Quasi came through with a handful of rock 'n' roll ragers on Breaking the Balls of History. Of that handful, I would have to pick Riots and Jokes as my favourite. We get multiple blaring and wild rocksichord freakouts from Sam Coomes. Janet Weiss' drums are incredibly muscular and there are so many wild drum fills all throughout. It's also a joy to hear them shouting along together. The performances are tight, and its free-spirited energy is very infectious. One of the most killer, straight up rock tunes of the year and it sounds like their having an absolute blast making it happen.
Atarash
Tenchio
This talented Uruguayan artist caught my ear at the beginning of the year with their hyperpop-filtered brand of bedroom math rock and emo/screamo. The opening track to their TRAUMA EP is a whirlwind of ideas all smashed together into a cathartic release of energy. Shredding guitar lines, screamed passages over crescendoing instrumentation, and a finale that lays waste to everything with smothering blankets of noise and crashing drums; all of this is what you'll be in for when throwing this on.
Xerox
Snõõper
I absolutely love this moment from garage punkers (or I guess egg punk is the term I'm now just learning about) Snõõper who dresses down a giant blowhard with humour and poise. I love the absurd imagery of this track, for example, referring to 'God's gift to the world' as an easily replicable candy bar that might've sat in the sun too long. The song, at just over a minute in length, is a speedy one that features lightning quick guitar leads between Blair Tramel's mutated vocal phrases, a very catchy start/stop chorus, and a pretty unhinged garage rock guitar solo. It's a really wild and fun track.
Chew
Destiny Bond
It takes no time at all for me to get on board with Destiny Bond the moment the first track of Be My Vengeance comes on. They have such a classic hardcore sound that feels solidly rooted in rock 'n' roll. It is refreshing given that most hardcore bands are leaning more towards that heavier metalcore sound. Chew begins on a slower, more sinister note. Drummer Adam Croft really leans into his tom groove, making sure you feel every hit. A frustrated Cloe Madonna rails against those who believe they have the answer to everything, despite having a very myopic sense of peoples' lived experiences. Half way through, the band speeds things up to typical hardcore tempos, and Madonna lays out exactly what is going to happen; close minded persons in power will be opposed and removed so ruthlessly that their reputation will be stained forever.
What Was I Made For?
Billie Eilish
Billie Eilish's What Was I Made For? couldn't have been any more perfect as a musical focal point for the cultural splash that was Barbie. Upon hearing it, director Greta Gerwig knew the score had to contain elements from the song, a breadcrumb trail that eventually leads to Barbie's (played by Margot Robbie) disheartened revelation. It's a deeply sad scene made all the more potent given Eilish's delicate, forlorn performance over a gentle piano progression and some fleeting ambient layers. It was only until recently that the song, removed from within the context of the film, started to connect with me on a personal level. As it turned out, What Was I Made For? wound up being a pretty powerful vehicle for reflection as there were moments this year that led me to examine my purpose. It's not often that I'm initially captured by a voice and the words. That typically comes after I have digested the music. The song's message certainly found its audience, and I would be remiss not to include it among a list of songs that impacted me the most this year.
black mirror
Noname
This recent album cycle for Noname turned out to be a little rocky, and I will admit I'm not impressed by the way she handled some of the album's controversies. However, if I can put that aside and find a shining light on Sundial, it would have to be the opener black mirror. The instrumental is beautiful, a bossa nova-tinged groove with a very curious chord progression accented by some wonderful background singing. Noname, in third person, reflects on the evolution of her politics, as well as the conflicting feelings that come from identifying as a socialist while being forced to play the capitalist game as an entertainer. This is delivered through Noname's brand of very dense poetry which is honestly spellbinding when you have the pleasure of hearing it.
Running Out of Time
Paramore
In our modern, accelerated world, everything's constantly moving and everyone's got a full plate. Paramore's fourth and final single from This Is Why is an ode to those who get caught up in the hustle and bustle of everyday life, and struggle to be punctual. Between the numerous non-excuses, the appeals for a medal after meeting the most basic of expectations, and Hayley Williams' exasperated squeals, the track is very amusing. The instrumental is also stellar as it features a killer dance-punk groove. There's some subtle but interesting details in the guitar work as well, creating heavily modulated and occasionally stuttering blips that enhance the song's clumsy subject matter. Of this newer post-punk, new wave era for Paramore, this is easily my favourite track of theirs.
