Rexha – “I Got You”

A pop song about building trust, with a chorus that feels like falling into somebody’s arms.

18. Brockhampton – “Gummy”

We get a few seconds of lush, harp-trilling Disney music before the plug is pulled, the feedback squeals, and rap’s most energetic crew takes off.

17. Kreator – “Side By Side”

The loudest anti-fascist music in 2017 was made by Germans. The pealing riffs and pummeling drums of “Side By Side” are almost as explosive as the rallying cries.

16. Offset & Metro Boomin – “Ric Flair Drip”

Metro Boomin beats don’t hook us. They mesmerize us. So while Offset unleashes his masterful triplet flow on “Ric Flair Drip,” it’s the producer’s dark, pinging synths that linger on in our memory.

15. Carly Rae Jepsen – “Cut to the Feeling”

On paper, lyrics about breaking through the ceiling, dancing on the roof and playing with the angels are pretty cliché. But when paired with the sonic equivalent of carbonated helium, they’re perfect.

14. Nnamdi Ogbonnaya – “Hop Off”

The dive-bomb bass and chirping synths are fun enough on their own. Then one of the most elastic voices in hip hop jumps in, and we reach a whole new plane of party.

13. Thundercat – “Tokyo”

An electro-jazz-yacht-rock bass virtuoso sings about how a great vacation can bring out the kid in us: “Gonna eat so much fish I think I’m gonna be sick / Gonna blow all my cash on anime!”

12. Power Trip – “Executioner’s Tax (Swing of the Axe)”

The headbanger of the year, with a riff that chugs like a locomotive from hell, and a chorus that demands to be shouted at top volume, like a bloodthirsty Queen of Hearts.

11. Big Boi – “All Night”

The still-underrated half of Outkast made this year’s anthem for the blissfully monogamous. “Hit you with your bonnet on by the nightlamp,” he raps, over a big toothy smile of a piano loop.

10. SZA – “Drew Barrymore”

This devastating breakup song was inspired by Drew Barrymore’s insecure character Josie Geller in Never Been Kissed. There’s no Hollywood ending here. But when the strings swell, so do our hopes for one.

9. Black Thought – “Hot 97 Freestyle 12/14/17”

Sometimes, nothing is flashier than stamina. Like when the voice of The Roots hopped on Funkmaster Flex’s radio show and unleashed 10 minutes of fiery, perfectly crafted bars. By the end, he was sweating. And so were we.

8. Feist – “I’m Not Running Away”

I can’t shake this tune. Bold declarations of loyalty are held up by little more than Feist’s stark, bluesy guitar. She finds a kind of rhythm that drummers can’t reach.

7. Drake – “Passionfruit”

Over a swirling dream of a dancehall groove, a narrator mourns a fading long-distance relationship. It’s emotional and entrancing – in other words, a signature Drake summer smash.

6. Jeremih – “I Think of You”

Jeremih seriously flirts with MJ status here, making sunset references sexy again over an utterly joyful, marimba-inflected beat.

5. Julia Michaels – “Uh Huh”

This accomplished pop songwriter has apparently saved the best material for herself – especially this starry-eyed acoustic gem that crescendos to an instant high of a chorus.

4. Calvin Harris ft. Frank Ocean & Migos – “Slide”

A smooth-as-ever Frank Ocean sings about moments when “whatever comes, comes through clear” over a breezy disco groove from Calvin Harris. Corona wishes they could bottle this.

3. Haim – “Little of Your Love”

Our finest purveyors of ’80s adult contemporary singalongs serve up a chorus so effervescent, it made this especially heavy year feel lighter.

2. Kendrick Lamar – “DNA”

Over the levitating sitar n’ bass rumble of the year’s best rap song, Kendrick Lamar brags about his ability to reach nirvana in yoga class. As his rapid-fire syllabic mastery carries us away, we get a real idea of what he’s talking about.

1. Kesha – “Woman”

The New York Times ran a story last July about the health benefits of cursing – including stress relief and higher pain tolerance. The best song of 2017 definitely backs up these findings. When Kesha sings “I’m a motherfuckin’ woman!” punctuated by the profoundly funky Dap Kings horns, the combination of positive vibes and disregard for pop norms is exhilarating. Unlike the way our president talks, “Woman” is not vulgar. It’s defiant, and important, and very, very good for us.

