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What was once an easy and objective thought - pinpointing what exactly defined the year in music - is now invariably difficult due to the throng of curiosities from every sphere of influence. Do not overlook or be ungrateful of the fact that, thanks to the Internet and its globalist, all-inclusive agenda, music has never been more diverse and distinctive. Every genre up until now, and more created seemingly on a bi-yearly basis, exists in 2019. All it takes is a dash of inquisition, a search bar, and valuable resources to live in musical nirvana.
That is all to say, who knows what 2019's main calling card will be. Previous influencers like Kanye West, Chance The Rapper, and Mac DeMarco fell off gracelessly, while others like Lana Del Rey, Angel Olsen, and Lightning Bolt experienced a much-needed resurgence. Social commentary came as aggressive, in instances like JPEGMAFIA's All My Heroes Are Cornballs, as it did humbling and sympathetic, as seen on Kate Tempest's Books Of Traps & Lessons. Transformations took shape, like the perennial about-facers Tyler, The Creator and King Gizzard, while others doubled down on their rigid aesthetic, like Horrorcore enthusiasts clipping. or demented prophet Lingua Ignota. Newcomers joined the fray, especially in the world of U.K. Rock with artists like black midi, FONTAINES D.C., Black Country New Road, and The Murder Capital all releasing transformative statements on the genre perpetually in a state of decay.
2019 had it all, and was consequently my biggest year yet in terms of listening habits. Nearly 200 albums - many of which reviewed in DoD's revamped Listening Log series - and 2,000 songs have been whittled down, competed against, and subsequently written upon to formulate these lists. Welcome to list week, please enjoy Dozens Of Donuts' Top 100 Tracks and Top 50 Albums of 2019.
Playlists For All 100 Songs: Apple Music | Spotify
And don't forget about the past. Take a look back at the Best Of:
2018, 2017, 2016, 2015, and 2014.
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Freddie Gibbs & Madlib - Cataracts
Bandana | Listen
Madlib is at his best when he's unconcerned with enacting a Gangsta Rap edge. Freddie Gibbs is at his best when reflecting on the past with nostalgic beats. It's the exact reason 'Cataracts' was Bandana's best, with its multi-faceted Soul sample of Wee's 1976 track 'Teach Me How' cascading around tales of inner-city life. In a genre deprived of originality, talent is the last remaining virtue. And while 'Cataracts' didn't reinvent the wheel, the effortless confidence sported by Gibbs and the maximalist, throwback vibe from Madlib form a unison that'll never grow stale. It recalls an era of Gangsta Rap not ashamed of their Jazz Rap brethren, incorporating the African-American lineage while simultaneously commenting on the trials and tribulations of today.
Madlib is at his best when he's unconcerned with enacting a Gangsta Rap edge. Freddie Gibbs is at his best when reflecting on the past with nostalgic beats. It's the exact reason 'Cataracts' was Bandana's best, with its multi-faceted Soul sample of Wee's 1976 track 'Teach Me How' cascading around tales of inner-city life. In a genre deprived of originality, talent is the last remaining virtue. And while 'Cataracts' didn't reinvent the wheel, the effortless confidence sported by Gibbs and the maximalist, throwback vibe from Madlib form a unison that'll never grow stale. It recalls an era of Gangsta Rap not ashamed of their Jazz Rap brethren, incorporating the African-American lineage while simultaneously commenting on the trials and tribulations of today.
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Big Thief - Forgotten Eyes
Two Hands | Listen
While many gleam their enchanted eyes over to 'Not,' Two Hands' sterling climax and undoubtedly also one of 2019's best, there's something about the intrinsic value and nobility of 'Forgotten Eyes' that strikes my fancy. It holds the esteem aesthetic Big Thief has procured over the past half decade gracefully, fulfilling the wishes of both their Indie Folk and Indie Rock tendencies. With an uptempo flourish reminiscent of Masterpiece's standout tracks, combined with the tinge of acoustic pragmatism found on UFOF and Adrianne Lenker's harried vocals stretched thin on Two Hands, 'Forgotten Eyes' really defines the Big Thief portraiture. Sure it doesn't advance the genres it so defiantly calls home, but rather hones their universal intuitiveness and afflatus as a final calling card to the decade dominated by Indie.
While many gleam their enchanted eyes over to 'Not,' Two Hands' sterling climax and undoubtedly also one of 2019's best, there's something about the intrinsic value and nobility of 'Forgotten Eyes' that strikes my fancy. It holds the esteem aesthetic Big Thief has procured over the past half decade gracefully, fulfilling the wishes of both their Indie Folk and Indie Rock tendencies. With an uptempo flourish reminiscent of Masterpiece's standout tracks, combined with the tinge of acoustic pragmatism found on UFOF and Adrianne Lenker's harried vocals stretched thin on Two Hands, 'Forgotten Eyes' really defines the Big Thief portraiture. Sure it doesn't advance the genres it so defiantly calls home, but rather hones their universal intuitiveness and afflatus as a final calling card to the decade dominated by Indie.