Mouth Flash (Kuchinohanabi)
Hakushi Hasegawa
I've come to expect very bold, futuristic, and melodically complex music from the Japanese prodigy Hakushi Hasegawa. On his first single for Flying Lotus' Brainfeeder Records, the complexity in melody and chord structures takes a bit of a backseat to put the percussion on centre stage. Mouth Flash (Kuchinohanabi) is easily their most bombastic tune to date as kick drums knock hard enough to threaten bringing the house down. While the percussion comes off very aggressive, the rest of the instrumentation is characteristically cute and playful. We get stuttering vocal edits, some glitchy electronics, some cartoonish squeaks, and of course Hakushi Hasegawa's very gentle, free-flowing falsetto vocals. I'm thrilled that Brain Feeder records is finally introducing this amazing artist to western audiences, and I'm very much looking forward to a new album. Hopefully in 2024.
RATATA (Ft. Mr. Oizo, Missy Elliott)
Skrillex
With the help of two legends, Missy Elliott and Mr. Oizo, Skrillex comes through with a pretty incredible dance number. We immediately kick off with these grainy synth arpeggios that have Mr. Oizo's name all over them and a cut up version of a vocal hook from Missy's Work It. Before you think that the lifted hook is Missy's only contribution, she comes in with an original verse over a syncopated dance beat accented with these shrieking synth sounds. It is always a treat to hear Missy rap, an absolute icon who doesn't often grace us with her presence these days, sadly. In true Skrillex fashion, RATATA also has a satisfying drop with real deep kicks and stuttering tuned percussion. Not a lot of material on Quest For Fire connected with me, but this was a track that definitely struck a chord.
Iambic Pentameter
Weezer
Weezer had a rough go with their SZNZ series. The Winter instalment, however, saw the group revisiting the beloved Blue Album sound, and therefore contained the best material of the series. The standout for me was Iambic Pentameter; a song in three-four time that layers both acoustic and crunchy guitars. It recreates that classic 'nerdy,' alternative rock sound that sets the stage for Rivers Cuomo to express his frustrations over his inability to say exactly how he feels through words. In its cute chorus, Cuomo wishes he could express himself through sound and rhythm which proves to be quite effective considering the melody here is really catchy, the softly sung backup ad-libs are wonderful, and the twelve-string guitar effect that completes the chorus amidst rock punches are awesome. The song embarks on a series of unexpected detours which is where some of the Vivaldi Four Seasons inspirations begin to seep in. It's lengthy, but there are quite a few thrilling passages, and it resolves nicely back into the song's final chorus.
HOT!
grouptherapy.
This electro, hip-hop banger from grouptherapy. has me feeling like I'm racing at dangerous speeds through neon-lighted tunnels. This track is pulsating with rich distorted bass and propelled with skittering marching snares. There's not much melodic content going on as the only harmonic instrumentation we get are some dissonant laser synths. By design, it is supposed to get the adrenaline pumping and it certainly achieves that. SWIM delivers a fairly aggressive, yet calculated verse where each line is punctuated with an energetic ad lib. TJOnline later takes over and sounds like he has completely lost his mind. Jadagrace has the final verse, performing a rap/sung hybrid that takes a bit of the edge off. grouptherapy. showed that they were competent in so many different stylistic lanes, and HOT! just so happens to be one of their best examples.
Soon
moshimoshi
My finger isn't really on the pulse of emo and screamo these days. However, when I caught wind of a screamo band from Finland, I felt compelled to check that out. moshimoshi wound up putting out one of the more solid rock records of the year (coming up just shy of the top ten in my opinion), and their single Soon should give you a sense of why. It immediately busts in with a super jovial, jangly guitar riff played at a peppy pace and later joined by some exasperated, screamed vocals. The chorus turns up the intensity just a little with some quick, noodly riffs that sound a little mathy despite staying within the four-four time signature. We go through another round of verse and chorus before a spirited instrumental passage brings us to a close. moshimoshi, in just over two minutes, shows how accessible and poppy their brand of screamo can be.
Drum
Young Fathers
Young Fathers' MO on Heavy Heavy was to bide its time, build up the anticipation, and finish with a stunning climax. Of all the wonderful tracks on that record, Drum executed this most spectacularly. It doesn't even begin with any percussion at all, just a steady bass pulse to help propel the song forward. Alloysious Massaquoi and Kayus Bankole deliver animated vocal passages that might suggest rallying communities, encouraging one to stay vigilant, or constantly progressing. The purpose behind the words is unclear, but the conviction is felt and I can't help but feel compelled to dive deeper. Of course the song eventually explodes, sending blissful euphoria all the way down the spine as soaring vocalizations, and finally, drums take our spirits to new heights.