Honorable Mentions: 2 Chainz – “Sleep When U Die”; Bob Dylan – “Braggin'”; Nick Hakim – “Cuffed”; Hus Kingpin – “Wave Palooza”; Jonwayne – “TED Talk”; Kamiayah – “Dope Bitch”; Kesha – “Hunt You Down”; King Gizzard & The Lizard Wizard – “Crumbling Castle”; Kendrick Lamar – “Element”; Aimee Mann – “You Never Loved Me”; Migos – “Slippery”; Frank Ocean – “Chanel”; Angel Olsen – “California”; Pallbearer – “Thorns”; Syd – “Got Her Own”; TT the Artist – “Real Bitch Problems”; Tove Lo – “Disco Tits”; Ulver – “Nemoralia”; White Reaper – “Eagle Beach”; Your Old Droog – “Grandma Hips”

 

 

 

 

The Top 20 Albums of 2015

Ah, the holidays. A time for nailing giant socks to the wall. A time for singing about pudding. A time to reflect on the year in music. Here’s a list of the 20 audiodiscs that gave me the most earjoy in 2015.

TD2CH_album_cover 20. Boosie Badazz – Touch Down 2 Cause Hell 

Lil Boosie has always commanded our attention with the quavering intensity of his bars. But there’s something even more visceral happening on this, his sixth album, and first since being released from a five-year stint in a Louisiana jail. You best sit down before pressing play on “Intro – Get Em Boosie,” because it’s one minute and 16 seconds of severe passion, the sound of a rapper freeing a long-suffocated muse. There’s anger in there, and sadness, but the overarching feeling is triumph. Over 18 ensuing tracks, this feeling of grand catharsis rarely subsides, and what seemed like the typical branding moves – dropping the “Lil,” the chaotic promise of the album title – are revealed as truth. This is an inspired, determined, grown-azz man.

homepage_large.c73306d019. The Mountain Goats – Beat the Champ

You don’t need to care about pro wrestling to appreciate John Darnielle’s 15th record. But if you’ve ever been in love, caved under pressure, or searched for goodness in the world, Beat the Champ has something for you. The singer/songwriter uses the squared circle as a launching pad for autobiography, explaining his childhood obsession with regional star Chavo Guerrero – “I need justice in my life/ Here it comes.” Elsewhere, the metaphors fly like feigned punches, from the sweetly romantic tale of a long-sundered tag team to the unexpected sting of a foreign object in your eye. In his inimitable, nasally verbose way, Darnielle turns what could have been a novelty record into a strikingly emotional work. He is the world champion of wistful pride.

a1859956754_1018. Panopticon – Autumn Eternal

Few things are as metal as leaf-peeping. People come from miles away to watch the trees blaze with a million little deaths, their once-verdant finery destined to rot. At least, Austin Lunn thinks so. He’s the man behind every note of Autumn Eternal, a black metal showpiece that plays like a drive through peak foliage – at first, with the sights blurring by, it feels like everything’s on fire. Then you slow down and realize you’re surrounded by beauty. Panopticon’s sixth record loses the bluegrass elements that made its prior work so haunting, in favor of walls of guitars, organs, drums and screams that swirl with enchanting grace. The melodies unfurl slowly amidst the chaos, gorgeous reminders that nothing is so natural as death.

51GqlPejStL._SY300_17. Jessica Pratt – On Your Own Love Again

Jessica Pratt is the kind of enigmatic folksinger who sounds like she was meant to record alone, hurling complicated emotions into the void. Her phrasing is messy, her pronunciation odd – “can” is “keen”; “time” is “tam” – but in the psychedelic malaise of her second LP, these quirks sound less like grating affectations and more like the artist’s own personal language. The joys of her guitar playing, however, are clear as day. She interrupts gorgeous finger-picked cascades with staccato minor notes, playing with a narrative thrust that gives the record its bone density. When we hear that scratch of pick on acoustic, we’re trained to expect some diary-entry-type emoting. Pratt plays against that expectation beautifully, leaving just enough breadcrumbs to get us lost. (excerpt from my review in The Quietus2/11/15)

