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Monthly Playlist: Feb. 2021

2 Mar

We are two months into the Year After. Cases are declining worldwide and vaccines are on the way. However, the cultural issues that rose to boiling point in the turbulence of 2020 are still at a steady roil. It’s a strange, bittersweet time in the world, and in that context, we took a look at the five best songs from this past month.

5. “So Pretty” by Reyanna Maria

Our first reaction to Reyanna Maria’s tinny beat and sultry, swaggering rap on “So Pretty” was vibes of fellow Aussie Iggy Azalea. “So Pretty” was the flavor of the month on TikTok this month – which means this song is already more popular than you can possibly fathom. With all the outright mentions to lady parts on recent cultural phenoms like “WAP”, it’s almost coy to hear Maria talk about her “kitty cat” and all the way it makes her man feel. Even if you’re not listening to the lyrics, though, this one’s a bop. If clubs come back sometime this year, expect this one to be on the playlist – until it’s inevitably dethroned by yet another TikTok super-hit.

4. “Spirals” by Django Django

British band Django Django occupies a strange space in the experimental-mainstream music divide. Although their music is decidedly art rock – strange textures, unpredictable speeds, all that jazz – they also manage to feature regularly on everything from the FIFA 13 soundtrack to, well, the FIFA 18 soundtrack. “Spirals”, from their fourth album Glowing in the Dark (out in February), is a psychedelic romp through what we assume is a timeshare in Kevin Parker’s head. In here you’ll find strong basslines, echoey vocals, punctuating cymbal crashes, and so on. If you like Tame Impala, especially “Elephant”, you would likely like this track.

3. “you were right” by Bass Drum of Death

Bass Drum of Death mixes the lean-and-mean tones of Royal Blood with the bombastic rock of Queens of the Stone Age; so if that sounds like your jam, then read on. If you can believe it, the “band” has even fewer members than two-piece band Royal Blood; for Bass Drum of Death is simply the moniker of one-man drummer/guitarist/singer John Barrett. (There are a few others who join on tour, but it’s all mostly from Barrett’s head.) “you were right” is a tight, bluesy jam with an unmissable bass line, emphatic vocals and some excellent licks – and it’s all from one dude!

2. “CANCELLED” by slowthai feat. Skepta

Reader, if you are a regular on Top Five Records, then you know that we write quite frequently about the reigning British troublemaker known as slowthai. The London rapper is brilliant, funny, incisive, and more than a little problematic. We’ve already written about his fiasco at last year’s NME Awards (which produced a great track called, of course, “ENEMY”) but he wasn’t done being cancelled at that point. After a year of being in the public’s grinder, slowthai reacts by coming out with a song titled (what else?) “CANCELLED”, featuring the inimitable grime legend Skepta.

These two gentleman have collaborated before – on our 2019 Song of the Year “Inglorious” – and the fireworks are in full flow again here. Skepta readies the stage for slowthai with his opening verse (“How you gonna cancel me? Twenty awards on the mantelpiece / Pyramid Stage at Glastonbury / Girls in the crowd got their hands on me,”). And slowthai does manage to get one more in against the pearl-clutchers at NME: “See you throwing stones in your glass house / Evidently nothing is going the way that you said it would be / Middle finger to my enemy.” Classic.

1. “Rainforest” by Noname

As we wrote about in our review of Noname’s debut album Room 25 (2018), the Chicago rapper’s music is really like nothing else out there. Noname (real name Fatimah Warner) is exceedingly literate and blessed with a natural, soulful flow; in fact, she began her career in slam poetry. On “Rainforest”, she centers her thoughts around the damage being done to rainforests and works her way up from there. What causes human beings to trade nature for profit? What makes them believe that that’s a fair trade? What causes that sort of cognitive dissonance?

Through deft turns of phrase, she follows the chain: from exploitation (“They turned a natural resource into a bundle of cash / Made the world anti-Black, then divided the class,”) to forced rehabilitation (“How you make excuses for billionaires, you broke on the bus?”) and all the way to her own full-blown reaction (“Dyin’ on stolen land for a dollar like that ain’t fucked up / It’s fuck they money, I’ma say it every song / Until the revolution come and all the feds start runnin’”). Noname lies at the intersection of rap and spoken-word poetry, and this song is a great example of her output and talent.

Top Five 20 Minute Albums From 2020

1 Feb

Much though one might want to escape the idea of music as a commodity, nothing is that free of context and in the streaming era and the era of #content, it’s all too easy to let an album sprawl. Here, we have five albums (and one bonus one) that take only about 20 minutes each.