Liquified Remains
Squid Pisser
If you're looking for that extraterrestrial, cybernetic, The Locust-esque, grindcore, then look no further. This track is totally bonkers, a chaotic mess of modulated guitar freakouts and furious blasts of drums. Tommy Meehan leaves the vocals to his guests throughout the album, except for this track. After hearing Liquified Remains, it's quite unclear why he delegated vocal duties so often. His ghoulish screech is perfect for this style of music. Everything altogether makes for one of the ugliest, yet thrilling sonic blasts released this year.
TERRIFIED
blink-182
Before the album came out, this was the track I looked forward to hearing most. It was a track that was penned around the Box Car Racer days, and as someone who thinks that record is one of the best things Tom Delonge has ever done, I could not wait to hear another ultra dynamic, post-hardcore cut. TERRIFIED is exactly that; a real angsty chord progression with a slight bend here and there to create a little extra tension, a quiet verse that allows Delonge to get introspective, and a loud rock chorus that sees Delonge nearly screaming (although assisted with some distortion effects). Despite me really being disappointed with the drum mixing on this record, TERRIFIED thankfully has one of the better mixes which assures me that Travis Barker can still very much play high-intensity parts without relying on post-production tricks. As much as people enjoy their really silly, more pop-punk material, this more angsty, post-hardcore lane just so happens to be my favourite side of the band. I was very happy to see it represented so well on their latest record.
Who's Afraid of the Bath
Speedy Ortiz
I absolutely love this deep cut from Speedy Ortiz's Rabbit Rabbit. The melodies give me campy, haunted mansion vibes and there are lots of swirling layers of instrumentation that give this number a subtly psychedelic feel. There are also sections where you hear these climbing, angular guitar lines that really raise the suspense. Who's Afraid of the Bath is also surprisingly complex rhythmically, swapping between passages in three-four and five-four time. Although, while you do get this slight off-kilter, uneasy feeling, those rhythmic transitions are barely noticeable unless you go looking for them. I think this has a lot to do with the wonderful drumming by Joey Doubek, who doesn't opt to play the most obvious of drum patterns. It's just another layer of misdirection. It's hard to really explain why I think this track is so great, but it is, and you might just have to listen to it for yourself.
757
100 gecs
There was a strong appeal to bygone alternative rock genres on the most recent 100 gecs album. A characteristic that I did find pretty disappointing as I did enjoy much of the hyperpop and bubblegum bass that made up their debut. At the very least I got 757 which is incredible. It bumps, it delightfully buzzes, and is a whirlwind of catchy melodies. Dylan Brady's vocoded vocal melody, especially, is dizzying. The track explodes into an epic final leg as high pitched synth arpeggios skitter all over the stereo field, avoiding fire from TIE Fighters. Laura Les has a commanding, almost overlord-type presence during this passage, which makes the fact that she's really just speaking nonsense all the more amazing.
LET IT BE
Frost Children
LET IT BE is a multi-phased banger. It begins with this incredible syncopated beat set against this hypnotizing triplet pulse. There's not much more to the beat besides the vocals, but the confidence, the swagger, the energy is off the charts. The song later opens up sonically to incorporate some grinding dubstep passages as well as some pretty nostalgic eurodance. The song transitions once more for a final, oddly tender feeling moment. We have some muted organ chords that feel very gospel inspired, and some softly whispered vocals that come across very affectionate. It's a very surprising ending considering the journey it took to this point. Dance music isn't typically known for its exciting and unpredictable song structures, but Frost Children have certainly proven it can be done.
Kids
MAN ON MAN
'Take a minute, to get with the pronouns. Take a minute, to listen to kids.' It's a very simple statement, but also a very powerful sentiment. Now, this line could feel a little like bait given the on-going heated discussions regarding kids and gender identity, but MAN ON MAN I think stands on the right side by encouraging society to respect the agency of those going through early adolescence. Kids know more than we give them credit for. This isn't the whole angle of the song though. The larger point being made is this: gender and sexuality expression is steadily evolving as our growing population continues to explore their identities. Not everyone will exactly understand someones' identity or all the new language associated with it, however, we need to remain open-minded and supportive. This especially goes for members of the queer community, who should have a good understanding of what it is like not being understood. MAN ON MAN chose to present this message through a very understated and tender manner with softly echoing bass and gentle synth melodies. It's an excellent track.