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Denzel Curry - ALOHA
Single | Listen
One would've expected, following the artistically-refined TA13OO, a quieter Denzel Curry come 2019. Rather than rest on his laurels, Florida's best emcee dropped Zuu, a Trap project for the streets desperately in need of quality, and a slew of unruly singles that were equal parts mutinous and bonkers. 'ALOHA' - the least appreciated of the bunch that included 'Bulls On Parade,' 'Ricky,' and 'Psycho' - won me over with outstanding production from Charlie Heat that visualized the sweltering heat of America's south. All the while, an animated Curry sweating under the scorching sun flexes through varying flows and braggadocios mood shifts. 'ALOHA' provided some much-needed buoyancy to Trap, incorporating a potent Samba flair amongst the typical, roused fanfare.
One would've expected, following the artistically-refined TA13OO, a quieter Denzel Curry come 2019. Rather than rest on his laurels, Florida's best emcee dropped Zuu, a Trap project for the streets desperately in need of quality, and a slew of unruly singles that were equal parts mutinous and bonkers. 'ALOHA' - the least appreciated of the bunch that included 'Bulls On Parade,' 'Ricky,' and 'Psycho' - won me over with outstanding production from Charlie Heat that visualized the sweltering heat of America's south. All the while, an animated Curry sweating under the scorching sun flexes through varying flows and braggadocios mood shifts. 'ALOHA' provided some much-needed buoyancy to Trap, incorporating a potent Samba flair amongst the typical, roused fanfare.
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Weyes Blood - Everyday
Titanic Rising | Listen
After sitting with Judee Sill - under-appreciated Singer/Songwriter of the early 70's - I can't shake the feeling that Weyes Blood's her reincarnated. 'Everyday' is the best example of that, with jaunty Chamber Folk brimming with bliss like one would following an analeptic. Weyes Blood's vocals steal the spotlight, swooning and swelling as if she's orchestrating a parade made purely of spectacles, the penultimate climax a rousing declaration of how far Folk can go towards Pop. It's as if Sill's 'Jesus Was A Cross Maker' and 'Soldier Of The Heart' had a baby in the manger composed of clandestine elegance. 'Everyday' flawlessly delivers Chamber Folk and Baroque Pop to a decade in desperate need of such free-spirit.
After sitting with Judee Sill - under-appreciated Singer/Songwriter of the early 70's - I can't shake the feeling that Weyes Blood's her reincarnated. 'Everyday' is the best example of that, with jaunty Chamber Folk brimming with bliss like one would following an analeptic. Weyes Blood's vocals steal the spotlight, swooning and swelling as if she's orchestrating a parade made purely of spectacles, the penultimate climax a rousing declaration of how far Folk can go towards Pop. It's as if Sill's 'Jesus Was A Cross Maker' and 'Soldier Of The Heart' had a baby in the manger composed of clandestine elegance. 'Everyday' flawlessly delivers Chamber Folk and Baroque Pop to a decade in desperate need of such free-spirit.
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glass beach - classic j dies & goes to hell
The First Glass Beach Album | Listen
Many psychedelic-tinged songs are, by design, kaleidoscopic and unwieldy. Or at least that's what many in Neo-Psychedelia intend to achieve though invariably do. The same can't be said for 'classic j dies and goes to hell, Pt. 1,' the first exposure many had to glass beach's all-encompassing style. On the surface a giddy, Power Pop ballad, but underneath so much more. Playful synths parade around alternating melodies akin to of Montreal before transitioning to a schmaltzy, piano-driven caricature of Pop Punk like Panic At The Disco or My Chemical Romance. It's simultaneously neurotic and intoxicating, a journey through Pop music that bellows, shifts, and grooves like a time-lapse through the decades. glass beach's opener defines kaleidoscopic.
Many psychedelic-tinged songs are, by design, kaleidoscopic and unwieldy. Or at least that's what many in Neo-Psychedelia intend to achieve though invariably do. The same can't be said for 'classic j dies and goes to hell, Pt. 1,' the first exposure many had to glass beach's all-encompassing style. On the surface a giddy, Power Pop ballad, but underneath so much more. Playful synths parade around alternating melodies akin to of Montreal before transitioning to a schmaltzy, piano-driven caricature of Pop Punk like Panic At The Disco or My Chemical Romance. It's simultaneously neurotic and intoxicating, a journey through Pop music that bellows, shifts, and grooves like a time-lapse through the decades. glass beach's opener defines kaleidoscopic.
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(Sandy) Alex G - Sugarhouse (Live)
House Of Sugar | Listen
House Of Sugar goes in a litany of directions over its brief 37 minutes, but none come to be more satisfying than its closer 'Sugarhouse (Live).' With an ipso facto name that calls upon the very performing stage in which the album's title is based on, 'Sugarhouse' removes the veil of secrecy behind (Sandy) Alex G's abstract work, leaving the conflated artist to unspool misfortune and mischance in front of a quiet and observant live audience. The gorgeous production quality, matched in gentility with the resplendent Sophisti-Pop brass section, allows 'Sugarhouse' to quell any festering turbulence left by House Of Sugar's mercurial state. It's a closing ballad of pure sincerity, and one whose emotional palate drips from the members illuminated onstage.