Bonus: Silversun Pickups by Toy Soldiers

Silversun Pickups are a band with a history for me. They were one of my first ventures into developing a music taste beyond what played on TV. It’s fun to find a band that you can tell people to check out and Silversun Pickups was that for a much younger me. There are worse bands that I could have chosen.

Toy Soldiers achieves what it sets out to do. It’s competent 2000s era alt-rock. It’s not quite up to the standard of their first three albums, and there are points that just don’t quite reach the emotion they grasp for, but it’s still very listenable. They’re in their comfort zone throughout and the result is solid music. It finishes before you really notice anything from it, but there are very few complaints to have and it’s just nice to see this band again.

5. THE ALBUM by BLACKPINK

K-pop is a visual art form and if you’re only listening to BLACKPINK, you’re missing out on a lot of their charm. This is especially true with “Ice Cream” where a delightful Selena Gomez fits into a classic K-pop music video seamlessly.

They’re at their best with “Lovesick Girls.” It’s not really meant to be scrutinized, but it’s a good, frothy time. It’s got a great chorus, a wonderful conceit and it’s excellent pop. Some songs don’t land quite as well. Cardi does nothing in “Bet You Wanna” and “Pretty Savage” is unintelligent. However, the swagger in “How You Like That” is great and “Crazy Over You” is them doing what they do well. Overall, this is a fun album and BLACKPINK are just too likable to ignore.

4. 1999 by Rich Brian

I don’t know if there’s anyone that I’m quite as excited to see new stuff from as Rich Brian. He’s like Aminé in that I just like seeing him do stuff, but somehow even more likable. The singles of “DOA” and “Love In My Pocket” augured well for the album, but sadly the rest just doesn’t hold up. Rich Brian is absurdly talented, especially for someone of his age (guess why the album is titled 1999), but he hasn’t quite found the consistency yet for even a 20-minute EP.

The singles are just so much fun though. He’s got a great ear for sound and an incredible agility in his music. His weaponization of irony is sharp, funny and makes for exceptional music. His music videos are top-tier. There’s no question that he’s going to figure out how to put it all together soon.

3. Drop 6 by Little Simz

When Little Simz raps, there’s a momentum to it. This is in part just the velocity she’s capable of and the absurd degree of comfort she has when rapping, but it’s more than that. It’s the craftsmanship in her bars. The artistry in how each song is put together and how the pieces connect is compulsive and clever.

It’s thus a shame that this is another salvo from this corner of rap that just slightly misses the mark. This particular brand of London rap is skilled and confident and unceasingly cool, but it lacks an approach vector and Drop 6 doesn’t break the mold. In its focus and its purview, it lacks anything to grab on to.

At least, anything save for its prodigious skill. She’s far too good to ignore and there is more than enough in this music for it to stand on its own.

2. Honeymoon by Beach Bunny

Sometimes, a band can just emerge fully-formed with a debut album. Some artists need a while to figure out who they are. Beach Bunny seems to have the complete picture already though. This is power pop able to stand with anything out there.

They do sometimes take a path too easy. “Sometimes I like being on my own / I’m afraid of winding up alone” in “Cuffing Season” is basically cheating and “I always end up in second place” in “Racetrack” is extremely self-indulgent, but the music is done well enough to carry it over the line from puerile to resonant.

With talent like this, it’s easy to overlook minor blemishes. Beach Bunny is fun and exciting and the Honeymoon period is only just starting.

1. Music in Eight Parts by Phillip Glass

2020 marks 50 years from the writing of this score. In 1970, Phillip Glass was still only making music part-time. His heyday as one of the most celebrated composers was still to come, and yet he was making absolutely unforgettable music. Music In Eight Parts was considered lost for nearly half a century until it was rediscovered in 2017 and then released by the Ensemble in 2020.

The music is astounding. A single thread is taken and twisted and teased through the most winding of tunnels. The use of counterpoint is unbelievable. This music starts with something immediately comprehensible and proceeds to challenge you beyond what you should be able to follow. This music is a strenuous listen and it leaves you lathered at the end, but is exhilarating throughout. It feels like it packs in the same 20 minutes as much music as the rest of this list combined and leaves room to spare. The eight parts are not named for nothing. This is a masterpiece and an album well worth its spot in the Phillip Glass repertoire.

Monthly Playlist: Jan. 2021

31 Jan

A new year, a new hope and – depending on where you live – the same old lockdown. One thing keeping us going is of course the music, and so without further ado, here are the top five tracks of this month.