Kobayashi Maru (My Very Own)
Origami Angel
Kobayashi Maru (My Very Own) is the most hyper cut of the record and I'm here for it. The track at its core is a speedy pop-punk track. Although, it wouldn't be an Origami Angel track without a few unexpected detours. The song suddenly breaks into a half-time ska verse with characteristic off-beat, up-stroked guitars. This verse then glides into a brief dream sequence only for the dream bubble to unceremoniously burst as the band goes back into the speedy chorus. There's some catchy start/stop dynamics in the chorus as well which will always administer copious amounts of dopamine to my brain. The song makes an unexpected shift once again for the finale as the band goes into a rather nightmarish breakdown before one final racing passage sees the duo flirting with disaster. It's a real high-octane track packed full of ear worm hooks.
Harmony
Destiny Bond
There's a lot of rage and anger throughout Be My Vengeance, but on the final track of the record, all the aggression is channeled into a positive message that reminds us that we queers are resilient. Even in the face of obstacles that seem insurmountable. To match, the band opts for a less menacing chord progression. In fact, it feels triumphant and familiar. Intentional or not, I also love the symbology in the progression of this track. When everything has been said, we get a guitar solo passage with bending wails and frantic runs. It almost feels like we're in the midst of this internal struggle. The extended outro jam slowly peters out until the electric guitars become acoustic and the song calmly fades out. After a tumultuous four and half minutes, we have finally found inner peace.
Cops and robbers
underscores
The opening scene of Wallsocket is a tale of white collar crime and living on the lam. To score this exciting tale, April Harper Grey crafts one of the album's more upbeat pop rock cuts. It's also fed through some crunchy, digital filters, giving this tune a futuristic flair. The riffs are killer, the vocal melody exudes confidence (which I guess you would have to have if you wanted to commit embezzlement), and there's a pretty cool change-up for the bridge. There's fuzzy guitars, a squealing solo, and a little bit of metric modulation in the rhythm. It's a really thrilling track, and while I did very much like this album, I do wish there were more moments on Wallsocket that further explored this sound.
Do It Faster
Militarie Gun
Militarie Gun is working with the barest of bones to make this a song, but what they're able to achieve in just under two minutes is nothing short of pop perfection. It has a driving groove, an undeniable chorus, and Ian Shelton is super charismatic on the mic with his hardcore-inflected shouts. If this song isn't in the conversation among the best rock songs of the year, I would seriously question the validity of the sources.
Sidelines
White Hot
Sidelines is a wonderfully written little power pop tune. We have quiet, contemplative verses that feature some glassy clean guitar, some chill walking bass lines, and some stellar vocal harmonies. The chorus busts in with a wall of fuzz guitar creating quite the stark contrast between those two sections. Michael Kenny's soft falsetto gently floats over the saturated heaviness. For the guitar solo, Keegan McDonald plays by the tried and true pop playbook, mirroring the chorus vocal line with maybe a handful of 'guitar hero' embellishments for some added swagger. I'm super proud of my fellow Sudburians for putting out some great music this year, with Sidelines being their crowning achievement.
MORE THAN YOU KNOW
blink-182
I wasn't too hot on this single when it originally dropped, but diving deeper into the lyrics and hearing it within the context of the album has revealed it to be one of the stronger tracks off ONE MORE TIME. With great feelings of sorrow, we get a glimpse into the mind states of Mark Hoppus and Tom DeLonge over the former's battle with cancer. Hoppus expresses how this illness has left him a broken, empty shell of a man, who can't help but feel like a burden to the world. For DeLonge, he can't stand the thought of losing his friend. Understanding that a cancer battle is a very individual, isolating experience, DeLonge tries his best to express his empathy. The instrumental is quite powerful, especially during the pre-chorus in which the rush of instrumentation along with DeLonge's yells give us a good sense of the emotional storm he finds himself in.
Kingdom Hearts Key (Ft. redveil)
JPEGMAFIA & Danny Brown
JPEGMAFIA's production can often rub you the wrong way, and that's by design. He is such a confrontational character that revels in subversion and catching people off guard. Every once in a while though, Peggy will come through with a truly immaculate instrumental, and Kingdom Hearts Key might just so happen to be his most lush and harmonious example yet. The basis is a masterfully selected snippet from Maaya Sakamoto's The Vision of Escaflowne soundtrack that comprises heavenly vocals, dreamy guitars, sweeping strings, and the shimmer of a tambourine. I also absolutely love the way this instrumental is assembled; the way the beat comes in and out, how it drops mid bar on everyone's verse, or the way Peggy subtly manipulates the sample either by speeding it up, slowing it down, or applying this stutter effect to create a standout moment. It goes without saying that Peggy and Danny Brown destroy their verses, but even the relatively unknown redveil (who I can't help but compare to Denzel Curry) kills it. It's a total anthem that feels destined for something greater than a fifteen hundred cap hip-hop club.