House Of Sugar goes in a litany of directions over its brief 37 minutes, but none come to be more satisfying than its closer 'Sugarhouse (Live).' With an ipso facto name that calls upon the very performing stage in which the album's title is based on, 'Sugarhouse' removes the veil of secrecy behind (Sandy) Alex G's abstract work, leaving the conflated artist to unspool misfortune and mischance in front of a quiet and observant live audience. The gorgeous production quality, matched in gentility with the resplendent Sophisti-Pop brass section, allows 'Sugarhouse' to quell any festering turbulence left by House Of Sugar's mercurial state. It's a closing ballad of pure sincerity, and one whose emotional palate drips from the members illuminated onstage.
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Rapsody - Hatshepsut
Eve | Listen
Over a creaking, worn-down piano medley that would make the most devoted black Gospel choir gush, Rapsody and bellwether Queen Latifah reflect on the powerful black females that came before, and the virtuous lessons taught since. It's a powerfully-simple song, built around an uplifting spirit that echoes early Kanye West or prime De La Soul, condensing the gap between the D.A.I.S.Y. Age and today's turbulent times. 'Hatshepsut' doesn't concern itself with the present though, reflecting on the greatness that has come before, even in the form of Queen Latifah's appearance; Her first formal feature in a decade. Stealing the show over 32 enlivened bars, Latifah empowers with promise, poise, and propriety.
Over a creaking, worn-down piano medley that would make the most devoted black Gospel choir gush, Rapsody and bellwether Queen Latifah reflect on the powerful black females that came before, and the virtuous lessons taught since. It's a powerfully-simple song, built around an uplifting spirit that echoes early Kanye West or prime De La Soul, condensing the gap between the D.A.I.S.Y. Age and today's turbulent times. 'Hatshepsut' doesn't concern itself with the present though, reflecting on the greatness that has come before, even in the form of Queen Latifah's appearance; Her first formal feature in a decade. Stealing the show over 32 enlivened bars, Latifah empowers with promise, poise, and propriety.
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black midi - Near DT, MI
Schlagenheim | Listen
In a brief two minutes and 20 seconds, 'Near DT, MI' encapsulated the sprawling black midi sound with a vicious, bipolar look at the Flint water crisis. It was Schlageneheim's only moment of societal awareness, and boy did it strike a chord. Setting aside the outrageous mannerisms of Geordie Greep - a wise decision given the grave subject matter - Cameron Picton takes up vocal duties, displaying unanticipated range with frantic, pent-up screams to coincide with the rush of Post-Hardcore skimming downstream like harsh materials awaiting consumption. The frenzied Math Rock freakout that culminates 'Near DT, MI,' a pinnacle for the genre on the edge of obsolescence.
In a brief two minutes and 20 seconds, 'Near DT, MI' encapsulated the sprawling black midi sound with a vicious, bipolar look at the Flint water crisis. It was Schlageneheim's only moment of societal awareness, and boy did it strike a chord. Setting aside the outrageous mannerisms of Geordie Greep - a wise decision given the grave subject matter - Cameron Picton takes up vocal duties, displaying unanticipated range with frantic, pent-up screams to coincide with the rush of Post-Hardcore skimming downstream like harsh materials awaiting consumption. The frenzied Math Rock freakout that culminates 'Near DT, MI,' a pinnacle for the genre on the edge of obsolescence.
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Xiu Xiu - Yellow Candle
Single | Listen
For the many presumably frightened by Girl With Basket Of Fruit's intrusive injection of compounding paranoia, 'Yellow Candle' eases off for those feeling trepidation. Granted, it's destination is the quiet tottering of a mentally-frail Jamie Stewart, so in a sense 'Yellow Candle' is just as disturbing. However, the sparse instrumentation that allows for weighty acoustics to thrive at precarious locus' never fails to awaken goosebumps, be it for eeriness or beauty.
For the many presumably frightened by Girl With Basket Of Fruit's intrusive injection of compounding paranoia, 'Yellow Candle' eases off for those feeling trepidation. Granted, it's destination is the quiet tottering of a mentally-frail Jamie Stewart, so in a sense 'Yellow Candle' is just as disturbing. However, the sparse instrumentation that allows for weighty acoustics to thrive at precarious locus' never fails to awaken goosebumps, be it for eeriness or beauty.
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Perfume Genius - Eye In The Wall
Single | Listen
'Eye In The Wall' was one of those tracks that, after seeing the performer and duration, you knew was destined for greatness. At nine sprawling minutes, Perfume Genius - who typically reserves himself for closeted bouts of intimacy - breaks out and into the night, enduring a Latin-flavored Disco rife with anxiety. The pacing, the minimal instrumentation, the hypnotic rhythms pulsating in 'Eye In The Wall's' belly, it's an expedition into nocturnal uneasiness. One that's pleasant on the exterior, but dangerous in the shadows.