cover_2253201862015_r16. Iron Maiden – The Book of Souls

Of all the fascinating moments from the 2009 Iron Maiden documentary Flight 666, nothing compared to the footage of a Brazilian fan who had just caught one of Nicko McBrain’s drumsticks. He stands awestruck, unaware of the camera, tears of gratitude streaming down his face. It’s a feeling I can relate to when listening to the band’s excellent new double-disc, because it shimmers with the commitment and energy of a band half its age. While never straying from that classic Maiden formula– dramatic intro, triumphant gallop, insanely catchy solo, repeat – The Book of Souls avoids nostalgia though the use of a panoramic lens.  The two best songs on the record are also the two longest songs in the entire Maiden catalog. “The Red & The Black” especially slays, its chorus a fist-pumping “whoa” that makes we wish I was in a stadium, expressing my gratitude loudly.

R-6768364-1426270272-2606.jpeg15. Bjork – Vulnicura

When Bjork released Vespertine in 2001, it was the most direct statement of her career. Starry-eyed, triumphant, vulnerable and otherworldly, it remains a breathtakingly accurate depiction of an all-consuming love. Fourteen years later, here is the denouement. Vulnicura details the demise of Bjork’s marriage in the same stark, unflinching way that Vespertine celebrated its beginning. It’s a  devastating work. The artist and co-producers Arca and The Haxan Cloak paint pictures of dissolution with little more than a string section and a spare drum machine. The story arc begins with our narrator seeing the cracks in the foundation, surprised at how little she cares. “Maybe he will come out of this / Maybe he won’t / Somehow I’m not too bothered / Either way,” Bjork sings in ghostly three-part harmony, extracting as much wonder from winter as she once did from spring.

drake_albumcover-300x30014. Drake – If You’re Reading This, It’s Too Late

Here is perhaps the most downplayed of 2015’s surprise album drops. Even though it was released like a traditional, for-purchase-only record, Drake has insisted that If You’re Reading This, It’s Too Late is a mixtape, a mere prelude to his much-hyped and still-imminent Views From the 6. (Are the rap semantics making your head hurt too?) For whatever reason, the artist basically told us to think of this as a minor release. But after hearing the first five songs, that is impossible to do. It’s rap’s strongest opening stretch of the year, a beautifully sequenced malaise of ego, death and crew politics that is about 200% catchier than I’m making it sound. The Torontonian has become a master at delivering hooks, filling this record with the same airy confidence that made “0 to 100” one of last year’s best singles. “Energy” is a great song entirely because of the way he draws out those syllables – “Tryin to take a waaaaaave from a n***a!” If this is just a preview, then I am going to pee right now – don’t want to miss a second of the feature presentation.

1035x1035-a852ee70f2b3aba31d06a9f3_609x60913. Kacey Musgraves – Pageant Material

Country music has always understood how to wallow. Some of its finest moments have taken us down the whiskey-soaked alleys of Self-Loathing, USA. But I’m a bigger fan of the singers that return from the abyss and report on how they overcame it. Like Kacey Musgraves, whose filtered sunbeam of a second record sparkles with self awareness, jam packed with life lessons destined for cross-stitched kitchen wall hangings. It begins with a honey-sweet ode to the calming influence of marijuana, complete with strolling whistles, Dusty Springfield string swells, and a flamenco guitar solo. “It’s a fine time to let it all go,” she sings, the profoundly pleasant melody backing up her argument. Feel so lonely you could cry? Just cry already. You’ll feel better.

549_waxahatchee_ivytrip_2500px_sq-54bba7c022cb7d50f49076a72151daf0f3840630-s300-c8512. Waxahatchee – Ivy Tripp

Ivy Tripp is one of those raw-nerve breakup albums that finds clarity in despair. Katie Crutchfield’s songs are all about sifting through wreckage, directing blame, taking brief escapes through nostalgia. Yet there’s real comfort in them, the reserved, homespun production a testament to the healing powers of a focused mind. No matter how many sad-sack, Reznor-ian sentiments Crutchfield throws at her work – e.g. “You’re less than me / I am nothing” – it never comes close to toppling. Whether it’s through a lone organ run, a gentle rockabilly groove, or an extra-slow, hunched-shoulder riff, every one of these tracks is built to be a grower.