Dark Sword Angel
Danny Brown
Dark Sword Angel earns the distinction of having the best instrumental on Quaranta. Produced by Quelle Chris and Chris Keys, it's the return of the boom bap as the instrumental prominently features some fairly weighty drums. This forbidding instrumental also has these glassy chimes that cast bad omens all over the place. My favourite part of the beat is the main riff played by what sounds like a seventies clavinet. It sounds absolutely cold, especially when paired up with that overdriven guitar. Danny Brown goes three rounds with no hooks, and reminds you that he comes from a time when rappers weren't so nice. We get some standout quotable lines about how Brown will use your girl like a rotary phone to the point that she won't call you again, as well as some colourful lines about what may happen should you get between Brown and his bag. Brown had a big 2023; seeing a lot of evolution both professionally and personally. But don't think for a second that Brown has lost touch with the a more classic hip-hop sound. Dark Sword Angel should be proof of that.
Bed Bugs
Snõõper
I really like short songs, and at only thirty-four seconds, we have the shortest entry on this list. There isn't really a melody here as the verses see the vocals and guitars rapidly going back and forth between two half steps while the chorus just grinds away in a very monotone fashion. However, what this song does have is a very intense, messy energy. In addition, this song will give you the 'ick' as Blair Tramel talks about sharing a bed with a horde of parasitic creepy crawlies. Okay, this might be a tough sell, but at least it's over before you know it.
Everything & Everywhere Is a Divine Mirror
Fire-Toolz
As Fire-Toolz's latest album gets closer to the end, the material becomes more lush and dreamy. The album hits another stunning peak specifically with Everything & Everywhere Is a Divine Mirror. Arpeggiated pianos and layers of shimmering instrumentation come together to create one of the album's most serene soundscapes. Angel Marcloid sings enchantingly on top in this free-flowing nature. Pounding drums eventually make their way in, and while there is a contrast between the intensity of the drums set against the backing instrumentation, it doesn't really distract from it. Of course at this point, Marcloid's angelic (no pun intended) singing turns into tormented screams. At this point in the album, we just accept it as part of the twisted fantasy Marcloid is authoring.
Hush
MAN ON MAN
The final track on MAN ON MAN's sophomore record Provincetown is a slow, sludgy piece of stoner rock that is quite entrancing and euphoric. Roddy Bottum and Joey Holman trade vague stanzas about a scandalous affair that is meant to remain in the shadows. Instead of feeling stifled, however, our unknown protagonists relish in tempting fate; breaking and reconstituting the rules. They find power and freedom through secrecy. Frustratingly, we're really only given a small glimpse into the nature of this relationship. I'm intrigued, I want to know more, and no amount of replays will reveal anything more. Eating up more plot crumbs isn't the only reason to return to this excellent track as the synth lines are incredibly hooky and J Mascis (Dinosaur Jr.) delivers a fantastic set of guitar solos that are in his typical, expressive style.
Vibe Monster (Ft. Joseph K. Karam, John Clardy)
Squid Pisser
While a lot of the material on My Tadpole Legion is often aggressive, very brash, and relentlessly chaotic, Vibe Monster takes a different approach towards being subversive. Instead of playing at a breakneck pace, the band slows things way down to an agonizing, sludgy crawl. So much so that instruments have trouble locking in with each other, no doubt by design in order to create this really awkward, clumsy character. Guest vocalist Joseph K. Karam, who counteracted the ear-piercing shrieks of his Locust bandmates with his gruff hollers, doesn't even scream on the track. Instead, Karam sings with a mutated inflection that perfectly fits along with the atonal harmonic content of the song. Vibe Monster is a fantastic example of creating something truly off-putting and reprehensible, without resorting to the usual tricks.
Mancala (Ft. Vince Staples)
Earl Sweatshirt & The Alchemist
This VOIR DIRE standout really rejuvenates the soul. A lot of that has to do with The Alchemist's wonderfully assembled instrumental, constructed from a positively radiant snippet of God Has Smiled On Me from Sister Ida Maxey and The Tampa Chapter Mass Choir. I love that cascading piano melody so much. Earl Sweatshirt sounds a little more alert than usual rapping about persevering in the face of challenge. Vince Staples delivers an excellent verse of his own that is packed with numerous examples of witty word play. It's a bit of a departure from his otherwise gritty and 'straight-to-the-point,' raps.