 5. “Vintage” by Blu DeTiger

Blu DeTiger (unbelievably her real name) is a 21-year-old NYC DJ whose added color is that she also plays a mean bass. She released two songs in 2020 (but don’t let the low rate fool you – as a Gen Z DJ-slash-female-bassist, DeTiger is, as you would imagine, big on TikTok). Last week, she followed those up with the expectedly bass-heavy track “Vintage”. The gist of the song is that DeTiger is stuck in a love/hate equation with a throwback boy who loves all things 00s and 90s (which, for someone born in 2000 like herself, is vintage I suppose). Overall, the Tame Impala-esque bass line paired with DeTiger’s slightly aloof vocals makes for a cool, fresh track.

4. “Typhoons” by Royal Blood

After the massive thumping hit that was last October’s “Trouble’s Coming“, Royal Blood have finally expounded further on said trouble. The two-member rock band’s third album Typhoons will be out on April 30th, and the title track was released earlier this month. “Typhoons” is classic Royal Blood from start to finish: a dense, hard-hitting production between Mike Kerr’s bass/guitar gymnastics and Ben Thatcher’s simply tireless drums. Also notable were the Foals-like jagged elements on the chorus vocals, as well as the more layered sounds in the pre-chorus and outro portions. At this point, these two are such a ruthlessly efficient sound machine that any audible change implies significant experimentation, so this is a promising taste of the upcoming Typhoons.   

3. “Tonight Tonight” by Celeste

Almost exactly a year ago, Celeste was named as the BBC’s Sound of 2020 – an annual poll of the most likely new act to breakthrough to the mainstream. The prediction was echoed by everyone from GQ to Gucci, and by all measures, they were correct. The British singer-songwriter has had a glamorous year (despite everything), including an Oscar-nominated song for The Trial of the Chicago 7 and an end-credits duet with Jon Batiste on the new Pixar movie. Earlier this month, Celeste released her hotly-anticipated debut album Not Your Muse, from which “Tonight Tonight” is a standout new track. On this song, Celeste’s nostalgic, slightly melancholic vocals meld seamlessly with brisk, modern jazz instrumentals – something that has been done before, for sure, but there’s a certain undeniable freshness that she brings to the table. Keep your eye on Celeste – she’s on her way to household-name status, if she isn’t there already.

2. “No One Knows” by The Vaccines

“No One Knows” from the Queens of the Stone Age’s landmark 2002 record Songs For the Deaf ranks among the best songs of the decade. It’s no easy feat to cover the track in a refreshing manner that’s also respectful of the original’s relentless, raw energy – but The Vaccines have done more than alright here. “No One Knows” takes QOTSA’s hard-hitting LA-cool-meets-leather-jacket vibes and turns it into a dream-pop, mellow track with a pared-back version of that famous beat. This one-off cover is apparently from their upcoming Cozy Karaoke EP and a prelude to the fifth album that they’re seemingly set to release in 2021 – good stuff so far!

1. “Don’t Be Dumb” by Dizzee Rascal feat. Ocean Wisdom

There isn’t much breathing room on the new track “Don’t Be Dumb”, a collab between UK grime legend Dizzee Rascal and compatriot rapper Ocean Wisdom. The entire track is structured like a no-holds-barred cypher, with Dizzee and Ocean Wisdom exchanging zingers and brags at speeds that your brain can just barely process. And as if that wasn’t enough, the track is loaded with Dizzee’s trademark deep, bouncy grime beats. This is the kind of track that makes you (rightly) wonder why you don’t listen more to UK rap. Our pick of the year’s tracks so far.

Top Five Songs of 2020 – Neeharika’s List

31 Dec

As a complement to my Top Five Albums of 2020 list, here are the songs whose endless replays helped me get through this year.

Honorable mentions

And now for my top five songs of the year:

5. “Your Love (Déjà vu)” by Glass Animals

Clocking in at #5 is this early single from British pop band Glass Animals’ Dreamland album that was released this year. As we talked about in our review of the album, the singles from Dreamland were really good and everything else was so-so. Well, “Your Love (Déjà vu)” is one of those ridiculously good songs in the first category, featuring crisp hip-hop like beats, electric vocals from singer Dave Bayley and an all-around fun vibe. This is as catchy as the Glass Animals get – don’t miss this one.

Read our full song review in the Monthly Playlist: Feb. 2020 edition.

