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allyourkayfabefriends · 4 months

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Top Albums of 2023

Hello everyone!

It's that time of year again! For me personally, it's been a hectic year, but an exciting one too. I did my best to keep up with new music, and listened to new albums with pretty good regularity, however I didn't find myself revisiting a lot of new records, at least not yet. In the list to come, I definitely see most of them as growers, records I'll fall in love with in the years to come, that already have left a strong impression on me. Just this year alone I spent a lot of time with 2022 releases I adored like Alvvays' Blue Rev and Panda Bear & Sonic Boom's Reset, and another record I'll give special mention to in a minute. I'm hoping to fall more in love with these records, and all the records I missed this year! Let's dive in

My Favorite Record from 2022 That I Listened to For the First Time in 2023: MJ Lenderman - Boat Songs

Ripping off this gimmick from Steven Hyden, who actually put this record tied for the #1 spot last year (with Big Thief's fantastic double album that was in my own top 10). I really became enamored with the alt-country sound this year, and this record was just the perfect scratch for that itch. The songs veer from aching to rocking, sometimes in the same track. My absolute favorite song of the year was "You Are Every Girl to Me" on this album, which evokes such strong feelings in me it's hard to describe. MJ had a big year being part of Wednesday, but I'm excited to see where he goes next as a solo artist!

Honorable Mentions: The Replacements - Tim (Let It Bleed Edition) M83 - Fantasy Alan Palomo - World of Hassle Greg Mendez - Greg Mendez Olivia Rodrigo - GUTS

10. Sufjan Stevens - Javelin

I've been a Sufjan fan for a long time now, probably around 8 years or so. I've always admired his ability to capture such intimate feelings with such sweeping and varied instrumentations. His last full length under his own name, The Ascension, came out in 2020, when a lot of new music wasn't really sticking with me. The Ascension had the same vastness that I came to know in Sufjan's work, but it felt slightly distant. Javelin closes that gap. From social media posts, it seems like Sufjan has had a tough year, and this record is about grappling with pain and loss. Removed from that narrative, the songs here build and grow with such beauty that although I've only listened in full once, I'm almost saving myself from the full wallop I know this record will give me once I really dive in. Thank you Sufjan, for everything.

Crucial track: "Shit Talk"

9. Squid - O Monolith

Squid are an exciting band to come out of the vibrant post-post(-post?)-punk scene in England. I really liked their 2021 debut, Bright Green Field, but it was sprawling and epic, and it could feel tough to revisit. O Monolith takes everything that was great about BGF and builds on it, while also focusing in a bit more. With 8 songs at about 40 minutes, this record experiments with post-rock-esque tension builds, vocoders, and engaged, involved guitar work. I feel like these songs will work well live as well. Excited to see how this band continues to grow!

Crucial track: "Siphon Song"

8. Wednesday - Rat Saw God

I know, I know, how surprising. I am not immune to Wednesday's Rat Saw God being on my year end list. Despite not having listened to this record a ton, I can definitely already feel like this is going to go down as a critical cornerstone of where alternative/guitar-oriented rock music will go for maybe the rest of the decade. As I fell in love with MJ Lenderman's Boat Songs, I grew to appreciate this record more and more. With huge, crushing fuzzed-out electric guitars mixed with beautiful pedal steel, it's really hard to resist this record's charms. Even revisiting their 2021 record, Twin Plagues, was a delight. Can't wait to listen to it more!

Crucial track: "Chosen to Deserve"

7. JPEGMAFIA & Danny Brown - SCARING THE HOES

Another hyped up album I couldn't help but put on my list. While not being super long to begin with, this record flies by, and it can be hard to miss everything. I've been a fan of Danny Brown for awhile, and have skirted around JPEGMAFIA's work, so this was a good introduction to hear them work so well together. JPEG's production here is insane, and both are firing at full mischievous speed. Just check out that sample at the end of "Fentanyl Tester".

Crucial track: "Fentanyl Tester"

6. Mitski - The Land is Inhospitable and So Are We

Yay! Mitski! After the kind of underwhelming Laurel Hell from last year, this record finds Mitski back at nearly full strength. Again, my weakness for pedal steel bleeds through, and I love Mitski experimenting with a new, more acoustic and natural sound. This is another record I haven't listened to more than once or twice yet, but I'm still excited to fall more in love with it. She's back!!

Crucial Track: "Bug Like an Angel"

5. The Tubs - Dead Meat

As a huge fan of bands such as Los Campesinos! and Martha, I've always had a soft spot for British rock bands with heart. The Tubs are no different, and in my year-end revisit, this record really stood out to me. It has the jangle of old British folk and early R.E.M. with the propulsion of Joyce Manor, not forsaking sweet melodies and harmonies along the way. At 28 minutes long, I insist you give this a spin!

Crucial track: "That's Fine"

4. Yo La Tengo - This Stupid World

For a long time, Yo La Tengo admittedly did not click with me that much. I'm not sure what changed, but their ability to vary between raucous, distorted shoegaze to calm, reflective instrumentals really stuck with me. On This Stupid World, they've once again found that sweet balance. Bolstered by arguably one of the best concerts I went to this year, I've really come to love this record a lot.

Crucial Track: "This Stupid World"

3. Avey Tare - 7s

Avey Tare has always been my favorite member of Animal Collective. His 2019 record, Cows on Hourglass Pond, is my favorite solo release from anyone in the group. Avey has apparently been sitting on 7s for a little bit now, and I'm so glad it's in the world. Avey continues his unique blend of experimentation with profound moments of beauty, melody and depth. He's also been working more with the bass guitar on his and AnCo's latest albums, and it really works well on tracks like "Invisible Darlings" and "The Musical". Hey Bog is an epic in a year full of Animal Collective epics. Very happy with this one!

Crucial Track: "Lips at Night"

2. Animal Collective - Isn't It Now?

Animal Collective have always inspired a dedicated, eager fanbase. After a few years doing their own things, the four core members of the group have reunited to make an ultimate "for the heads" record, with Isn't It Now. Last year's Time Skiffs built on a lot of things the band as a four-piece did well, and made it more melodic and accessible (again, Avey's bass playing and Panda Bear sitting behind a proper drum kit have changed their sound in a way you wouldn't expect), however this record takes it one step deeper. As typical with Animal Collective records, the band often plays songs that will appear on the *next* record on tour for the one they just put out. As a result, when I saw Animal Collective twice last year, they played most of the songs that ended up on this record. However, I did not fall victim to demoitis, and these songs sound magnificent. Definitely their densest record, but full of rich sounds, melodies and just the right amount of melancholy. Really really love this one.