'Eye In The Wall' was one of those tracks that, after seeing the performer and duration, you knew was destined for greatness. At nine sprawling minutes, Perfume Genius - who typically reserves himself for closeted bouts of intimacy - breaks out and into the night, enduring a Latin-flavored Disco rife with anxiety. The pacing, the minimal instrumentation, the hypnotic rhythms pulsating in 'Eye In The Wall's' belly, it's an expedition into nocturnal uneasiness. One that's pleasant on the exterior, but dangerous in the shadows.
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Chromatics - On The Wall
Closer To Grey | Listen
If there's one band who could repurpose The Jesus & Mary Chain's 1987 Alternative Rock deep cut 'On The Wall' to modern greatness, it's Chromatics. While the original donned slight Shoegaze influence, Chromatics' revamped 'On The Wall' embellishes the genre known for its wall of sound, rhythmic undertones, and romantic wanderlust. A short, three-second loop carries the entire eight minutes on its back, and does so through sheer hypnotism and dauntless devotion.
If there's one band who could repurpose The Jesus & Mary Chain's 1987 Alternative Rock deep cut 'On The Wall' to modern greatness, it's Chromatics. While the original donned slight Shoegaze influence, Chromatics' revamped 'On The Wall' embellishes the genre known for its wall of sound, rhythmic undertones, and romantic wanderlust. A short, three-second loop carries the entire eight minutes on its back, and does so through sheer hypnotism and dauntless devotion.
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Quelle Chris - Obamacare
Guns | Listen
Who knew Quelle Chris, arguably the last remaining remnant of Nerdcore, could flex and flaunt with poise over a beat best reserved for the likes of Kendrick Lamar, Danny Brown, or Earl Sweatshirt. You know 'Really Doe' off Atrocity Exhibition that features all three of them? Well, 'Obamacare's' the unofficial sequel. With grimy, nightmarish Trap offset by an archaic piano, Quelle Chris makes his knack for left field Pop culture references irresistibly cool.
Who knew Quelle Chris, arguably the last remaining remnant of Nerdcore, could flex and flaunt with poise over a beat best reserved for the likes of Kendrick Lamar, Danny Brown, or Earl Sweatshirt. You know 'Really Doe' off Atrocity Exhibition that features all three of them? Well, 'Obamacare's' the unofficial sequel. With grimy, nightmarish Trap offset by an archaic piano, Quelle Chris makes his knack for left field Pop culture references irresistibly cool.
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Hatchie - Obsessed
Keepsake | Listen
Hatchie's infatuation with love knows no bounds. Keepsake made sure of that. Her debut's best song, 'Obsessed,' expressed that in measures few could achieve. The incorporation of dazzling Alternative Dance, something deemed passé in this day and age, helped elucidate the reverie of becoming prepossessed over a potential love interest. 'Obsessed' was blunt in its assertion, but sometimes - with a little bit of passion - that's all you need to make good music.
Hatchie's infatuation with love knows no bounds. Keepsake made sure of that. Her debut's best song, 'Obsessed,' expressed that in measures few could achieve. The incorporation of dazzling Alternative Dance, something deemed passé in this day and age, helped elucidate the reverie of becoming prepossessed over a potential love interest. 'Obsessed' was blunt in its assertion, but sometimes - with a little bit of passion - that's all you need to make good music.
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Avey Tare - What's The Goodside?
Cows On Hourglass Pond | Listen
The opener to Avey Tare's most successful solo project yet, Cows On Hourglass Pond, asserts the mood with sensory overload. Psychedelic music is no stranger to Animal Collective's canon, but it has lost a bit of the luster in recent years. 'What's The Goodside?' brings it all back with fervent abundance, building kaleidoscopic constellations with Tare's entire wheelhouse. First, pensive aquatics swallowing looping vocals. Second, rhythmic drums providing ordnance to the illogical. Third, organic acoustics highlighting the undeniable human element.
The opener to Avey Tare's most successful solo project yet, Cows On Hourglass Pond, asserts the mood with sensory overload. Psychedelic music is no stranger to Animal Collective's canon, but it has lost a bit of the luster in recent years. 'What's The Goodside?' brings it all back with fervent abundance, building kaleidoscopic constellations with Tare's entire wheelhouse. First, pensive aquatics swallowing looping vocals. Second, rhythmic drums providing ordnance to the illogical. Third, organic acoustics highlighting the undeniable human element.
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Ana Frango Elétrico - Se no Cinema
Little Electric Chicken Heart | Listen
While I can appreciate any form of musical engagement, none exude such glee than gleeful music itself. Ana Frango Elétrico's harmless and superbly-playful 'Se no Cinema' - and, by extension, Little Electric Chicken Heart - did that better than anyone in 2019. Inspired by classic Brazilian fanfare like MPB, Salsa, and Samba-Jazz, Elétrico also managed to include the skittish, buoyancy of 90's Ska and Alternative Dance to muster a wholly enjoyable affair regardless of what nation one resides in. The coy opening, with its melodramatic Noir grooves, becoming derailed by an encompassing party time affair only adds to the friskiness and jocularity.