You S02
Speedy Ortiz
I love this driving single from Speedy Ortiz. It features the band's characteristic sourness in the guitar leads, however, there's an incredible pop sensibility woven into the track. The chorus has a key change which always amps up the excitement, and if that wasn't enough, there's an even grander key change bringing the song to an epic rock conclusion. I really like Sadie Dupuis' lyrics on this track; waxing poetic about the trappings of Los Angeles. For many, it feels like the land of opportunity, but the city will often chew up and spit out those who aren't careful. Despite this being somewhat of a cautionary tale, the tone of the track is quite sarcastic. It's a tremendously fun song.
Asking to Break
James Blake
James Blake comes through with a very futuristic, soothing, electro R&B cut with Asking to Break. The main piano progression is very peculiar as the chord choices are quite angular, and also cut up in this clumsy fashion. We also have these distant chipmunked vocals that grab my ear. When the percussion comes in, I absolutely love the sizzle on the hats. It creates a comfortably steamy atmosphere that I find very relaxing. We then get some wonderful cascading synth lines shrouded in distant flashes of thunder before the beat returns with a catchy pulsing synth riff. In the end, all the elements throughout the track play together in unison to bring the track to a very grand ending.
Evolution
Braids
There's a lot of adventurous and lengthy art pop cuts on this record that I think are fantastic, however, it's the more accessible and danceable Evolution that takes the prize for strongest cut off Euphoric Recall. It features a really tight 'four-on-the-floor' groove with some subtle syncopated kicks added in. It has really dramatic, echoing, electric pianos and swirling synthetic string pads that lushly fill in the background. There's some really cool production decisions here, for example, the way those pads swell in volume, almost taking over the whole track before they are starkly cut off to give Raphaelle Standell-Preston's intimate vocals your undivided attention. It's a really understated track, but I feel like there's a striking beauty surrounding it.
We're Still Here (Ft. Shirley Manson, Ac Sapphire)
The HIRS Collective
The opener and title track to The HIRS Collective's monumental collaborative record is an absolutely scathing piece of grindcore that makes the band's ethos violently clear: LGBTQ+ people exist, they will always exist, you can't get rid of us, and we will band together to fight against ignorance and threats to our livelihood. After the flurry of drums, guitars, and Jenna Pup's ferocious vocals set fire to the entire landscape, the one and only Shirley Manson (Garbage) rises from the ashes to menacingly repeat the mantra 'we're still here.' If I opposed the LGBTQ+ community, for whatever idiotic reason, I would seriously be shaking in my boots.
FUNKFEST
grouptherapy.
FUNKFEST, the debut single from grouptherapy's recent album, reveals two important things about the trio. The first is that they are not afraid to be their authentic selves and try to do something that is wholly original. It's not very often, if ever, that you get to hear electro R&B collide with punky, distorted basslines. The second thing is that they do not care if you don't like it, it's your loss at the end of the day. They'll even obliterate their own serene, watery outro with a brief shot of obnoxious stuttering just because they can. The trio's self-confidence and the trust they place in themselves is something we all should be striving for.
Circular Saw
Loma Prieta
Loma Prieta spellbinds with this brief cut from their recent record Last. The twinkling guitars are very pretty, especially with how they play with tension and release. Brainwashed voices share interesting musings on the control we think we have in the workplace as well as how money has become this intangible object. Things shift on a dime as we head towards violent revolution. With the blinders removed, the band decries that capitalism never has and never will be in support of or sympathetic to the worker. Corporations will always be propped up before the people, and that is certainly something that should vehemently be rejected.
bronco
COVET
I'm not typically into instrumental rock bands of this variety because - despite their technical prowess - I find their music to be uninterestingly rigid and safe. For Yvette Young and company, I can't say that was the case for a handful of cuts off catharsis, bronco especially. COVET achieves what their contemporaries often fail to do by building bronco with one catchy, jangly, finger-picked guitar riff after the next. There's also a clear ebb and flow to the track thanks to two pretty high octane moments. The first occurs around the midway point where a noodly guitar line resolves into a distorted, descending riff supported by crashing drums. The song later reaches a pretty thrilling climax where the heavy guitar distortion returns, swallowing everything except for some pretty impressive, extended drum fills. Instrumental rock bands should take a couple notes from COVET because you don't get any closer to perfection than this.