Crucial Track: "Genie's Open"

1.Jeff Rosenstock - HELLMODE

Jeff Rosenstock is my favorite musical artist. For nearly 20 years, everything he has put out, whether under his own name with his backing "Death Rosenstock" group, Bomb the Music Industry!, or Antarctigo Vespucci, has been great to amazing punk music. On HELLMODE, his first full-length since moving to California in early 2020, has Jeff more level-headed and reflective than ever, but also bursting with the sheer kinetic energy that has made his work a joy to listen to and experience since i became a fan in early college (seriously, go see Jeff live if you can!). There's a maturation here that doesn't sacrifice his passion in the slightest. This feels like a big budget record, but in all the right ways. Songs like I WANNA BE WRONG, 3 SUMMERS, and LIFE ADMIN capture the feelings of trying to work through your own life with so much crashing down around us. This has been the most in-love I've been with a new record in a long time, where I could really not get enough of it in the first month when it was released.

Thanks for reading if you made it this far! Here's hoping to a peaceful, loving and fulfilling 2024. Much love to all!

#me #year end list #sufjan stevens #squid band #wednesday band #jpegmafia #danny brown #mitski #the tubs #yo la tengo #avey tare #animal collective #jeff rosenstock

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indragonsaur · 2 months

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Tales of dragon heir: Juri and Danny

#digtial artist #digtial illustration #digtial drawing #digtial art #oc ref sheet #oc reference #orginal character #my art #Tales of Dragon’s Hier #Mosnter girl #Squid girl #Juri #Danny #fishman

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chaosincurate · 9 months

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My month in music - July 2023

Prince - 1999

New Order - Power, Corruption, and Lies

The Beatles - Revolver

Squid - Bright Green Field

Squid - O Monolith (relisten)

Nothing But Thieves - Dead Club City (new)

Slowdive - Souvlaki

The Jimi Hendrix Experience - Electric Ladyland

Madvillain - Madvillainy

Kendrick Lamar - good kid, m.A.A.d city

Janelle Monáe - The ArchAndroid

King Crimson - In the Court of the Crimson King

King Crimson - Discipline

Bob Dylan - Blood on the Tracks

black midi - Hellfire (relisten)

Regina Spektor - Soviet Kitsch (relisten)

Gabriels - Angels & Queens (new)

JPEGMAFIA & Danny Brown - SCARING THE HOES (new)

Alvvays - Alvvays (relisten)

Injury Reserve - By the Time I Get to Phoenix

Regina Spektor - Begin to Hope

Regina Spektor - Far

Japanese Breakfast - Jubilee (relisten)

Alvvays - Blue Rev (relisten)

Regina Spektor - 11:11

JPEGMAFIA - LP! (Offline)

Write-ups below

Prince - 1999

In a continuation of my "I was wrong about Prince" arc, I gotta say, this album is incredible. One of the most admirable traits Prince's music has, is the ability to lock into a groove and just keep it going for insane runtimes without it overstaying it's welcome, and that is very much a trait that is on display on this album, with only two songs being under 5 minutes, and only a couple of the others are noticeably long.

I imagine it's safe to assume anyone reading this has already heard the title track and Little Red Corvette, so realistically you've already had a taste of this album, but if you're looking for another song to try, D.M.S.R. stood out to me as an exceptional example of that previously mentioned ability to lock into a groove for ages without it becoming noticeable.

New Order - Power, Corruption, and Lies

A brighter, more hopeful version of Joy Division, as they are often labelled, New Order creates a distinction between itself and it's predecessor by simply being a less challenging listen, emotionally and intellectually. That isn't to say that it's any less deep, though. There is still plenty to dig into here, but I would argue that it is more optional here than with what I've heard from Joy Division.

I think if I were to recommend an individual song, I'd put forward the opener, Age of Consent. It's an excellent establishment of the band's personality, whether or not you're familiar with Joy Division, and therefore the majority of New Order.

The Beatles - Revolver

I think it's time to admit that I'm never gonna get The Beatles. I understand that they were incredibly influential and that some of my favourite bands wouldn't exist without their work, and many of them would be drastically different, but I just don't understand how people can listen to it with the developments we've made since and not find them incredibly lackluster. After listening to Abbey Road, Help, Sgt. Pepper's Lonely Hearts Club Band (not a concept album btw), and now Revolver, I have only enjoyed the first of those as a whole project. Granted, I hear picking a version of Sgt. Pepper's to listen to is like playing Russian Roulette with a half full revolver, so maybe I just chose wrong there, but the other two don't have that excuse. I just don't get the hype when it comes to modern listening.

Squid - Bright Green Field

I remember seeing this album a lot when it was first released, and my tastes must not have been ready for that yet, because I do remember, quite distinctly, listening to something off of this album. Clearly though, I was right to hold off, because my tastes have since broadened enough for me to absolutely love this. Bright Green Field is an energetic art-punk album with a compelling breadth of themes and executes all of them with a very engaging subtlety that balances having a clear meaning with allowing the listener to have their own interpretations. The way this manifests, is that you will have a general idea of what the song is pointing towards, but will have to fill the nuances in for yourself, which I find gives you a better connection to the music.

A great example of that in action, and possibly my favourite song off the album, is Narrator. It is pretty clear that, no matter what your interpretation is, whatever the woman in the song represents is being victimized and forced to beg for scraps from a more powerful being. For me, the interpretation that makes most sense is that the song is about patriarchy, and how both men and women are pushed to act a certain way, but how men often get the better deal, even if there are many ways in which they are equally trapped, playing their respective parts. However you look at it though, it is a great demonstration of how power dynamics like that are entirely damaging.

Squid - O Monolith

For the most part this album is pretty stylistically similar to Bright Green Field, but I'd say this one is more consistently experimental than their last effort. Overall though, if you liked BGF, you'll probably like O Monolith. There's not a lot that you can say about the former that doesn't apply to the latter.

My favourite song off the album is The Blades, another great song by Squid about power, in this case the abuse of it and the loss of it, seemingly through the perspective of a police officer or soldier who inflicts pain and torment under the guise of protection, and then feels inadequate when they lose their position. The line "Another man's hand on the joystick instead of mine" feels full of the kind of jealousy one would feel when they are being cheated on. A righteous spite and tinge of self-hatred, like an all encompassing emotional poison.

Nothing But Thieves - Dead Club City

Nothing But Thieves are a band I talked about before, in my Top 100 One Song Per Artist post (at 52 to save you some time if you're interested), and I made sure to mention that they were crucial to developing my music taste, but I do feel like I've largely grown to have a disdain for their music. I look at their older stuff with a similar love to the one I had in my younger days, albeit with a slight undercurrent of acknowledgement that if it weren't for nostalgia I may not like it so much; but their new music always feels strange to listen to because of that. There are only a few songs I can actually get into without it feeling like a hollow nostalgia. This isn't their fault, of course, it's me who's changed, but it does result in a strange experience.