screen-shot-2014-12-10-at-9-32-40-am_sq-2768c011b744709ef14c5eb2230eb19a61b0b895-s300-c8511. Matthew E. White – Fresh Blood

“Everybody knows that rock and roll is cold,” croons Matthew E. White on the most rock ‘n’ roll-indebted song he’s ever done – 12-bar blues structure, ooh-la-la chorus and all. And in the lush, lovestruck context of his second LP, the irony of that line cuts even deeper. Fresh Blood finds the artist continuing to scratch his Randy Newman itch, slathering his compositions in strings and woodwinds and vocal harmonies, his unique baritone standing out in spite of it all. The difference here is Cupid’s arrow, washing away any trace of sarcasm. We’re talking celestial metaphors for love at first sight, picnics under laden fruit trees, a refrain of “nobody in this world is better than us.” With such shamelessly gorgeous production behind him, White has the power to swoon.

a0925d371d-TCOTN-300x30010. Tribulation – The Children of the Night

If you ever hear somebody bemoaning the lack of good guitar-based music these days (like, if you’re Dave Grohl’s fishing buddy), hand them a copy of this, the third LP from Swedish gothic metal band Tribulation. The Children of the Night is stuffed with the kind of layered, anthemic, utterly beautiful guitar interplay that will have you considering airbrushing a Gandalf/Balrog fight on the hood of your Honda Civic. When paired with a penchant for theatrical organ playing and singer Johannes Andersson’s gravesoil-spewing croak, Tribulation creates a completely immersive experience, where you can hear about the existence of gateways to netherworlds populated by dreaming corpses and be like, “of course.”

Kurt_Vile-2015-Blieve_im_goin_down_art_hi-res-300x3009. Kurt Vile – B’lieve I’m Goin Down

There have been moments – caused by exhaustion, an intoxicant, or both – when I’ve become obsessed with the sound of a word I’ve heard a million times before. “Di-no-saur,” I’ll say out loud, as everyone slowly backs out of the room. “Does that sound weird to you?” I share this boring anecdote in an attempt to explain the singular joys of listening to Kurt Vile, whose mesmerizing brand of folk-rock can make the most played-out phrases feel profound. On his sixth album, he has a song called “That’s Life,” a chorus about looking at the man in the mirror, another refrain about rolling with the punches. When delivered in the lulling sea of Vile’s finger-picked guitars and deconstructed piano chords, these clichés transform into a sort of everyman poetry. Dude could sing “It is what it is” for five minutes and have me in tears.

miguel_CVR_sq-563d9067c42173588ea2fbe88175d55171bd8d23-s300-c858. Miguel – Wildheart 

In a year when the top R&B song was an ode to the joys of facial numbness, Miguel’s third album was the sound of feeling returning. On his previous records, the Los Angeles vocalist did striking things within the confines of the late-‘90s neo-soul sound that so clearly inspired him. But Wildheart is something else entirely. Earthy and psychedelic, introspective and sex positive, it’s one of those thrilling documents of an artist ditching the old templates and exploring what’s underneath. It never strikes poses. “The Valley” weaves religious metaphors into its lustful narrative, not to seem controversial, just to make the point that great sex is spiritual. “Coffee” celebrates the context of making love with its simple, elegant arc of a chorus, placing conversations and caffeine on the same sensual pedestal as the act itself. “Face the Sun” positions true love as a moment where we see the light. Miguel has never been more confident in what he’s saying, in the sounds he wants to hear, in the sensations he thinks we all should get to feel. And that is a turn on. (from my review in PopMatters, 12/4/15)

No_Cities_to_Love_cover7. Sleater-Kinney – No Cities To Love

2015 would’ve been a perfect cash-in year for Sleater-Kinney – a decade since dissolution; 20 years since its debut album. The trio could’ve easily booked a tour where they play that record front to back and made thousands of people very happy. Instead, they made a new one. And it’s better. Impressively, No Cities To Love doesn’t just recapture the band’s signature sound, it continues the spirit of evolution that preceded it. Where 2005’s thrillingly loud The Woods played like a radio station .2 off on the dial, NCTL is crisp and considered, a 10-song study in artistic chemistry. Honing in on Carrie Brownstein’s endlessly inventive riffs, Corin Tucker’s flamethrower of a voice, or Janet Weiss’s propulsive drumming can be just as rewarding as letting the whole thing wash over you. “We’re wild and weary / But we won’t give in,” sings Tucker, selling the idea with every syllable. This is why fans hope for reunions.