While I can appreciate any form of musical engagement, none exude such glee than gleeful music itself. Ana Frango Elétrico's harmless and superbly-playful 'Se no Cinema' - and, by extension, Little Electric Chicken Heart - did that better than anyone in 2019. Inspired by classic Brazilian fanfare like MPB, Salsa, and Samba-Jazz, Elétrico also managed to include the skittish, buoyancy of 90's Ska and Alternative Dance to muster a wholly enjoyable affair regardless of what nation one resides in. The coy opening, with its melodramatic Noir grooves, becoming derailed by an encompassing party time affair only adds to the friskiness and jocularity.
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2 Chainz - Money In The Way
Rap Or Go To The League | Listen
2 Chainz's rare moments of prowess categorize him as Trap's stealth figure, going undercover in the genre only to emerge with occasional greatness in tow. On Pretty Girls Like Trap Music it was the grimy 'Riverdale Rd.' On Rap Or Go To The League it was 'Money In The Way;' a vintage throwback to Boom Bap with modern polish. Credit goes to Buddah Bless for pairing drums and horns with uplifting refrain, filling the gaps with competent hi-hats that don't steal the show. 2 Chainz's slick, blest composure and The Three Degrees' 1973 Soul sample only emphasize the pleasure principles.
2 Chainz's rare moments of prowess categorize him as Trap's stealth figure, going undercover in the genre only to emerge with occasional greatness in tow. On Pretty Girls Like Trap Music it was the grimy 'Riverdale Rd.' On Rap Or Go To The League it was 'Money In The Way;' a vintage throwback to Boom Bap with modern polish. Credit goes to Buddah Bless for pairing drums and horns with uplifting refrain, filling the gaps with competent hi-hats that don't steal the show. 2 Chainz's slick, blest composure and The Three Degrees' 1973 Soul sample only emphasize the pleasure principles.
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Dan Deacon - Sat By A Tree
Single | Listen
After five grueling years, Dan Deacon returned with his specialized brand of euphoric pandemonium. It's a sound wholly idiosyncratic of the Electronic producer, one fiercely upbeat and paramount. Like many of his greats, be it 'Build Voice,' 'When I Was Done Dying,' or 'Lots,' Deacon's underrated knack for pontificating the afterlife and general fleetingness of humanity comes out on 'Sat By A Tree,' a journey into disintegration. With progressive instrumentation that feels like a time lapse of eternity, 'Sat By A Tree' propounds, through sheer positivity, a world in which death isn't cursed but rather embraced.
After five grueling years, Dan Deacon returned with his specialized brand of euphoric pandemonium. It's a sound wholly idiosyncratic of the Electronic producer, one fiercely upbeat and paramount. Like many of his greats, be it 'Build Voice,' 'When I Was Done Dying,' or 'Lots,' Deacon's underrated knack for pontificating the afterlife and general fleetingness of humanity comes out on 'Sat By A Tree,' a journey into disintegration. With progressive instrumentation that feels like a time lapse of eternity, 'Sat By A Tree' propounds, through sheer positivity, a world in which death isn't cursed but rather embraced.
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Kate Tempest - People's Faces
The Book Of Traps & Lessons | Listen
After the exhausting mediative sequence known as The Book Of Traps & Lessons, the calming, tip-toeing piano medley and grand optimism of 'People's Faces' acts as the perfect culmination to Kate Tempest's human study. The restrained production, bouncing with a buoyant, but modest gallop, excels in powerful simplicity. Despite its revered work, it's still secondary to Tempest's timid positivism, accepting humanity at face value - quite literally, given her analyzation of human expression - for better or worse.
After the exhausting mediative sequence known as The Book Of Traps & Lessons, the calming, tip-toeing piano medley and grand optimism of 'People's Faces' acts as the perfect culmination to Kate Tempest's human study. The restrained production, bouncing with a buoyant, but modest gallop, excels in powerful simplicity. Despite its revered work, it's still secondary to Tempest's timid positivism, accepting humanity at face value - quite literally, given her analyzation of human expression - for better or worse.
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Spellling - Under The Sun
Mazy Fly | Listen
For an era of alternative music dead set on the future - especially on Spellling's own Sacred Bones Records - a track like 'Under The Sun,' which exemplifies cheesy, 80's Minimal Synth, shouldn't work. Remember the early 2010's when bands like Crystal Castles, SALEM, and Holy Other tried to make Witch House a thing? Well, so is Spellling with her tricky, spellbinding vocals and crunchy, Space Disco synthesizers. She channels a young Erykah Badu, taking her alluring form of Contemporary R&B and brewing a grisly, potent concoction from the remnants.