Also, for a more objective criticism, what is it with bands just having, like, 3 songs that contribute to a theme or story and calling it a concept album? This could have been a cool concept album, but there's just an opener which introduces you to a concept (a thinly veiled metaphor for the internet, most specifically social media and the other dopamine pumping addiction machines across the web), then maybe slightly touches on it a couple times, then has this epic, riotous closer that has no payoff because there was basically no buildup. I understand most people just don't care, but I really like concept albums, and the amount out there that claim to be one while offering no greater cohesion than the average album is infuriating to me.

Anyway, I did really enjoy Do You Love Me Yet? It felt like it was contributing kinda well to the concept, and the way they mix orchestra and crunchy, headbanging alternative rock is novel and works surprisingly well. The lyrics are painfully mediocre, but the concept of the song and the instrumental carries it well enough for it to not be that big a deal for me.

Slowdive - Souvlaki

I feel like I've kind of been unintentionally circling and prodding at the genre of shoegaze, especially since listening to, and subsequently adoring, Blue Rev by Alvvays. This month I decided to take an intentional dive into this music that seems like such a good fit for me by listening to one of the subgenre's most beloved albums. Unsurprisingly, I liked it. I was a little hesitant to listen to something shoegaze, because my first experience was with my bloody valentine a little while back and I didn't like how the lyrics were seen as so secondary to the music. I've since become a little more open to that, so maybe it's worth a revisit, but that experience with the shoegaze album kind of left a bad taste in my mouth. Fortunately, between Blue Rev and this, my palette has thoroughly cleansed and sweetened.

I love how the genre, when done well, entirely envelops you similarly to metal, but with a sweetness, like the difference between a hug and a sleeper hold.

That being said, my favourite song off of the album is probably the one that probably adheres to it the least, that being Souvlaki Space Station. The guitars here have this kind of alarm-like sound that gives you a deep sense of something going very wrong, and that enveloping that I mentioned earlier feels less like a hug now and more like a crowd of panicked people rushing past you for the nearest exit. It's an incredibly anxious atmosphere, and the album would be harmed by more than the sum of the songs parts were it not on the track list.

The Jimi Hendrix Experience - Electric Ladyland

Not much needs to be said about this one. It's a classic for a reason. If you're after a captivating experience that melds charismatic vocals and one-of-a-kind guitar playing, then look no further than The Jimi Hendrix Experience. You've almost certainly already heard and fell in love with the incredible cover of All Along the Watchtower, so you have no excuse to not bless your ears with more of the same as far as I'm concerned.

If you must dip your toes a little more though, I'd recommend Rainy Day, Dream Away personally, with the 15 minute Voodoo Chile also being a highlight.

Madvillain - Madvillainy

This is a very deceptively rapid fire album. The beats aren't super invigorating and DOOM is so laid back as he makes history with his dense flow and wordplay. It makes for a very hard album to keep up with for someone with as little melanin as me, but what I kept up with was exceptional and hinted at a deserved legacy.

It's not just MF DOOM that makes this album great though. Madlib's beats are complex enough to be captivating, but not enough to feel like they're trying to take the spotlight off the awe-inspiring lyricism and flow that DOOM brings.

If I were to recommend a song, I'd struggle first and foremost because it's a very consistently amazing album, but the one that has really stuck with me is Fancy Clown. You really can't go too wrong though.

Kendrick Lamar - good kid, m.A.A.d city

I'm not remotely likely to reach anyone who hasn't heard this album before (or at least knows if they ever will) with this, but I really loved this album. It is one of the best examples of an album that I have ever heard. The sequencing is damn near perfect, making the album feel noticeably effortless in a way that is hard to explain. It's so rare that an album is sequenced in such an excellent way and it feels so primally easy, like the very core of your being was made to listen to this album, like it has some ancient understanding of this project that predates both you and the album. It's immaculate. It's glorious. It's beautiful.

Kendrick is also clearly great at making albums that feel significantly more cohesive than albums that are supposed to be concept album. I've spoken about how irritated I get about albums just being called concept albums when that label doesn't apply, but for reference, this is how concept albums are done. Not having one or two songs connected to the concept, but only having one or two that don't. It's focused and it makes it so much more affecting.

With that in mind, I'd first and foremost recommend just listening to the album if you haven't already, but if you need to hear a song to be convinced, Money Trees is my suggestion. It is, as you'd expect from the title, a well executed depiction of the hustle culture and money obsession that comes with growing up in an economically deprived area, where the safety it can provide is invaluable.

Janelle Monáe - The ArchAndroid

I feel like the entirety of this album would be ruined if there were a single point where the performances slipped. On a conceptual level, it seems like there is a sense that it is better than it is. Like it doesn't recognize its simplicity, but because Janelle Monaé is an incredible performer, and the band is on point constantly, it elevates it and makes that conceptual simplicity a positive somehow. The incredible execution legitimizes the concept, at least it does for me.

To demonstrate Janelle Monaé's awesome skill as a performer, take Tightrope and imagine some random X Factor or American Idol finalist making it. For me, it turns into childish, top 40 slop in my imagination. But because it's Janelle Monaé, it feels sincere and meaningful, if a little self-aware in it's lack of conceptual complexity.

King Crimson - In the Court of the Crimson King

Probably the album at the top of the must-listen list for prog-rock. I enjoyed the album enough to agree with that too. The songs are all really long but the experimental nature of the album really makes the album consistently attention-grabbing and entertaining.

It's a basic choice, but I really enjoyed 21st Century Schizoid Man. It's huge, it's anthemic, it's got bombast and aggression, along with that previously mentioned experimental nature.

King Crimson - Discipline

Discipline didn't impress me quite as much as In the Court of the Crimson King, but it was still a pretty great experience. It's very much more of the same great sound that made Crimson King such a standout record, but just to a slightly lesser quality in my humble opinion and with more of a focus on settling into a repetitive groove than on their earlier record. I'd definitely recommend that you listen to that before Discipline if you're interested and haven't already.

The standout track for me, and the song I'd recommend is Thela Hun Ginjeet. I feel it embodies the unique elements of this record in particular pretty well.

Bob Dylan - Blood on the Tracks

I don't really think I'm a Bob Dylan sort of guy because I just couldn't get into this on anything other than an intellectual level. Because of that, and the fact that as I write this I'm a few days past the day I wanted this to be posted by, I'll just say that I'd recommend listening to Tangled Up In Blue if you're unsure and move swiftly on.

black midi - Hellfire

I've spoken at length about this album multiple times before, so I'll keep this pretty brief, but this is quite possibly my favourite album of all time. It was my first exposure to black midi because, based on the album art and the name, I assumed it was heavy metal or something equally heavy. I was very wrong about that. They are absolutely a band that will overwhelm on first listen, but not in a heavy metal sort of way. There is a complex intensity to the album that, at least for me, inspired an almost religious experience where I couldn't even begin to grasp what I just experienced, but it just felt right to me.

I could very easily recommend any song off the album, but today I'll go with Sugar/Tzu. It's a very theatrical song, using a boxing match as a metaphor for... Something. It's pretty abstract and open to interpretation. I'll leave you to come up with your own.