Unknown6. Vince Staples – Summertime ’06

“My mama caused another problem when she had me.” When gangsta rap was at its height, a line like this would be a swaggering boast, a motto for an artist starring in his own ego-driven, cartoonish noir. But in the hands of 22-year-old Long Beach rapper Vince Staples, it’s something else entirely. First off, it’s a lie. A deception the narrator needs to believe in order to live with those bodies in the alley. Summertime ’06 is named after the season that drove Staples to nihilism – “the beginning of the end of everything I knew.” And producer No I.D. gives the darkness no place to hide, save a drum beat and a few strangled notes. Like Yeezus, it finds irresistible hooks in unvarnished territory. Unlike Yeezus, it doesn’t believe in any kind of god.

florence-2-web-300x3005. Florence + The Machine – How Big, How Blue, How Beautiful

Going by the title of this London ensemble’s third LP, one might expect a collection of songs that look outward, searching for profundity in the expanses above us. Instead, we get the opposite. These tracks are so focused on the internal workings of their creator that they make a delayed phone conversation feel like a burgeoning electrical storm, giving love the power to hurl us into canyons – breaking bones, but not our devotion. Florence Welch isn’t merely exploring her emotions here. She’s calling them to the mat, with a voice that could bend street signs. Factor in sweeping arrangements that rise like tempers, and we have a record that transforms the daily commute into a grand, cathartic singalong. Because while the universe is vast and intimidating, it’s got nothing against the fear that goes hand in hand with falling for someone. (from my review in PopMatters12/4/15)

61rIrx-CesL._SY300_4. Father John Misty – I Love You, Honeybear 

I Love You, Honeybear sounds like a vintage Elton John LP, its rich, sad vocals buoyed by strings. It’s also marked by John’s old penchant for costumes. Recording for the second time under the guise of his sarcastic crooner-douche character Father John Misty, singer/songwriter Joshua Tillman falls into an ironically confessional groove. Behind the armor of a beard and fitted suit, Tillman can tell us that he’s in love, that it makes him brash and boastful, that it also terrifies him. In “Nothing Ever Good Happens at the Goddamn Thirsty Crow,” he bellows at the men who hit on his girlfriend in bars, “Why the long face, jerk off? / Your chance has been taken.” As the pedal steel notes bend to the heavens, we’re hearing a form of male bravado we’re not used to – the swagger of the monogamous. Then there’s the closer, where the band takes five, and the costume comes off. Over his own gentle acoustic strum, Tillman sings about heading out on a routine errand, and learning that fate can feel tangible: “For love to find us of all people / I never thought it’d be so simple.” If he keeps writing songs like this, he can call himself whatever he wants.

kendrick-lamar-to-pimp-a-butterfly-album-cover-636-636-300x3003. Kendrick Lamar – To Pimp A Butterfly 

We’re used to the narrative of pop stars rejecting their “voice of a generation” status. Dylan hid in the woods. Cobain set out for darker places. But I don’t think we’ve ever had an artist respond quite like Kendrick Lamar did this year. On his third album, the Compton rapper doesn’t reject or embrace the title. He obsesses over whether he’s worthy, snarling about the hypocrisies that should disqualify him, pinballing between belief in a just god and helplessness in the face of temptation. And he’s not afraid to make us feel the weight. To Pimp A Butterfly is a long, challenging LP, full of murky jazz and slow-building poetry, soaked in survivor guilt. For long stretches, Lamar doesn’t give us, or himself, much of a rhythm to latch onto. Listening to his bars unfold over slippery sax runs and ungrounded drums can be like trying to eat Jello with your hands. Which, in these violently racist times, is the point – there are no easy answers, no purely satisfying resolutions. But there are reprieves. Like “Alright,” the defiantly hopeful rallying cry and centerpiece of TPAB. “Do you hear me? / Do you feel me? / We gon be alright,” goes the refrain over a shimmering Pharrell beat. In that moment, in spite of himself, Kendrick Lamar is leading.

