#like the bass line in octaves with the little guitar riff on top? perfection

[edge-oftheworld]

there's no feeling quite like attempting to play all the parts of thin white lies on piano and realising. there is A LOT to work with here

#thin white lies #quickly becoming one of my fav songs #idk why i never tried to play it on piano before because damn #like the bass line in octaves with the little guitar riff on top? perfection #and the contrast of the staccato bass line and the legato verse is just perfect then chorus. THIN WHITE LIES four straight octaves #i can't even remember the original key but for some reason it is perfect in e minor. i know i transposed it from something #to be able to roll straight into it from teeth and then overlay nitsw #got the dying electric piano from the 90s to go on strings setting and i love it so much. can't decide what sounds better #silver arranges calm #silver arranges 5sos #5sos #5 seconds of summer #calm #twl #silver creates #legit musically this has to be one of the best things i've ever taken apart. and you wouldn't expect it would you? this deep in the album

[jezfletcher]

1000 Albums, 2020: Top Tracks #25-1

Following on from Part 1 of my Top 50 tracks, here are the very top tracks I loved this year. It's been a terrible year, of course, but there has been some truly excellent music released. Read on. />

25. rook&nomie - soft atrocity (hyperpop)

me&you by rook&nomie

Once I fell in love with the music of Ada Rook earlier in the year, I sought out her other work—and being the prolific artist she is, there were several more releases that fell within the ambit of the 2020 music project. This is a beautiful bit of off-kilter pop, complete with synthpop bubblegum riffs and a combination of softly, sweetly sung lyrics and harsh screams. It’s a killer combination.

24. Will Joseph Cook - Something To Feel Good About (indie pop)

Will Joseph Cook has a kind of effortless charm in writing enjoyable pop tracks, and this is the top effort from his (very late) 2020 effort. This is a pleasantly two-gear track, with almost a soft adult-contemporary verse, that somehow ratchets up the energy in the chorus to make you want to groove. It’s a catchy, very agreeable track.

23. Courteeners - Better Man (britpop)

A beautiful piece of oldskool rock n roll, imbued with the melancholy of 90s and 00s indie rock. It makes it feel undeniably modern, despite the fact that all of its influences are at least 20 years old. Courteeners have provided some excellent music this year, but this track is the best. “I’m trying to be a better man/Whatever that is”. Aren’t we all?

22. MOBS - School’s Out (80s pastiche pop)

A really fun bit of pop from Australian outfit MOBS, who are really leaning into the 80s-ness of modern synthpop. This has exactly the synth set you might expect from a 1988 boy band, delivered with a danceable energy that almost makes you visualise the terrible, terrible video clip that would accompany it. But it’s unashamed about what it is—and the energy it brings as a result is great. My only concern with this song (the better of the two MOBS songs on my wider list here) is that unlike Big World, it doesn’t have a horn section. And really, that’s a criminal oversight.

21. Luis Pestana - Sangra (experimental electronica)

Rosa Pano by Luis Pestana

A great, evocative and unnerving piece of music, working through highly edited plainchant, fuzzy noise and a repeated motif of chiming bells. This whole album from Luis Pestana was an outstanding collection of music, but this is the piece of music which first made me realise how momentous it was.

20. Hugo Kant - High Gravity (downtempo nu-jazz)

Far From Home by Hugo Kant

Hugo Kant is an artist that really came from nowhere for me this year (well, not nowhere: I found it on Bandcamp’s weekly “releases you might like” list), but his brim-filled November album was a clear stand-out, and took out my #4 Album of the Year. This is the top song from it, a plunderphonic downtempo soundscape that matches a complex syncopated rhythm to a menacing bassline with jazz flute twiddles over the top. Who doesn’t like that?

19. The Flaming Lips - Mother I’ve Taken LSD (psychedelic rock)

The Flaming Lips’ 2020 album was the best of their music I think I’ve ever heard. This song nicely captures what was so good about it. It has an almost orchestral trajectory to it, evoking a sense of longing and disassociation perfectly for its psychedelic roots. But the overall effect is not mind-opening, but melancholy and introspective. It’s a great piece of music.