Regina Spektor - Soviet Kitsch

Another one I've written about a lot already, I should really just write about these albums so I can link somewhere when they pop up in future.

Anyway, I've been on a bit of a Regina Spektor kick lately and been listening to some of her other albums, and I gotta say, as much as I love and appreciate those albums too, they all just make me appreciate how special this one is even more. None of her other albums that I've listened to have the same quirky, artistic charm that this does. It's all a little different. Here, the songs feel of-the-earth, dug up in this incredibly affecting, raw, primitive state that spoke directly to emotions in the language of emotions. It's incredible and I don't expect I'll hear anything quite like it for a very long time, if ever.

Recently, I've really enjoyed Chemo Limo, and I see no reason not to suggest that as a single song for those who want to dip their toes.

Gabriels - Angels & Queens

I'm going to be honest, I was distracted when I first listened to this album and never revisited it fully. That being said, the title track popped up on shuffle a lot and I got really into it in that less focused context, so I imagine that's a good recommendation for an individual song.

JPEGMAFIA & Danny Brown - SCARING THE HOES

This whole album is so chaotic, anthemic, exciting, and weird enough to earn it's title. JPEGMAFIA and Danny Brown's energies click so perfectly too, which really gives this album an infectious, propulsive flow. It's definitely my favourite hip-hop album of the year so far and I'm disappointed that it took me so long to listen.

I think this album is at it's best when it's chaotic energy is at it's highest, so if you're looking for a song to try it out first, I'd go with the opener, Lean Beef Patty. It's an explosive start, and prepares you perfectly for the experience you're about to have.

Alvvays - Alvvays

I've made no effort to keep the fact that I absolutely love Alvvays under wraps. In fact, I've made a whole ass post about it. That being said, this is clearly a version of the band that wasn't quite as keen to explore new sonic palettes as they have since become. It's pretty one note, but they chose a great note to linger on, like an F#. Solid note for sure, but if I were to nitpick, I'd like a few more.

As I implied in that first paragraph, the album is incredibly consistent, so it's another one of those albums where you could close your eyes and point to a song to try if you were unsure, but here I'd like to recommend fan favourite Archie, Marry Me. Much like the rest of the album, it's dreamy, twee, and euphoric, with some sardonic lyricism courtesy of Molly Rankin, where, depending on how sarcastic you think she's being, she's either targeting the pressure to marry, or the person who is unwilling despite their shared commitment to one another. It's really good and fun and full of indie charm, you should give it a listen.

Injury Reserve - By the Time I Get to Phoenix

Much like the Bob Dylan album I talked briefly about earlier in this post, I enjoyed this way more on an intellectual level moreso than on any other, although I was able to get into this one a little bit more. It's a very intense experimental hip-hop album generally centered around grief, which makes it more intense and, at the same time, more harmonious for the way it intensifies that innate intensity.

The best songs off the album are towards the end in my opinion, and to suggest you listen to one of those before the album as a whole would probably lead to a worse experience with the album, so I'll suggest Superman That as an introduction instead. It's glitchy and stuttered which grants a heightened level of desperation to the sound of the song as the hook "ain't no saving me or you" punctuates it.

Regina Spektor - Begin to Hope

As I said earlier, I feel like Regina Spektor, if she was trying to, struggled to recapture the very specific charm of Soviet Kitsch, but as they say, shoot for the stars, and if you fall short you'll make it to the moon. There is still plenty to love here if you aren't comparing it to a once-in-a-lifetime record. The lyricism is still fantastic, albeit in a different way now, with Samson in particular being a song from this album that felt incredibly poetic. Après Moi on the other hand shows off her ability to make lyrically focused music instrumentally interesting. It's still a great album, just not as unique as I was hoping after hearing Soviet Kitsch. I'd still highly recommend giving it a listen if you like lyrically focused art pop ballads.

Regina Spektor - Far

A lot of what I said about Begin to Hope applies here too. I saw a few people pointing out Eet as their favourite Regina Spektor album, but I'm going to have to disagree there. Personally, my favourite ended up being One More Time With Feeling. It's just one of those songs that make you feel backed up and supported in whatever challenges you may be feeling. It somehow reminds me of Road to Nowhere by Talking Heads in that respect.

All in all, this was by quite a way my least favourite Regina Spektor album so far, but it is still very much worth a listen for me. She's just a very special artist, the likes of which don't come around very often, and that has been clear in every single album I've heard so far.

Japanese Breakfast - Jubilee

I imagine I've written about Jubilee before, but not often enough. It's such a great example of an album being fun without sacrificing depth. Admittedly, not every song here is positive, but the majority are, as the title would suggest, and I can't describe in words alone how happy I am that there is an album out there proving to the depression snobs that you don't have to be sad to be interesting, and proving to the lazy that you don't have to give up meaning to make music that expresses the positive sides of life.

The example I adore most is the opener, Paprika. Its an absolutely gorgeous song that has dug it's way deeper and deeper into my mind since I listened to it to the point that I'm convinced one day my whole personality will be Paprika by Japanese Breakfast. The song, and by extension, the album, opens to slow, ascending synths that are instantly positive and comforting. Then you hear the beautiful lyrics, "Lucidity came slowly, I awoke from dreams of untying a great knot". the words that have not left my head for more than a day in months. Gorgeous. Then you get a triumphant drum line to give the song a soft drive, and eventually the chorus

"How's it feel to be at the center of magic to linger in tones and words?

I opened the floodgates and found no water, no current, no river, no rush

How's it feel to stand at the height of your powers to captivate every heart?

Projecting your visions to strangers who feel it, who listen, who linger on every word?

Oh, it's a rush"

I had to share it in full. It's such a beautiful ode to music, it brought a tear to even my dry eye.

This has grown to be my favourite song off the album for it's summation of everything within the project, but aspects of this beauty are reflected in other moments on it. If left-field pop is even in the vague vicinity of "your thing", this is a must listen. If not the album, Paprika at least.

Alvvays - Blue Rev

I've talked enough about Blue Rev by now. It's a fantastic noisy, shoegaze album. Listen to After The Earthquake if that sounds up your alley. Even if you've heard it before, treat yourself. You deserve it.

Regina Spektor - 11:11

I really loved the sparse production on this album. It allowed the lyrics to take center stage alongside Regina Spektor's amazing, expressive vocals, that prevent the music from feeling empty. It's some great artistry on display to almost make the sparsity go unnoticed.

I think there are two great songs that serve as microcosms of the album as a whole. First, Rejazz. Here, there's only a bass and Regina Spektor's immaculate vocals which cover ground from deep growls, to delicate highs within the space of seconds in a way that feels natural, as if it's just an attempt to squeeze out every single bit of emotion she can as she sings of losing someone and recognizing the catastrophizing she is doing, convincing herself that she will cry forever and realizing how untrue that is.