For an era of alternative music dead set on the future - especially on Spellling's own Sacred Bones Records - a track like 'Under The Sun,' which exemplifies cheesy, 80's Minimal Synth, shouldn't work. Remember the early 2010's when bands like Crystal Castles, SALEM, and Holy Other tried to make Witch House a thing? Well, so is Spellling with her tricky, spellbinding vocals and crunchy, Space Disco synthesizers. She channels a young Erykah Badu, taking her alluring form of Contemporary R&B and brewing a grisly, potent concoction from the remnants.
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FKA twigs - fallen alien
MAGDALENE | Listen
One can't speak highly enough of FKA twigs' commanding presence, but to match that sonically is another impressive endeavor worth extolling. And that's exactly what Nicolas Jaar did on 'fallen alien,' a vicious and discordant dance floor stunner constantly in debate over what it wants to be. Like a drunken socialite escaping the depression of a failed relationship in the clubs, 'fallen alien' battles with polar opposite mental states, bouncing fickly through extremes so disingenuous that they become real. The visceral explosiveness captured within the verses is executed with astounding polish and pith, flaunting itself stoically as Magdalene's most provocative moment. One can thank twigs and Jaar equally for that.
One can't speak highly enough of FKA twigs' commanding presence, but to match that sonically is another impressive endeavor worth extolling. And that's exactly what Nicolas Jaar did on 'fallen alien,' a vicious and discordant dance floor stunner constantly in debate over what it wants to be. Like a drunken socialite escaping the depression of a failed relationship in the clubs, 'fallen alien' battles with polar opposite mental states, bouncing fickly through extremes so disingenuous that they become real. The visceral explosiveness captured within the verses is executed with astounding polish and pith, flaunting itself stoically as Magdalene's most provocative moment. One can thank twigs and Jaar equally for that.
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Have A Nice Life - Science Beat
Sea Of Worry | Listen
There's something inherently natural and relatable to Have A Nice Life's brand of Lo-Fi Indie, especially within the realm of misunderstood introversion. The mastering isn't lackadaisical, it's imperative towards their goal of replicating feelings of detachment, social anxiety, and neglect. Rather than coating itself in paralyzing Noise as is per usual with Have A Nice Life, 'Science Beat' instead admires the gorgeous serenity of Ethereal Wave to provide a moment of solace that reclusiveness sometimes grants you. The soothing trudge is what happens when you distend 80's Gothic Rock to levels beyond its control, revealing unperturbed beauty under layers of discontent and resentment. And just when you feel it's reached the limit, 'Science Beat's' mesmeric second half takes over.
There's something inherently natural and relatable to Have A Nice Life's brand of Lo-Fi Indie, especially within the realm of misunderstood introversion. The mastering isn't lackadaisical, it's imperative towards their goal of replicating feelings of detachment, social anxiety, and neglect. Rather than coating itself in paralyzing Noise as is per usual with Have A Nice Life, 'Science Beat' instead admires the gorgeous serenity of Ethereal Wave to provide a moment of solace that reclusiveness sometimes grants you. The soothing trudge is what happens when you distend 80's Gothic Rock to levels beyond its control, revealing unperturbed beauty under layers of discontent and resentment. And just when you feel it's reached the limit, 'Science Beat's' mesmeric second half takes over.
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Caribou - Home
Single | Listen
Not enough recognition goes towards artists who pride themselves on evolution. Caribou, whose transformed tremendously since the cutesy, Jazz-oriented Start Breaking My Heart in 2001 under Manitoba, is one such artist. ‘Home’ is the latest evidence of that, dabbling into Avalanches-like Plunderphonics with the vivacious charm of early Kanye West. Gorgeous, salacious vocals vibe over proletariat production that evokes Southern Soul and Gospel from those working their hardest to evade their daily troubles.
Not enough recognition goes towards artists who pride themselves on evolution. Caribou, whose transformed tremendously since the cutesy, Jazz-oriented Start Breaking My Heart in 2001 under Manitoba, is one such artist. ‘Home’ is the latest evidence of that, dabbling into Avalanches-like Plunderphonics with the vivacious charm of early Kanye West. Gorgeous, salacious vocals vibe over proletariat production that evokes Southern Soul and Gospel from those working their hardest to evade their daily troubles.
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Angel Olsen - Chance
All Mirrors | Listen
If All Mirrors was Angel Olsen's way of pontificating a tumultuous relationship in the moment, then 'Chance' is the epilogue in which time and experience led to sage resolution. Here, more so than any of the previous ten songs, Olsen's vocal and songwriting talents come to a beautiful head, as idyllic instrumentation drawing upon Doo-Wop and Soul elevates the theatrical grandeur to a status comparable to a Disney fairytale. There's hope in the heartache, coming to the grim realization that forever might not happen if the present isn't mended.
If All Mirrors was Angel Olsen's way of pontificating a tumultuous relationship in the moment, then 'Chance' is the epilogue in which time and experience led to sage resolution. Here, more so than any of the previous ten songs, Olsen's vocal and songwriting talents come to a beautiful head, as idyllic instrumentation drawing upon Doo-Wop and Soul elevates the theatrical grandeur to a status comparable to a Disney fairytale. There's hope in the heartache, coming to the grim realization that forever might not happen if the present isn't mended.