Young-Thug-Barter-622. Young Thug – Barter 6

In an October feature on Young Thug for The New York Times, Jon Caramanica gave us a fascinating peek at the rapper’s creative process. In the studio, with a beat playing, he stitched together stream-of-consciousness outbursts like quilts. It’s something different from freestyling. It’s more like freecrafting. And on Barter 6, his first proper solo LP, we got to see that knack for building songs take center stage. It’s a spacious experience, with producers like London On Da Track favoring subdued, synth-heavy environments, where the bass bubbles up like lava. It’s the perfect milieu for Thugga, for my money the most inventively melodic rapper alive. Every couplet could be a chorus in his hands, every boast about drugs and cars enlivened by the undulating squawk of his voice. “I got Hot Wheels like a motherfuckin’ chariot,” he boasts. In the midst of this impressively assured work of art, it’s clear he’s not talking about toys.

Cournetbarnett1. Courtney Barnett – Sometimes I Sit and Think, and Sometimes I Just Sit

When somebody has a great voice, people say they’d pay to watch them read the phone book. I’d pay Courtney Barnett to write about the phone book. On her debut album, the Aussie singer/songwriter exhibits an uncanny ability to turn the most mundane daily activities into poignant ruminations. A visit to an open house becomes a reflection on the life of the previous owner. An elevator ride becomes a suicide hotline conversation. A morning swim becomes a metaphor for the awkwardness of a new crush. Barnett sings with with a lackadaisical, seen-it-all edge that’s reminiscent of ’90s alt-rock at its finest. She refuses to dramatize, to court us with her ideas. So when she heads to the beach to mourn the destruction of the environment, we follow, knowing the last thing we’re going to feel is manipulated.

Honorable Mentions: Drake & Future – What a Time To Be Alive; DVS – DVTV; Fetty Wap – Fetty Wap; Future – DS2; Goatsnake – Black Age Blues; High On Fire – Luminiferous; iLoveMakonnen – Drink More Water 5; Jamie xx – In Colour; Jay Rock – 90059; Jeff Lynne’s ELO – Alone in the Universe; Meek Mill – Dreams Worth More Than Money; Ashley Monroe – The Blade; My Morning Jacket – The Waterfall; Petite Noir – La Vie Est Belle; Screaming Females – Rose Mountain; Shamir – Ratchet; Slayer – RepentlessSlugdge – Dim and Slimeridden Kingdoms; Chris Stapleton – Traveller; Wilco – Star Wars; Windhand – Grief’s Infernal Flower; Young Thug – Slime Season 2

Albums of the Year (so far)

SO MUCH good stuff has been in my Discman lately. Like, I’m burning through a 48-pack of Duracell AAs a week just trying to keep up! And that has a lot to do with 2015 being an incredible year for new music. So incredible, in fact, that I feel quite comfortable listing 10 albums that could go head to head against any of my previous top 10s (in the pathetic music-list cage matches that constantly take place in my mind):

10. Goatsnake – Black Age Blues

Sunn O))) guitarist Greg Anderson resurrects his old band and churns out some pure Black Sabbath doom candy.

 

9. Kendrick Lamar – To Pimp A Butterfly

Can an album be a masterpiece and also a tiny step backwards? That’s what this feels like for K-Dot, who gives an inspired, chameleonic, relentless performance over some gorgeously fiery jazz fusion workouts. Maybe if I didn’t know how great he was at rapping, I could accept those poetry slam segues at face value. As it stands, I skip ’em – these ears ain’t free.

 

8. Screaming Females – Rose Mountain

Marissa Paternoster’s voice is a lit fuse. Her guitar is an explosion. And her sense of control is what keeps us from breathing in the asbestos.

 

7. Shamir – Ratchet

“Why not go out and make a scene?” asks 20-year-old Shamir Bailey on his skeletal dance-pop earworm of a debut. His voice is so convincingly, casually joyful, you’re in the street banging pots and pans before you know it.