Next, I wanted to bring up I Want to Sing because it is a great example of the intimacy that the sparseness of the album creates. Here, there are no instruments at all, taking that acoustic idea to the absolute max without literally having a silent track, and therefore making it feel almost as if you're in the room with her in some cheesy romance film moment. That's not to say that this is a simple love song though, because she recognizes the absurdity of her situation with glimpses of that aggressive anti-cliché writing that initially drew me to Spektor's music with Soviet Kitsch.

JPEGMAFIA - LP! (Offline)

After listening to and being blown away by SCARING THE HOES, I developed an itch for that sort of sound, and considering JPEGMAFIA was responsible for my favourite parts of that album, I decided to start here, and I was impressed. I didn't enjoy it as much as STH, but it was an abrasive and chaotic enough experience that the itch is very much scratched for now.

As much as it seemed out of place as the fourth track on the album, I'd recommend listening to the song END CREDITS as a first taste of the album.

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oldblackpeacoat · 1 year

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you guys ever had squid sauce? squid sauce: it can transform a dish. even a good dish it can make it soo good. thank you squid sauce.

#pasta pesto and a little bit of squid sauce? 😵 soooo goooddddd #danny speaks

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geekcavepodcast · 22 days

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"Golden Axe" Returning as Animated Series?

Comedy Central has put in a 10-episode order for an animated series based on Sega's Golden Axe video game. Titmouse in handling the animation. The voice cast includes Matthew Rhys, Danny Pudi, Lisa Gilroy, Liam McIntyre, and Carl Tart. Mike McMahon and Joe Chandler serve as two of the executive producers and will write the first episode. The series will be produced by CBS Studios' Eye Animation Productions, Sony Pictures Television, and Original Film.

Golden Axe the series follows barbarian warrior Ax Battler (McIntyre), battle sorceress Tyris Flare (Gilroy), battle dwarf Gilius Thunderhead (Rhys), and first-time adventurer / original character Hampton Squib (Pudi) as they battle to save Yuria from the evil giant Death Adder. Humanoid panther Chronos "Evil" Lait (Tart), from Golden Axe III, will also make an appearance.

(Cover Art for Sega's Golden Axe)

#golden axe #sega #matthew rhys #danny pudi #lisa gilroy #liam mcintyre #carl tart #mike mcmahon #joe chandler #comedy central #titmouse #ax battler #tyris flare #gilius thunderhead #chronos lait #hampton squid #TGCLiz

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sugarcoatednightshade · 1 month

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Truth or Dare With The Devil

D’lielaxiu groaned, obscuring its face behind a veil. “No way, no way am I gonna do it.”

“Oh, come on Li, don’t be such a bore!” Tex’s voice was barely audible over the chorus of laughter echoing around the room.

It protested without opening its mouth, still too embarrassed to show its face. D’lielaxiu didn’t even know why it’d let its mirror-kin drag him to this stupid party. It should have been at home! Studying for the upcoming exams. Speaking of which…

“I don’t even have my license! What if I get caught,” it shouted a little too loud, excited to have a valid excuse. “No way am I gonna wait another century to take the exam.”

That, at least, gave Tex pause. “They aren’t gonna catch you,” he said, though Li could taste the hesitation in his voice.

D’lielaxiu kept going, peeking out from its veil. “Besides, where would a mortal even get my summons? I don’t just give it out to anyone.” It glanced at Aingorah, who flushed. “It’s really a lame dare, if you think about it.”

It sat up straight, trying to project the air of confidence it had seen from its favorite professors. Li could smell desperate hope wafting off its shoulders, tried to ignore it. Maybe they won’t notice, and Tex’ll just choose a different dare.

Tex opened a mouth to speak but was cut off by a clap of thunder from Kha’ast. A small clap, compared to what Li had seen from their mirror-kin in class, but it loud enough to subdue Tex into silence.

Kha’ast leaned forward, “But that’s the point! The Authorities really only watch for license infractions in demons who actually, you know, have licenses. Right now, you’re basically untraceable.”

Aingorah leaned backwards in a casual pose. “Besides, I bet your record is squeaky clean. The Authorities don’t revoke permits for first time offenders.”

For the first time since the dare had been spoken, D’rheaxia spoke up. “You would know all about that, Gorah. How many strikes do you have now? Five?”

As Aingorah sputtered, D’lielaxiu studied its mirror-kin. Layers of feathers and sheer gauze, normally charmed to billow in an untraceable breeze, now lay flat. Yellow eyes, clearly visible from behind her own veil, narrowed. She looked undeniably smug, but mirror-sense let it see the hidden meaning within.

The way her feathers tilted meant question; this twisting of gauze, like a knife, meant attack; and her voice, too, allowed Li to guess at the target.

Li answered in the same mirror-code. Aloud, it continued to protest, only half caring as the argument devolved into accusations and insinuations.

Do you need me to step in, Rhea asked. It’s not a fair dare, they can’t ask you to break The Law.

He pitched his voice slightly lower, then sighed: If I decline, what then?

A hesitation in response, then a flex of talons beneath her cloak: you don’t have to impress them.

It shuddered, then adjusted its hood: I want to impress them. To anyone else, this would have been a terribly embarrassing confession. But Rhea was mirror-kin, born of the same reflection, and nothing between them was hidden.

Rhea side eyed it, gave him a look that said without code: My friends are jerks.

It stared back in admittance: still, I want their respect. It gave her a small smile: maybe it won’t be that bad.

“Oh alright, fine, I’ll do it!” There, Li had said it. There was no coming back now. A chorus of cheers and jeers went up around the room, the demon sitting next to it knocked its cup against it’s in congratulations.

Rhea, sitting on its other side, knocked its shoulder, said “I told you guys he wasn’t a coward!” Setting off a new round of cheers and drinks.

Someone passed D’lielaxiu a sheet of parchment. Li dragged a claw across it, carefully drawing its summoning circle. Drifting swirls that represented its Name intersected with generic warding and calling and dismissive sigils. It was a symbol that echoed deep within Li’s being. It has only ever drawn it once, in the privacy of a classroom; then, the paper had been destroyed almost immediately. Drawing it here, in front of a crowd it barely knew, Li couldn’t help but feel ashamed. Was it taking too long to draw it? What if everyone thought his Summons was lame?

Several more rounds of truth or dare passed before Li finished the outline. Then, it brought a paw behind the veil and bit into it. Mixed blood and spit dripped onto the parchment, which began to glow in the fifth dimension.

Rhea glanced over, nodding politely. Somewhere within her veil, a beak clacked with appreciation.

Truth or dare finally ended. D’lielaxiu made eye contact with Tex and Aingorah, who both began making their way over to it. Only a firm claw on its back kept it from taking a step backward.

She wasn’t looking at it, but Li heard Rhea whisper in its ear, “Do not back out now.”

Then she was gliding forward, greeting Tex with a nod and embracing Aingorah with two back wings.