Picture Frame
Origami Angel
There are grander cuts on The Brightest Days, but Picture Frame is one of those sleeper hits for me. The verses are really low-key with a nursery rhyme type guitar riff and some gentle side sticking. The chorus has a giant dynamic shift where driving guitars roar, ringing out full chords. I love the way Ryland Heagy's vocals soar over everything in the mix. It feels pretty dreamy despite all the raging instrumentation in the back. The bridge features some really exciting guitar work, especially when the drums drop out to give those flashy runs centre stage. As I alluded to, this track doesn't have the most unpredictable of song structures when compared to some other cuts on the record, but for some reason, the melodies and the chorus are too irresistible for me.
You don't even know who I am
underscores
We're dealing with a stalker on underscores' You don't even know who I am. Everything is unsettling about this track: there's the voice clip that cycles through positive affirmations, a lone, moody bassline that does most of the heavy lifting production wise, an occasionally interrupting dial tone, and the stream of intimate information our stalker knows about our unknowing subject. Perhaps what's more intriguing are the layers of instrumentation that appear later - what I think could be synthesized accordions - trying to brighten this otherwise terrifying scene. Just one of many zany and enthralling tales from the fictional town of Wallsocket.
Life Under the Gun
Militarie Gun
There are so many tracks on the debut Militarie Gun record that are proof that less is more. Ian Shelton has the keys to pop supremacy: keep the verses short, ensure that chorus bangs, must have that ear worm riff and/or chord progression, repetition is your friend, and two minutes is all you need to build a case. So oddly enough, if you asked me what my favourite song on the record was, I would probably point to the closing title track. With an extra minute or so of additional parts, Shelton and company turn a bare bones pop rock song into an epic and climactic rock opus. This track has a series of instrumental passages including a pretty thrilling build-up towards the album's final moment. 'Less is more' is thrown out the window as this track is layered with twelve-string acoustic guitar, tambourine, cowbell, and even some synth string pads. Vocally, Shelton delivers some of his most impassioned yells on the record, but will then follow it up with some of his most competent and melodic singing. That final moment on the album is what really sticks with me though. 'A life in pursuit ends up pursuing you,' he prophetically hollers. He begins the line once more, but a final fading guitar chord finishes the lyric for him. So symbolic. A surprisingly thoughtful conclusion to an incredible record.
Kill Bill
SZA
I wanted to dive more into SOS, but I will admit that a twenty-two track, nearly seventy minute album in a genre that isn't exactly my wheelhouse was pretty daunting. I did at least make it to the second track, Kill Bill, and this one had really stuck with me. Whether she's bearing her soul or flowing in more of a rap cadence, SZA's voice glides across the senses like silk. Coupled with the woozy instrumental, SZA lulls us into a defenceless state and goes for the throat lyrically; plotting and eventually carrying out the murder of an ex and his new lover. It's a wonderfully executed (pardon the pun) pop, R&B track.
Lean Beef Patty
JPEGMAFIA & Danny Brown
JPEGMAFIA and Danny Brown had absolutely no business opening their subversive rap collab with this hard of a track. The beat is nuts, built around a P. Diddy sample that is sped up to a skittering pace. When the beat finally drops, those kicks knock hard and sync perfectly with the rhythm of the angular synth riff. Peggy delivers his characteristic, confrontational bars that remind you not to question his authenticity, and also check your Twitter etiquette. Peggy is not the type of person you want to catch you lackin.' Before we get into Brown's verse, we get a brief instrumental, heavily rhythmic section that feels perfect for the breakers (if only it were a handful of BPM slower). It transitions flawlessly back into this zany beat in time for Brown to apply his trademark cartoon inflection. I still maintain that Brown is a little unintelligible over this monstrosity of an instrumental, but he's honestly not saying much of substance. The important thing is that his energy matches and that he once again proves he can flow over anything. The song is brief, however, the moment that sped up sample comes on, I know things are about to get out of control for the next minute and a half, and I'm always here for it.
Welcome to My Island
Caroline Polachek
What a powerful beginning to Desire, I Want to Turn Into You. Just listen to that stunning vocal intro. The wails, the shrieks, the effortless transitions between vocal registers, the amount of control demonstrated in these first twenty-five seconds should indicate to you just how much of a monster vocalist Caroline Polachek is. There's a brilliant contrast between the sections on this track; the verses are all clean, dry, and sharp corners with the slightly bit-crushed percussion, staccato synth arpeggio, and Polachek's deadpan, robot delivery. The chorus on the other hand is lush, spacious, and free flowing. Dramatic synth chords ring out, rock guitars occasionally strum away in the back, and Polachek is channeling all the emotions into her vocal performance. It's total pop bliss.