 

6. Bjork – Vulnicura

The sad dusk to Vespertine‘s blissful dawn. Like that 2001 masterpiece, Vulnicura is fearlessly confessional. But instead of exploring feelings of love and safety and sexual nirvana, it mines beauty from their curdling. An intense, unforgettable listen.

 

5. Father John Misty – I Love You, Honeybear

If you need a Vulnicura chaser, might I recommend the last song on Joshua Tillman’s swooningly self-conscious second album. “I Went to the Store One Day” is a love song for the ages, a life raft for anyone who’s been laughed at for believing in fate.

 

4. Drake – If You’re Reading This, It’s Too Late

I was ready to give Drizzy a pass on this, an album he basically described as a palate-cleanser mixtape to hold us over until his actual fourth album drops. Unnecessary. Absolutely no one is delivering hooks like this right now. He tosses them off like involuntary functions. He makes moody, icy synthesizers feel bright as ukuleles.

 

3. Sleater-Kinney – No Cities To Love

The greatest rock comeback album ever.

 

2. Young Thug – Barter 6

His Lil Wayne title-biting is pretty stupid. But Young Thug is also the best rapper alive, so it’s within his rights. On Barter 6, Thugga’s incredible sense of melody, squawking banshee ad libs, and sixth sense for syllabic perfection are all on display, without a trace of perspiration.

 

1. Courtney Barnett – Sometimes I Sit And Think, And Sometimes I Just Sit

Only the very best songwriters can describe the everyday and have us hanging on every word. On her debut album, Courtney Barnett writes about going to an open house, staring at a wall, and taking a swim. It’s better than most short stories.

The Top 25 Songs of 2014

What better way to ring in the new year than with a list of songs that somebody else liked? Here are my favorite songs of the year that was. Listen on the fancy playlist that hopefully is appearing below, and/or read my thoughts on each track, and/or stop reading now and start a good book. Like “Watership Down” or something. Got it? Great. Happy new year.

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25. Ex Hex – “Waterfall”

Mary Timony’s new ensemble gins up a dynamite Ramones boogie, and gives us an idea of what it must’ve been like to court Dee Dee: “I want to show you my affection / But you’re on the floor.”

 

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24. Jessie Ware – “Say You Love Me”

The kind of scorching R&B theater we took for granted when Whitney and Mariah were at their peak.

 

 

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23. Kylie Minogue – “Fine”

This underappreciated pop star speaks directly to the people who line the walls of the club, staring at their shoes, afraid of how they’ll be perceived: “You’re gonna be fine/You don’t have to worry.”

 

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22. Mark Ronson ft. Mystikal – “Feel Right”

I’ve heard that Get On Up was pretty decent. But I don’t need a James Brown movie. I have Mystikal. “Feel Right” is no “Hit Me,” but it still drowns our eardrums in joyful adrenaline, leaving you no choice but to believe lines like “I eat flames up / Shit fire out!”

 

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21. Swans  – “A Little God In My Hands”

When this angular funk groove gets pancaked by a dump truck of drunken horns, it makes Radiohead’s “The National Anthem” seem like “I Want Candy.”

 

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20. Run The Jewels – “Blockbuster Night Part 1”

Just in case this beat’s Andre The Giant-playing-the-12-string-guitar thump doesn’t do the trick, Killer Mike is here to shake your ass awake: “Top of the mornin’ / My fist to your face is fucking Folgers.”

 

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19. Jungle – “Busy Earnin'”

Perhaps the catchiest dance track to ever leverage the swagger of hardcore capitalists. We “can’t get enough,” indeed.

 

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18. Mastodon – “High Road”

This song compares those who take the high road to plague-ridden rats. Whether or not you agree is immaterial – one listen to that magnificent, belching riff, and you’re following these guys down every tunnel.

 

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17. St. Vincent – “Birth In Reverse”

What does Annie Clark see through the blinds? She hints that it’s something phenomenal, haunting, and American. Perhaps it’s her own reflection.

 

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16. Nicki Minaj – “Anaconda”

During a summer when Taylor Swift and Meghan Trainor were appropriating hip hop tropes in queasy ways, “Anaconda” felt necessary, with Minaj transforming an old pop-rap punchline into something hilariously, defiantly, and indelibly new.