Aingora smiled at her before leaning around to D’lielaxiu, “Oh, this is going to be so much fun! You’ll love the mortal plane, there’s always so much going on, it’s absolutely enchanting!”

“Yeah, I’ve never actually been.”

“I know,” she said. “It’s actually way more fun than they make it sound in school. I mean, most of those professors haven’t even been there in like, decades.”

Tex chimed in, “and even then, they only ever talk about politicians and stuff.”

Aingorah nodded, “Right, it’s all about politics and rules for them. If I didn’t want a license so bad, I’d’ve dropped out ages ago, it’s so boring.”

Involuntarily, Li felt itself begin to smile. Aingorah and Tex, annoying as they were, had a kind of infectious joy about them. Li passed forward the Summoning paper.

Aingorah nodded. “Perfect. I’ll run and drop this off somewhere, you should feel a call in just a week. Make sure you take it, it’ll hurt more if you try to resist.”

“Any other advice?”

This time, Tex answered. “No, but you gotta swear you’ll let us know what’s happening before you leave.” His gelatinous form rippled, dark ooze dripping from his mouth. “I wanna be there when you get back, to help acquaint the little mortal with how things work around here.”

Li shrunk deeper into its veil as Aingorah swatted him, “Don’t be gross, Tezerix.”

Ignoring the implications, Li signaled a question to Rhea. How was it supposed to answer the summons quickly while also alerting these ones.

“I’ll give you a tug when I feel Li leave,” she said to the group.

The two shrugged.

“Works for me,” Tex said.

“Same here,” said Aingorah. For a minute, they all stood in comfortable silence, thinking. “I’m gonna go get this delivered, you have any final requests before I go.”

Li sighed, “not really, I guess. Just make sure I’m not summoned by some rich asshole who thinks he’s better than me.”

Rhea shot him a look that caused Li to wince, suddenly sure it had revealed more about itself than it was supposed to. Was I too weak? Are people gonna think I can’t even stand up to an overconfident mortal, now?

But all Aingorah did was smile before flitting away, and Tex just sent it a sharp grin, patting its shoulder before going off to talk up his buddies.

Li turned towards D’rheaxia. “Was that… wrong of me to say? Should I have not specified anything?”

Rhea looked around before pulling it in. “No, no, it’s good that you had some kind of request, it shows them that you’re taking this dare seriously. It’s more like, uhm, I guess it’s just that…” she trailed off, looking for the right words. Li looked at her and was shocked to see that she was embarrassed.

“Well now that she knows you’re really okay with this, she’ll definitely be trying to match you up with someone she thinks is your type.”