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The National - Rylan
I Am Easy To Find | Listen
To fully understand 'Rylan's' brilliance one must seek out its origin. Written in 2011 - a whopping eight years before its official release - The National shelved the then-unfinished song as it didn't fit the tone of Trouble Will Find Me. Or, to that extent, 2017's Sleep Well Beast. Yet the upbeat drums, swelling strings, and cohering female vocals fit flawlessly into I Am Easy To Find. Which begs the question: Was The National's eighth LP created solely to liberate 'Rylan' onto the masses? Prior to the song's release babies were named after the song, according to multi-instrumentalist Aaron Dessner. That right there describes the gravity of 'Rylan's' impact more than any formulaic write-up ever could.
To fully understand 'Rylan's' brilliance one must seek out its origin. Written in 2011 - a whopping eight years before its official release - The National shelved the then-unfinished song as it didn't fit the tone of Trouble Will Find Me. Or, to that extent, 2017's Sleep Well Beast. Yet the upbeat drums, swelling strings, and cohering female vocals fit flawlessly into I Am Easy To Find. Which begs the question: Was The National's eighth LP created solely to liberate 'Rylan' onto the masses? Prior to the song's release babies were named after the song, according to multi-instrumentalist Aaron Dessner. That right there describes the gravity of 'Rylan's' impact more than any formulaic write-up ever could.
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black midi - Western
Schlagenheim | Listen
Every standout Schlagenheim track served its purpose. 'Near DT, MI' convinced thousands of black midi's prowess over physical, imposing release, 'bmbmbm' chaffed highfaluting art while proving capable of achieving such a mood if need be, 'Western' incorporated it all over eight, rigorous minutes of multi-dimensional Rock. At times, especially early on, it bears resemblance to Progressive Rock and Math Rock, with Geordie Greep's weeping vocals and Matt Kwasniewski-Kelvin's nodulous noodling. Elsewhere Experimental Rock freak-outs, Krautrock drum fills, Art Rock anomalies, all homologized under a modern, moving Post-Rock image. Whereas other Schlagenheim cuts showed black midi's talent in the moment, 'Western' proved where they could go.
Every standout Schlagenheim track served its purpose. 'Near DT, MI' convinced thousands of black midi's prowess over physical, imposing release, 'bmbmbm' chaffed highfaluting art while proving capable of achieving such a mood if need be, 'Western' incorporated it all over eight, rigorous minutes of multi-dimensional Rock. At times, especially early on, it bears resemblance to Progressive Rock and Math Rock, with Geordie Greep's weeping vocals and Matt Kwasniewski-Kelvin's nodulous noodling. Elsewhere Experimental Rock freak-outs, Krautrock drum fills, Art Rock anomalies, all homologized under a modern, moving Post-Rock image. Whereas other Schlagenheim cuts showed black midi's talent in the moment, 'Western' proved where they could go.
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King Gizzard - Plastic Boogie
Fishing For Fishies | Listen
There comes a time in kitschy art where one removes their wincing hand from their shaking forehead and revels in the absurd. Most art of the sort doesn't reach those levels of self-awareness, but King Gizzard's 'Plastic Boogie' certainly does. If the Australian outfit parading American-based Boogie Rock around with no previous experience wasn't obvious enough, the hoopla sampling, call and response singing, and light-hearted commentary on plastic use will certainly do the trick. 'Plastic Boogie' is an uproariously fun cut for those able to lose all inhibition while still, like the hippies of yore, caring for the environment.
There comes a time in kitschy art where one removes their wincing hand from their shaking forehead and revels in the absurd. Most art of the sort doesn't reach those levels of self-awareness, but King Gizzard's 'Plastic Boogie' certainly does. If the Australian outfit parading American-based Boogie Rock around with no previous experience wasn't obvious enough, the hoopla sampling, call and response singing, and light-hearted commentary on plastic use will certainly do the trick. 'Plastic Boogie' is an uproariously fun cut for those able to lose all inhibition while still, like the hippies of yore, caring for the environment.
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MIKE - PLANET
Tears Of Joy | Listen
Some of my favorite Hip-Hop songs are those capable of condensing substantial ideas into bite-sized increments. Think Denzel Curry's 'Hate Government,' Outkast's '?,' or Earl Sweatshirt's 'Peanut.' Now, MIKE's 'PLANET' can be tacked on, distancing itself from the aforementioned angst, anxiety, and depression respectively, by encompassing the merriment of insouciance. Adé Hakim steals the show, with his Glitch-centric sample tactics and shivering keyboard notes to muster a layer of nostalgia rarely seen in Hip-Hop. Think the unbridled glee of early De La Soul mixed with the early yearning of Kanye West and you have 'PLANET,' a track capable of separating itself from the fleet of 90-second MIKE cuts due to its small but mighty impact.