FLATLINE
Frost Children
FLATLINE is my bid for best dance banger of the year. It initially keeps things very bare bones; just a simple 'four-on-the-floor' dance beat and some distorted synth bass that goes between two semitones. Whisper soft vocals describe the stupefying effects of a new crush. Once we get to the halfway mark, things start to ramp up in intensity. We get some rising instrumentation and the vocals become somewhat agitated, even featuring some screamed vocals trailing in the back. The song's climax is this shouted mantra that is interrupted by these bass wobbles. It packs so much energy and is incredibly infectious. The song closes by reprising the chorus, however, with all the added instrumentation, it maintains all that momentum the track built over its almost four minute runtime.
Hollywood Baby
100 gecs
100 gecs go pop-punk on their last single for 10,000 gecs, although not without their hyper digital aesthetics. The main guitar riff is super crunchy and honking, barely sounding like a guitar at all, and the drums are blown out giving this tune a ton of kinetic energy. Laura Les delivers an incredible first verse, initially starting with a bit of a whisper before unleashing into some pretty emotive territory. Her shouts and screams are oddly enhanced when the autotune is applied to them. Dylan Brady's chorus melody is supremely catchy, and I love those start stop punches. I wasn't super happy with the duo's shift towards these bygone alternative rock genres, but this is an example of them knocking it out of the park.
Rose Tinted World
Full of Hell & Nothing
Crushing. Absolutely crushing. With apocalyptic explosions, napalm raining down, and everything engulfed in flames, Full of Hell and Nothing collaborate to bring you a track that is heavy on a biblical level. The gut-punching drums and smothering high gain guitars present in Will Putney's production make this track a Hell that is inescapable. Dylan Walker proves once again that he is one of the most gnarly harsh vocalists in the game right now with an utterly feral performance. The doom riff in the second phase feels slightly out of intonation, further perpetuating this sense that everything is terribly wrong. The second half of the track lets up on the destruction, but we are now left to deal with the aftermath. Cleanly strummed, ominous guitar chords play out against a collage of cheerful daytime TV greetings. The clips start to pile on top of each other until it becomes overbearing and disingenuous, eventually consuming the sonic canvas with the help of grinding noise. It is the ugliest, most disgusting, and hopeless song I've heard this year, and I wholeheartedly love it.
Delete It (Ft. Militarie Gun)
MSPAINT
MSPAINT communicate their desire to experience more positive feelings through electronic-themed metaphors on Delete It. Their goal isn't to run away from, ignore, or 'delete' these negative thoughts and feelings, instead strive to unpack them, examine the root cause, and find a way to flip that perspective. The music, whether intentional or unintentional, perfectly reflects this sentiment. Just listen to the synth melody; in the verses it stays in this minor tone, a note here and there suggesting that something is holding it back. When we get to the chorus, the synth melody begins the same, but the phrase has expanded to include more notes, more melody, more hope. Deedee comes through with an incredible vocal hook, really digging into the mantra of 'I, I, I, I just want to feel it.' It is aggressively catchy. This track also features Ian Shelton of Militarie Gun, which wound up being my introduction to his work, and led to another one of my favourite 2023 discoveries. Thus, for all these reasons, Delete It has to be one of the most impactful songs of the year for me.
It Is Happening Again (Thank You, Council of Saturn)
Fire-Toolz
I didn't really know what to expect when I put this album on, but I quickly learned that when it comes to Fire-Toolz, you should expect the unexpected. The first passage makes me feel like I'm Ecco the Dolphin, joyfully weaving through colourful coral to the tempo of accelerated break beats. Just when you feel like things are about to head to a new level, all the instrumentation fades away only to return with dramatic kicks and snares, and modulated growls. It's one of the most perplexing musical experiences I've had this year and the song hasn't even finished building its case. Things only get stranger as Angel Marcloid uses modulation, pitch shifting, and different vocal techniques to create a band of hostile characters in this otherwise colourful and inviting world. At one point we get these virtuosic guitar and keyboard solos that I would define as snobby if Marcloid had not prioritized melody over seeing how fast she could shred. By the time it's over, I'm just in awe. All the ingredients should not compliment each other, and yet, that was such a satisfying helping that I crave more.