Li blinked. “What?”

~~~

Woag i hope you enjoyed this absolute brainrot i spat out in like an hour. if youre curious its based off of this dpxdc post I saw earlier today by @undercookedcatgut. it/what i wrote felt a little too ooc for danny, in any au i can think of. like that boy is waaay too nice to kidnap and marry an innocent bystander for the bit idc who dared him to do it.

#danny phantom - kinda #long post #original fiction #so i really like this idea and will definitely continue it. expect more in like. another hour #also in case youre curious: i envision Li being mostly catlike (with a faceveil very similar to narinder in cotl)#Rhea is a cross between a bird and a squid #Aingorah i think looks like what most humans imagine when they think devil. reddish skin. horns. spiked tail. incredible tits.#Tex is funny to be because he is an amorphous blob of black ooze but also like. a frat boy.#why do i love these stupid college kids i made up in my head. whyyy #not beta read #first draft

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vladdyissues · 2 months

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You doing ok, honeybender? Any Update on Familiar? (Tho take your time and look after yourself)

As a matter of fact, I was able to make some progress on the next chapter today! Last week I was laid low by a brutal but thankfully fast-moving flu, and I was fine by the weekend, but now it seems like I'm on the verge of developing a different respiratory infection and it's just. I can't seem to catch a break lately.

#asks #danny phantom fanfiction #spongebob gifs #hjbendergifs #squidward #squid's day off

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yttebkralc · 4 months

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Favourite Albums 2023

10. Fireworks - Higher Lonely Power

9. Hotline TNT - Cartwheel

8. En Attendant Ana - Principia

7. Bleach Lab - Lost in a Rush of Emptiness

6. Billy Woods & Kenny Segal - Maps

5. Slow Pulp - Yard

4. Ratboys - The Window

3. Sweeping Promises - Good Living Is Coming for You

2. Hot Mulligan - Why Would I Watch

ALBUM OF THE YEAR

1. Home Is Where - The Whaler

HONOURABLE MENTIONS

The Armed - Perfect Saviors Caroline Polachek - Desire, I Want to Turn Into You Danny Brown - Quaranta DJ Sabrina the Teenage DJ - Destiny feeble little horse - Girl with Fish JPEGMAFIA & Danny Brown - SCARING THE HOES Paramore - This Is Why Parannoul - After the Magic Snõõper - Super Snõõper Squid - O Monolith

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inspectorabed · 5 months

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//out of character: when yu roleplay trobed on the tumbles with your bf but ur bf is unable to he on tumbles rn and you miss him but people are interacting and hed love this. I love @ajb1p or err @constabletroy ur my pookie wookie ookie bear. True troy to my abed

#gay people #trobed #troy and abed are tumblr girlies #troy barnes #abed nadir #out of character.#i love my boyfriend #hes the troy to my abed #hes the… DANNY GONZALEZ TO MY ABED #the fic™️#yes i am squid pee #teehee #androo im faaaalling #heheheheh

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unnamed-atlas · 7 months

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I so so desperately wish more of Danny Gonzalez's older music was on spotify

#i mean like. 'car so fast' 'the dying squid' 'your dog is not that cute'#would literally kill to not have to switch over to youtube to hunt down these songs #I MEAN. 'vape tricks' is on spotify and it's from the same era and has considerably fewer views #anyways obviously I'm having my monthly danny gonzalez music moment lol

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indragonsaur · 2 months

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POV: you’re fishing alone at night until they spotted you Wyd?

#digtial artist #digtial illustration #digtial drawing #digtial art #oc ref sheet #oc reference #orginal character #my art #Tales of Dragon’s Hier #Mosnter girl #Squid girl #Juri #Danny #fishman

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chaosincurate · 4 months

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chaosincurate's top 20 albums of 2023

For the second year in a row, I'm late to the year-end list party, but the format doesn't lose value as a way of finding new music just because it's not the holidays anymore, so here is my list:

Jessie Ware - That! Feels Good!

An exuberant and self-assured pop album with charismatic vocal performances from Jessie Ware throughout. It's groovy, it's greedy, and it's wonderfully hedonistic. It feels reminiscent of 00's pop by the likes of Rihanna and Katy Perry, but with a modern and classy flair that makes it as fun and danceable as anything by the aforementioned pair, but in a whole new way.

Yves Tumor - Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds)

Yves Tumor continues to be one of the most interesting rock acts of their generation in a way that doesn't feel likely to polarize. It's as if we're hearing the pop music from a human-esque alien race. It appeals in all the ways it should, but is barely recognizable as pop music. Yves Tumor is generally yet to click with me properly, but they are undeniably intriguing and someone rock fans should be paying attention to.

boygenius - the record

On first impression, I thought the record was wildly overrated. Now, a few more listens later, but perhaps not enough listens as I should have had, well... I still don't get the hype. But I do find myself enjoying it slightly more with every listen. Maybe by next year I'll see it as amongst the best this year had to offer, but as of right now it's at a lower-than-most but still respectable 18th for me. I love the more upbeat cuts, like $20 and Not Strong Enough, and unsurprisingly considering the solo work of the 2 artists I heard from before this, the lyricism is brilliant with it's offhanded cleverness and sense of humour.

Laufey - Bewitched

Laufey really managed to sneak her way into my heavy rotation with this album. It became one of my most listened albums of last year despite the fact I would have sworn I only listened enough for about five full listens, accounting for shuffle plays, had I not seen the last.fm stats for myself. To be clear, that's not just the seeds for an Apple Music shuffle conspiracy theory (although there are traces of that involved, I'm onto you Apple), it's a comment on how easy this album is to listen to. I found it an unrewarding listen when trying to analyze it in the way I do most of the music I listen to, perhaps on account of my inexperience with jazz and jazz-inspired music, but when I just let it play, it truly shined. It's just so constantly in the groove, relaxing, and uplifting all at once.

Young Fathers - Heavy Heavy

I honestly struggle to put my finger on what appeals to me about this album. All I have are hints of things. It is a very dynamic album, and some songs on it feel quite communal too, which is nice, but those characteristics don't really stand out that much compared to albums I like this much. There's a bit of cool experimentation on display, but nothing truly groundbreaking. It's almost as if I love this album like I love people: not for a specific trait, but the indivisible whole that is made up by those traits. I recognize that isn't very helpful to you as a prospective listener, but honestly any attempt to describe this band and this sound is futile. It's sort of art pop, sort of hip-hop, but both labels, even put together aren't really apt descriptions. AOTY even calls it neo-psychadelia, which I think is an awful descriptor too. You truly just have to listen to this one.

Carly Rae Jepsen - The Loveliest Time

For an album far better than Emotion this sure got overlooked. I'm pretty sure I'm yet to see a year-end list that contained this album, and that is frankly a disgrace. The album has a particular warmth about it that remains as the album traverses conventional acoustic dance pop sounds and thumping electropop seamlessly. I've seen it called a b-sides collection, but I think it'd be more accurate to refer to it as a sequel to The Loneliest Time because calling it a collection of songs does a disservice to the cohesion this album has. If I weren't told otherwise I would have fully believed that this was the initial tracklist. In fact, the only hint I have that this is anything other than an album birthed from the same conditions as any other is the strange dip in quality in the last couple of tracks, tracks which feel strangely unfocused, meandering, and uninspired for what was otherwise an incredibly streamlined listen, thematically speaking. That's also the sole reason this album isn't in the top ten or possibly even top 5 for me.

shame - Food for Worms

This, for me, is one of those albums where, when you haven't listened in a little while, you think your enjoyment with it in the past won't hold up when you get around to it again, only to prove yourself wrong when you get around to it. That sounds like a very specific experience, but I know a bunch of albums and artists just like that, and I'm fairly certain that I've written about the phenomenon before. I think in this case it comes from the fact that they don't really have a particularly unique sound, but they make up for it with their impeccable execution and variety. There isn't an inch of indie rock ground that doesn't feel covered expertly here, which makes for an enjoyable experience, but not a lasting impact, at least for me. If shame can cement an identity with their next album, I think they could really begin to stand out in a crowded British indie rock/post-punk scene.

Danny Brown - Quaranta

Spoilers: Danny Brown makes 2 appearances on my list this year. His first, is for Quaranta. Having grown to appreciate that alienating intonation, I was far more able to respect that it helps Danny to stand out in a mix while also lending itself to a feeling that he is an obtrusive, unignorable outsider, which isn't so true anymore, but it does lend the album a certain fun aesthetic. That being said, the moments where it is absent, in my opinion, are more powerful and definitive for the album. When he tones it down or strips it back entirely, it tells you, along with the lyrics, that this is a more reflective Danny Brown.

I'll need more time with the album before I'm able to describe my thoughts more coherently, but I really enjoyed it and have no reservations about it's placement on this list.

The Japanese House - In the End it Always Does

There is a great deal of texture on this album, and that texture is cotton wool. The type that is warm and cozy and not the least bit itchy. I've said before that it's almost like an album from The 1975 that is entirely uninterested in spectacle and is only interested in catchiness as a secondary factor, instead opting to draw you in and create a sense of intimacy. Where The 1975 point at the layer of abstraction between you and the band, the one that makes them more symbols than people, painting it all these fancy colours and making it ornamental, The Japanese House attempts to remove it altogether, and for a second you'd be forgiven for thinking that the lives and experiences described in these songs are your own. I've tried to communicate this throughout this write-up, but to be very clear and explicit: this is not a derivative copy of The 1975. It has similarities, partially on account of the fact that the band's drummer produced the album, but the album is more defined by it's differences to their labelmates' efforts than it's similarities.