18. eleventyseven - Battlecats (synthpop punk)

I really love this track, but it’s undeniably very stupid. As an exercise, it seems to be trying to cram in as many pop culture references as it can. The cynic in me would love to write it off in the way I wrote off Ready Player One, but there’s something undeniably playful and satirical about it. Couple this with a genuine punk energy—filtered through many layers of synths—and you get a song that’s genuinely a huge, huge amount of fun. It’s certainly enough for me to forget that eleventyseven used to be a purely Christian rock band. We all develop over time, don’t we?

17. Igorrr - Lost in Introspection (baroque breakcore)

Igorrr is an absolutely ridiculous artist who in a perfect world would be shunned like a medieval circus freak. But somehow, his bizarre mix of baroque chamber music, thrashing breakcore beats and operatic vocal lines can absolutely take you on a musical journey. Never is this clearer in the jagged, unnerving Lost in Introspection, which pinballs between overdriven guitar, concert piano, tremolo-laden vocals, all with a constantly shifting meter. You can never predict where it’s going. Even as I’ve heard it about 20-30 times this year it still manages to surprise me.

16. Polly Scattergood - In This Moment (spoken word triphop)

There’s something to this track which reminds me a lot of the great Kae Tempest. Scattergood doesn’t spit truth in the same way, but there’s definitely something poetic to her softly delivered spoken word lyrics, while an almost industrial triphop gives a dark synthwave atmosphere underneath. Even better is the way it builds across the track—it gets more urgent, darker, louder, more immediate. Excellent stuff and absolutely the standout from Scattergood’s album.

15. Dent May - Hotel Stationery (indie fuzzpop)

Late Checkout by Dent May

I don’t make up these genres by the way (a lie: I make up a huge number of these genres, but I didn’t make up “fuzzpop”). What is fuzzpop? I still don’t really know, but this is quite a folkish tune, downtempo and melodic, but incorporating some of the more atmospheric ideas of dreampop and folktronica. There’s something hauntingly beautiful about the melody here, coupled with some touchingly banal lines of lyrics (it opens “I’m writing you a note/On hotel stationery/Just to let you know/You’re extraordinary”, which requires some pleasingly acrobatic scansion). It’s definitely one of the melodies of this year’s music project which I get in my head a lot. That’s certainly the kind of thing which can propel a song quite high in this list.

14. Another Sky - Fell In Love With The City (indie prog rock)

A hauntingly beautiful piece of rock, it’s atmospherically created with glissing guitar riff and lead singer Catrin Vincent’s ethereal vocals. She has a beautifully androgynous quality to her voice, jumping between upper tenor and soaring soprano, and it’s mesmerising instrument to put with this captivating piece of music. I love this piece of music and it absolutely elevated the whole album.

13. Lola Marsh - Like In The Movies (Israeli pop rock)

Not the last Lola Marsh we’ll see in this list, which gives you an indication why this album ended up my #5 album of the year. This is a beautifully put together bit of soft, dreamy rock. Underneath everything it has this gently pulsating bass that grooves back and forward, end which eventually leads to a surprisingly exultant climax, perfectly matched with a swell of strings. It’s a great bit of music.

12. Ada Rook - Reverie (JH Ligation Experiment 1) (breakbeat electropop)

There’s a shudder in this track everytime the overdriven bass thumps the first beat of each bar, it absolutely drives the music forward, but captures perfectly the anguish and anger of this song thematically. This is coupled with industrial synths, beautifully edited vocals which showcase both Rook’s vocal delicateness and her heartfelt screams (an absolute trademark of the artist). This was my favourite track from Rook’s 2,020 Knives, my #1 album of the year, and more than anything it encapsulates everything I loved about that extraordinary collection of music.

11. Trixie Mattel - Video Games (country folk cover)

My favourite Drag Race alumna Trixie Mattel had a whole album of music this year, which included the excellent Malibu. But her top track was this surprise cover of Lana Del Rey, done with a wonderfully atmospheric outlaw country vibe. Trixie’s sweetly clear vocals reverberate beautifully over her ubiquitous autoharp, midnight dark whistling, and subtle tympanies drawing out a sense of dark drama from the song. As far as I’m concerned, this is now the canonical version of this song—it has more atmosphere and more emotion than the original.