Some of my favorite Hip-Hop songs are those capable of condensing substantial ideas into bite-sized increments. Think Denzel Curry's 'Hate Government,' Outkast's '?,' or Earl Sweatshirt's 'Peanut.' Now, MIKE's 'PLANET' can be tacked on, distancing itself from the aforementioned angst, anxiety, and depression respectively, by encompassing the merriment of insouciance. Adé Hakim steals the show, with his Glitch-centric sample tactics and shivering keyboard notes to muster a layer of nostalgia rarely seen in Hip-Hop. Think the unbridled glee of early De La Soul mixed with the early yearning of Kanye West and you have 'PLANET,' a track capable of separating itself from the fleet of 90-second MIKE cuts due to its small but mighty impact.
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Helado Negro - Please Won't Please
This Is How You Smile | Listen
From the instance in which it begins, Helado Negro's This Is How You Smile opener 'Please Won't Please' has an air of playful professionalism surrounding it. Minimal in execution, the soothing Ambient Pop elegy presents itself as a self-effacing bother, quaint and quivering in its tempered meddling, without realizing - due to lack of confidence - that entrenching beauty emits from its every breath. Negro's melodious hook - one so sanguine that you'd be forgiven for missing the gruesome lyrics - strikes a balance so sublime that it's hard not to fall in love. "And we'll light our lives on fire, just to see if anyone will come rescue what's left of me" he mulls to himself, unsure if anyone's even listening. That withdrawn demure allows 'Please Won't Please' to flourish.
From the instance in which it begins, Helado Negro's This Is How You Smile opener 'Please Won't Please' has an air of playful professionalism surrounding it. Minimal in execution, the soothing Ambient Pop elegy presents itself as a self-effacing bother, quaint and quivering in its tempered meddling, without realizing - due to lack of confidence - that entrenching beauty emits from its every breath. Negro's melodious hook - one so sanguine that you'd be forgiven for missing the gruesome lyrics - strikes a balance so sublime that it's hard not to fall in love. "And we'll light our lives on fire, just to see if anyone will come rescue what's left of me" he mulls to himself, unsure if anyone's even listening. That withdrawn demure allows 'Please Won't Please' to flourish.
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JPEGMAFIA - Free The Frail
All My Heroes Are Cornballs | Listen
On JPEGMAFIA's confounding All My Heroes Are Cornballs, there's a considerable amount of Alternative R&B, the bulk of which fail to offer accessibility due to Peggy's insistence on tarnishing his vocals. 'Free The Frail' doesn't do anything of the sort and, with Helena Deland in tow, the result is a fascinating look into the potential of Experimental Hip-Hop's corkscrew kingpin. Typical, heartfelt verses intersperse 'Free The Frail,' but the chorus is where the real faultlessness shines. Emerging from Peggy's trademark Glitch Hop, equip with sudden juxtaposition ("such a cool chord change"), is a magnificent and simple hook that's as memorable as it is passionate.
On JPEGMAFIA's confounding All My Heroes Are Cornballs, there's a considerable amount of Alternative R&B, the bulk of which fail to offer accessibility due to Peggy's insistence on tarnishing his vocals. 'Free The Frail' doesn't do anything of the sort and, with Helena Deland in tow, the result is a fascinating look into the potential of Experimental Hip-Hop's corkscrew kingpin. Typical, heartfelt verses intersperse 'Free The Frail,' but the chorus is where the real faultlessness shines. Emerging from Peggy's trademark Glitch Hop, equip with sudden juxtaposition ("such a cool chord change"), is a magnificent and simple hook that's as memorable as it is passionate.
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Chromatics - Twist The Knife
Closer To Grey | Listen
There's something about the duality between pure, innocent Pop and troubling, almost demented lyrics that strikes a balance rarely worth discounting. Like they've exhibited before, Chromatics revisits this idea for the moody, yet intrinsically-fun 'Twist The Knife.' A short, cheeky synth stab parades around Ruth Radelet like Chvrches often did with Lauren Mayberry, before a cascading melody transcends all in the chorus. "You could teach me to be cool, like the way they tortured you / It's alright, twist the knife" Radelet pronounces, wresting the supreme fascination humans have with torture in one fell swoop. Even though we're years removed from the short-lived Synthwave movement, 'Twist The Knife' has no problem joining the upper echelon of that nighttime stalking playlist.
There's something about the duality between pure, innocent Pop and troubling, almost demented lyrics that strikes a balance rarely worth discounting. Like they've exhibited before, Chromatics revisits this idea for the moody, yet intrinsically-fun 'Twist The Knife.' A short, cheeky synth stab parades around Ruth Radelet like Chvrches often did with Lauren Mayberry, before a cascading melody transcends all in the chorus. "You could teach me to be cool, like the way they tortured you / It's alright, twist the knife" Radelet pronounces, wresting the supreme fascination humans have with torture in one fell swoop. Even though we're years removed from the short-lived Synthwave movement, 'Twist The Knife' has no problem joining the upper echelon of that nighttime stalking playlist.
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100-51 | 20-1 | Top 50 Albums
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