slowthai - UGLY

I really liked this album, and there's little point in denying that but I don't really feel like praising it on account of the allegations. Moving on.

Dispirited Spirits - Redshift Blues

Redshift Blues is a jazzy midwest emo concept album using various astronomical concepts and events as a metaphor for what appears to be a strained relationship. I say "what appears to be" because between the astronomy references and just general sesquipedalianism, this album is a difficult one to unpack logically. Emotionally though, it's all right there, easy to understand. You don't need to understand the concept of redshift to pick up on the fact that there is a longing in the vocals, and space or angst in the instrumental. That's what makes this one special for me. There is so much feeling that you can latch onto right away, but there is so much to comb through lyrically and learn about in the process that no matter what you're looking for from this type of music, you're likely to get it. It's a very underrated album, just by virtue of having little attention paid to it, so moreso than with any other album on this list, give this a listen if it sounds like your thing. It'd most likely genuinely help the artist here.

McKinley Dixon - Beloved! Paradise! Jazz!?

I quite liked McKinley Dixon's last effort, For My Mama and Anyone Who Look Like Her, but I felt as though it wasn't drawing me in that much, which made it feel a little less special to me. That (subjective) problem doesn't exist on his more recent effort. The eponymous jazz elements make this album stand out, not because they exist per se - there are plenty of hip-hop albums that implement jazz to some degree - but the way the genres feed off eachother here make for some immaculate vibes. It also helps to sell the theme of beauty in difficult situations, combining arguably the most widely aesthetically appreciated genre of jazz and hip-hop which is generally seen as the favoured artistic medium of those who are often discriminated against and impoverished. It's a beautiful sound that passively instills hope, and it's the driving force behind this album for me, although far from the only thing worth appreciating.

Olivia Rodrigo - GUTS

This album, for me, is Olivia Rodrigo earning and cementing her fame and adoration, and preparing to create her legacy within pop music. If you'll forgive a quick tangent, I heard Matty Healy say that "there is a big market of music for people who don't like music". Now, the guy is a prick, but I think that quote is a banger, and I bring it up here, because I think one of the big things that makes Olivia Rodrigo so special is her ability to toe that line. Vampire is a great example, you can hear that on the radio, and barring the awful censoring of the term "fame-fucker" to instead say "dream-crusher", it doesn't feel out of place. And yet, you can pay close attention to it and pick out amazing details, and get that effort repaid in the form of more enjoyment, not just in the moment, but in the now recontextualized listens on the radio, or in stores. She is clearly passionate about music, and passionate specifically about the music she makes too, but she's also making music for people who don't like music at the same time, which is a rare crossover to achieve on this level.

This is a very interesting album, and I feel like I could pick something new to talk about with every listen for years, but what's most important is that the music is good, and if great pop with rock elements sounds like something that could interest you, this one won't disappoint.

Genesis Owusu - STRUGGLER

Another album that is difficult to describe, because I love making my job harder on myself. I would hesitantly call it something like dance-punk or something along those lines if forced to, but despite the fact that this doesn't come across as incredibly experimental or genre-bending, there are elements of so many very different genres within it that it's hard for me to pinpoint. It's almost as if it's not genre-bending, but instead a whole new genre all of its own, as useless as a genre of exactly one album is. The traces of dance, grimey hip-hop, alt-rock, funk, and many others don't read to me as a combination at all outside of my efforts to define it, it's far too cohesive for that. There's no chaos here, just Genesis Owusu's sound. It's cohesive, immersive, and unique, but that's not even my favourite part of this album. My favourite part is the concept (and this is very much a concept album). It tightly deals with the experiences of someone who is up against odds that seem undeniable as they grapple with hopelessness, defiance, and laissez-faire acceptance, and all of it feels believable.

Sampha - Lahai

This is the vibiest album I've heard in a long, long time. When I initially listened to this album, I had completely forgotten that Sampha was behind one of my favourite moments on Mr Morale & The Big-Steppers (that being his chorus on Father Time), so while I shouldn't have been surprised by the incredible vocal performance and soothing essence here, I was absolutely swept off my feet all over again. The whole album, to varying degrees, feels reassuring, like an earnest "you got this" or a loved one being there when you need it. There's a calming warmth emanating off of the project that makes it so impactful no matter whether you're listening to the album actively, having a song served up on shuffle, or putting it on in the background.

Squid - O Monolith

I love me some art punk, and this album scratches that itch incredibly. Something about the core of Squid's sound feels so existentially anxious at all times, as if they are aware of some vague, unknown apocalyptic event that will occur in just a few years and they opted to channel their feelings of futility into music while they were still here to do so. Honestly, I wouldn't be surprised if it were true that there were an unknown apocalyptic event right around the corner that sneaks up on us by hiding amongst the many known apocalyptic events, but that's not the point. The point is that the anxious energy they give off suits this punk-adjacent sound brilliantly, and when the themes are punky too, like on my favourite off the album The Blades, it feels so cathartic.

Paramore - This Is Why

From pop-punk to post-punk, Paramore have only improved as they've aged thus far. While every other band I loved from this time have strained themselves trying to create something of value by way of hollow experimentation, desperate grasps for popularity, and nostalgia bait, Paramore continue to go in bold new directions, and walk them with a genuine passion, which makes for not just more critical success than the vast majority of their former peers, but also more commercial success. It's a demonstration of their understanding of what gets people interested in new music from bands they love. They know it's not about being on the next big wave anymore or recapturing former glory, fans are already on board now, it's about giving those fans something new while staying creatively authentic and recognizable. We want to see bands express themselves and show us how they've grown, and older acts so often lose sight of one of those things, or occasionally both. Either they refuse to grow, stubbornly wearing the clothes they wore as teenagers as their hair begins to grey, or they start wearing what they think is on trend. But Paramore here, for far from the first time, buck the trend with maturity. It's very refreshing to see.

JPEGMAFIA & Danny Brown - SCARING THE HOES

Honestly, with how much I've enjoyed this album, especially towards the end of the year, just calling this my favourite rap album of the year or third favourite album of the year feels a tad sacrilegious, but that should be taken as high praise for the next two albums as opposed to even slight criticism of this album. This is album of the year quality without a doubt, but the competition is strong in my opinion this year.

That said, this album is so easy to come back to that it's verging on addictive. The short runtime, the incredible production, amazing writing (Danny Brown on God Loves You gets verse of the year hands down), perfect flows, and crucially the feeling that none of this should work when all of it does makes me feel like the high I get from this album is impossible to replicate, although JPEGMAFIA's solo work does come close. It's a must-listen for me if for no other reason than that feelings

Model/Actriz - Dogsbody

Sexy, depraved, intense, and messy as fuck. This album is BDSM in audio form. It's banger after banger after banger, and there's always a slight tension, a tension that falls between feelings of dread and excitement, the performance straining as if they are leaning themselves over the brink of what they are capable of taking. There's a tangible sense of fear in that as you'd expect, but also a thrill and a pleasure in the knowledge that you are pushing yourself to your limits and giving everything you've got. If it feels like I'm always kind of describing BDSM, it's because 1. it's funny and 2. that just is the sound of the album. It sounds like rough sex. I can't help that. I didn't think industrial rock would be my thing, but it turns out if you add sex it does something for me.

Final note on this album, I just wanted to bring up the most beautifully depraved lyrics I think I've ever heard courtesy of the song Donkey Show:

Oh, you don't have to try to be gentle do it the way you feel right now I know it's hard I feel you rise to the occasion In the black light you know I'm shining for you here

underscores - Wallsocket

This one really came out of nowhere. With enough distance from first listen that I can be fairly certain that it's not just recency bias anymore, I'm calling it: Wallsocket by underscores is my album of the year. This was my first foray into hyperpop (if this would be considered hyperpop, idk, I'm new here) and I'm hooked. The nostalgic maximalist sound of 00s pop put through an online outsider filter is such a natural fit for me, as is the indie rock blended into the sound at points on this album, and the weird, unique themes that the album touches, and the fact that there is a story that goes through it... It almost feels like underscores cheated to get recognition from me for some reason, somehow finding out all my musical soft spots and calculatingly targetting them with this album. If it were under 40 minutes I'd feel like when she wrote about stalking that it was about me. Given a little time, this might well end up making my all-time lists. I can't recommend this one highly enough, although that might be more to do with the fact that I like it so much moreso than the feeling that anyone else would like it.

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