10. KES - Na let go / (when ah) Jamdong / (with d) Boss Lady (soca)

I’ve spent some amount of effort in the music project trying to find the particular brand of reggae that I like. It’s something that I feel should exist—upbeat, but still chilled, danceable with island rhythms. Dancehall gets a bit closer, but still isn’t quite in the sweet spot. It turns out, what I was looking for all this time was Trinidadian soca. This has calypso rhythms done with a punchy dancehall drive, and a Latin horn section to really exalt the mood. I realised when listening to KES’s album earlier in the year that this style of music is one of the reasons I so like Lin-Manuel Miranda’s In The Heights, musically often the superior of his shows (or at least certainly the more danceable and upbeat). This track is a medley of three tracks which blend really nicely into each other, and which give you a little journey that never loses its energy. It’s 7 minutes of pure fun.

9. Emerson Hart - Lucky One (heartland rock)

If we’re talking anthemic songs, this has to just about take the prize for the year. This has the kind of song you just want to chant at the top of your lungs with your arm slung around the person next to you in the crowd. Of course, 2020 doesn’t allow for opportunities like that, but I’m glad that Emerson Hart is still providing songs for this purpose anyway. The rollicking 6/8 rhythms perfectly switch between a quietly building verse that smashes into an almost octave-higher swoop at the start of the chorus. The Americana-tinged instrumentation gives it an earthiness that grounds it as well. It’s a great bit of songwriting, and one that I’ll continue singing along to exuberantly. Even if that’s just alone in my room.

8. Uncanny Valley - Beautiful the World (AI dance pop)

You’re forgiven if you’ve never heard of this band. This is in fact the Australian entry in this year’s Eurovision-style AI music competition. Melodically and lyrically, this was written by an AI, and this is absolutely and amusingly evident when you listen to it. But there’s something I absolutely love about this as a concept—how an AI parses and reinterprets music gives us fascinating insights into the patterns we find in music written by humans, and while there are moments of this song which are ridiculous, the input from the AI absolutely takes the music in places that it wouldn’t have gone. Of course, to call this a pure AI track is disingenuous, as it’s very much structured with human help, and part of the joy is the oddities nestling in what’s otherwise a very enjoyable bit of upbeat electropop. But so many of the elements just click for me—I certainly don’t think this is the last AI-augmented track that will end up on my end-of-year lists.

7. Villagers - Did You Know? (indie folk)

Villagers are a band who I hold in very high esteem with regards to the music project. They were a band I came across very early in 2016, just as we’d started the very first music project, and they made me realise just what a valuable experience listening to so much music was going to be. Annoyingly, by our official guidelines for the project (which are that it runs from December to December), this is just outside the released dates, as the EP it came from was released in the last week of November 2019, which was the week after we’d stopped last year’s project. So by the rules, it’s ineligible, but by our own actions, there was literally not a year that it fit into. Anyway, I’m including it because it’s obviously a great song, haunting in melody with a pleasant acoustic backing track that still manages to evoke an eerie atmospheric quality. It’s Villagers back in form for sure, and this is an excellent song, well deserving of a high place in this list.

6. Chemtrails - Uncanny Valley (psychedelic garage pop)

The Peculiar Smell of the Inevitable [LP] by Chemtrails

A really fun track, which owes a lot of its schtick to finding more and more outlandish rhymes for “Uncanny Valley” (“we don’t dilly-dally”, "they don't get pally", “dark trash alley”). My favourite line though is “so I fell a few rungs on the social ladder/Things are bad, but they could be badder”, which is *chef’s kiss* to me. It’s beautifully rounded out with a competently driven surf/garage rock riff or two which provide a persistent bounce and almost a pop punk energy. It’s a catchy little tune that just has those little hooks—the humour, the riffs, the rhythmic push—that absolutely elevate it to song of the year status. It constantly puts a smile on my face no matter how many times I’ve heard it this year.

5. Andy Shauf - Try Again (indie pop)

This is such a beautifully simple song. It has a storytelling element, as Shauf recounts a series of lightly amusing anecdotes in his relationship, all prefaced with “somewhere between drunkenness and chivalry/sincerity/honesty/etc…”. But there’s a beautiful light melody driving it forward, pleasantly augmented by a clarinet counterpoint, which also provides part of the iconic riff between chorus and verse (I still haven’t managed to tease out what else is part of that mix). It’s a simple, sweet bit of music which shows that tracks that capture something unique within a straightforward format can absolutely stand apart.