 

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15. Future Islands – “Sun In The Morning”

A stunning ballad that dares to suggest one person can be all you need. It’s “Drunk In Love” for the quavering new wave set.

 

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14. Migos – “Pop That”

Proof that humanity’s instinctual urge to procreate is directly related to our instinctual urge to dance.

 

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13. Tune-Yards – “Water Fountain”

An elegy to a failed public works system presented as a gleeful jump rope chant. Shades of gray aren’t usually this neon.

 

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12. Drake – “0 to 100 / The Catch Up”

A salve for those still irked by the flagrant falsity of “Started From the Bottom.” Drake claims that he left TV for hip hop because the money wasn’t coming fast enough. Then he admits he’s probably not the greatest yet, in a freewheeling flow that begs otherwise.

 

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11. Hannah Diamond – “Every Night”

The chirping synths and Chipmunk vocals of the PC Music collective sound like a robot presenting evidence that it can love. And “Every Night” is its most convincing argument, if only for its charming brain teaser lyrics: “I like the way you know that I like how you look / And you like me too.”

 

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10. Sturgill Simpson – “Turtles All The Way Down”

A ballad about Buddhism and the cleansing power of reptile aliens. Now that’s what I call rebel country.

 

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9. Azealia Banks – “Gimme A Chance”

There’s a difference between an artist making eclectic music and an eclectic artist making music. This track is the latter, transforming from brassy hip hop into a killer salsa tune so seamlessly, you almost don’t realize it.

 

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8. Against Me! – “Transgender Dysphoria Blues”

Hearing Laura Jane Grace’s pain ferment into jet fuel was one of the only things in 2014 that made us believe hatred’s days are numbered.

 

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7. Shamir – “On The Regular”

Throw together some cowbells, a few notes on a synth, and the breezy confidence of the precociously talented – and just like that, dance music feels new again.

 

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6. Cakes da Killa – “Just Desserts”

Listening to a Cakes verse should qualify as an hour of cardio. “Coming at n***as like an avalanche,” he spews here, not even coming close to hyperbole.

 

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5. D’Angelo & The Vanguard – “Betray My Heart”

If you can believe any famous person who claims to be true to themselves, it’s probably the one who waits 14 years to capitalize on his fame. And then does so with earthy aplomb over walking bass and squelching wah-wah.

 

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4. Nicki Minaj – “Boss Ass Bitch (Remix)” 

The Rosetta Stone of being a boss.

 

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3. Sleater-Kinney – “Bury Our Friends”

“Patch me up/I’ve got want in my bones,” belts Corin Tucker on Sleater-Kinney’s first new track in almost a decade. She sounds like a boxer who’s feeling her second wind, a character in an action movie who the CIA convinces to come out of retirement with guns blazing.

 

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2. Clean Bandit – “Rather Be”

When the alarm goes off, you’re holding your person, and you’d trade tickets to Paris for just another hour. Clean Bandit has made a dance song out of that feeling.

 

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1. Young Thug – “Treasure”

Nobody sounds like Young Thug. And “Treasure” captures him at peak delirium, marveling at people who leave money on the table in enchanting quadruple time, his voice squawking and cracking and stopping and starting like a Lil Wayne tape played on a melting Teddy Ruxpin. If you pass up the chance to listen to this, its chorus immediately applies to you.

Honorable Mentions: Azealia Banks – “Chasing Time”; Behemoth – “In the Absence ov Light”; Cozz – “Dreams”; Craig Campbell – “Keep Them Kisses Comin'”; D’Angelo & The Vanguard – “Really Love”; Flying Lotus ft. Kendrick Lamar – “Never Catch Me”; Michael Jackson – “Love Never Felt So Good”; ILoveMakonnen – “I Don’t Sell Molly No More”; La Sera – “Running Wild”; Nicki Minaj ft. Soulja Boy – “Yasss Bitch”; Sinead O’Connor – “Take Me To Church”; Pallbearer – “Worlds Apart”; Robert Plant – “Rainbow”; Rich Gang – “I Know It”; The Roots – “Tomorrow”; Sia – “Chandelier”; TV On The Radio – “Lazerray”; Sharon Van Etten – “Every Time The Sun Comes Up”; Young Thug & Bloody Jay – “Florida Water”