4. Lola Marsh - Echoes (Israeli pop rock)

Here’s the second track from Lola Marsh in this list. These two tracks (this and Like At The Movies) were always high in my mind, and I thought they were likely to drag the album very close to being my Album of the Year. In the end, they stood out individually a bit more than they did in the album as a whole, but a top 5 finish for its top song provides a nice mirroring for the position of the album. This is melodically and harmonically great, and put together with a style that captures some Lana Del Rey style folk pop and a kind of dark country in the guitars. Best is the swirling harmonies of the chorus, which seem to develop modulations into deeper and darker minor tonalities before bursting out into an exultant burst of resolving suspended chords. It gives me shivers. There’s a different version of this track on the album performed as an outro without any percussion, and both versions work so well you can see why they included both.

3. Sea Girls - Do You Really Want To Know? (indie pop rock)

Here’s possibly the best example of chunky, upbeat pop rock of the year. It follows the formula, sure, especially the split between verse and chorus. But there’s moments of truly exaltant fun—subtle steel drums in the chorus, bringing in an off-beat hihat for the chewy rich instrumental section after each chorus, the stomp-and-chant quality of the vocal line. I love it and it constantly provides a mood boost, no matter how many times I’ve heard it this year. It’s a perfectly constructed pop rock track as far as I’m concerned. I also got great joy earlier in the year watching the 4-year-old unabashedly dancing around the living room to this track. I’ll admit that that image promotes this somewhat in my mind.

2. Kishi Bashi - Never Ending Dream (indie pop)

I am a tiny bit conflicted about this track. Because it’s a stunningly awesome bit of chamber pop—it’s a sound that Kishi Bashi has absolutely made his own over the past 5-10 years, and this is honestly probably the best track Kishi Bashi has ever made. That’s saying something for an artist who has made two albums in my top-of-the-year lists in the past 5 years. The conflict comes from the fact that this was written as the theme song for a children’s CG-animated TV show on Apple TV, called Stillwater, about three kids and their friendly neighbour who is an anthropomorphic panda. Obviously, it being a TV theme is not a disqualifier; I mean one of the greatest pieces of music ever written (“Theme to Ducktales”) was a kids’ TV theme. But part of me wants to believe that there’s a purity to the music that transcends the ties to the commercial. I’m probably being naive. And, I am willing to take this song on its own merits, because it has these in abundance. The chorus is exulaltant, filled with Bashi’s trademark pizzicati and delicate falsetto, and the moments of quiet are pierced by fierce percussive moments of syncopated rhythm. Let’s hope that Kishi Bashi is raking in the sweet, sweet TV theme dollars as a result. A song like this deserves it.

1. Dyble Longdon - Obedience (chamber folk)

Between A Breath And A Breath by Dyble Longdon

So we’ve had some instances in the past where I’ve been clearly wrong about a song, or an album, in the week that I’ve heard it. But this is perhaps the most egregious we’ve seen, because this took out neither Track of the Week, nor Runner Up in the week it came out. To some extent, this was because I’d already given Dyble Longdon an album award (I said at the time “I have a feeling that Obedience is actually the best song of the week”)—but it’s still unforgivable that what is now my Song of the Year couldn’t even win its week. This is a sullen song in some parts, with a melody that comes very much from the tradition of English folk music—it evokes thoughts of Scarborough Fair, perhaps—but multi-instrumentalist David Longdon brings an ecstatic crescendo to the music, with a full orchestral swell and complex almost tribal percussion in the second half of the track. It’s a blissful, absolutely thrilling moment when that full sound roars out. In a devastating stroke of cruelty, Julie Dyble, one half of the duo (and formerly of Fairport Convention), died not long before the album was released, meaning this is the one and only collaboration we’re going to have between the two. But let’s celebrate the moment that we get. There you have it. These Top 50 tracks are available as a sorted Spotify playlist if you're so incined. Later this week, when I post the longer list of tracks and albums, I'll post an even more comprehensive playlist of my favourite tracks, including tracks from all of my top albums, and at least my full 100 top tracks. Until then, enjoy your break. Now I have a magnum of Tripel Karmeliet with my name on it waiting for me.