4. “The Adults Are Talking” by the Strokes

Over the year, we’ve highlighted “Bad Decisions” and “Brooklyn Bridge to Chorus” from the Strokes’ The New Abnormal (2020) album on our Monthly Playlists; but as we come to the close of the year, it’s the album opener “The Adults Are Talking” that most stands out to me. The Strokes get your feet tapping and your head bopping along from the first seconds of the classic, clean drum line, and it only gets better from there. The icing on the cake is a particularly good vocal effort from Julian Casablancas, especially in the sky-high falsetto at the end. As the first sound you hear on The New Abnormal, “The Adults Are Talking” provided a symbolic sigh of relief to Strokes fans everywhere that the band is alive, well and perhaps better than ever.

Read our full album review here.

3. “Don’t Start Now” by Dua Lipa

Unless you’ve been living under a rock for the past year (which, let’s admit, not a bad plan for 2020), you would have heard Dua Lipa’s mega-hit “Don’t Start Now” at some point. The irrepressible dance-pop number has graced radio stations, talk shows, award shows and all other COVID-ready media; in any other year, it would have likely been on the playlist of every club in the world. Dua Lipa’s entire Future Nostalgia album is an homage to the fun and vivacity of 1970s and 1980s music. And “Don’t Start Now” is the album’s shining disco ball of a crown jewel, with its pulsing bass line, Dua’s staccato vocals, random cowbell, handclaps and so on.

Read our full album review here.

2. “WAP” by Cardi B feat. Megan Thee Stallion

Perhaps the most talked-about song of the year – for one reason or the other – is “WAP” by Cardi B featuring Megan Thee Stallion. The powerhouse song by the two reigning queens of rap instantly shot to fame with its sexually-explicit lyrics, inciting the wrath of right-wing ghouls everywhere. I consider “WAP” to be iconic, unapologetic and more feminist than most things that claim to be. Cardi and Megan spend the entire song detailing exactly what men should do to please them. The reverse has been covered in songs by men about women ad infinitum; so why should boys have all the fun?

Read our full song review in the Monthly Playlist: Aug. 2020 edition.

1. “XS” by Rina Sawayama

As I mentioned on my AOTY list, Rina Sawayama’s SAWAYAMA was undoubtedly the best debut album of the year, and the brightest star on the tracklist is the gaudy, poppy “XS”. Rina’s whole vibe is a cool mixture of 90s / early 00s music across all genres, and this song follows that make-up too. Her breathy, slightly nasal vocals – reminiscent of Christina Aguilera or Britney Spears – sync perfectly with the rock-tinged instrumentals brings to mind the early 00s pop-rock acts (Good Charlotte, Simple Plan) which were all the rage back in the day. Lyrically, too, “XS” does well. As the name cleverly suggests, is a critique on the excesses of capitalism (“Cartiers and Tesla X’s, Calabasas, I deserve it / Call me crazy, call me selfish, I’m the baddest and I’m worth it”) – to which Rina cleverly alludes in the song’s music video. All in all, a great effort and – for me – the song of the year.

Read our full song review in the Monthly Playlist: Apr. 2020 edition.

Top Five Albums of 2020 – Neeharika’s List

30 Dec

End-of-year introspection has an entirely new depth in 2020. There was profound sadness, disappointment, discomfort, dismay – but also hope. Hope in the vaccines that have arrived at breakneck speed, hope in the stronger relationships that emerged out of quarantine, and hope in continuing to keep up whatever gave you joy in this hellish year. For me, the year was made better by the presence of the following five albums, plus a few others that I’ve highlighted below. Read on for my take of the Top Five Albums of 2020.

Honorable mentions

  • What’s Your Pleasure? by Jessie Ware: Ridiculously fun, dance-worthy disco jam. (Full review here)
  • RTJ4 by Run the Jewels: Powerful, well-penned and a perfect soundtrack to the racial turmoil this year. (Full review here)

5. A Hero’s Death by Fontaines D.C.

Irish punk band Fontaines D.C. debuted in 2019 with the spectacular Dogrel (which also made it to my list last year), and followed it up in 2020 with a deeper sophomore album – A Hero’s Death. The album was written while the band was on a whirlwind global tour for Dogrel, and consequently highlights their thoughts on fame, identity, America and so much more. With mainstream success comes mainstream expectations; A Hero’s Death sees the band rebelling on tracks like “I Don’t Belong” and “I Was Not Born”. “Living in America” dissects the reality of the United States of America from the mythical land-of-the-free in Irish minds while “Televised Mind” comes back to the theme of the stilted thoughts in today’s consumerist world – a favorite theme of Fontaines D.C. (and punk rock bands everywhere). All in all, this is a great record that proves there’s a lot more to come from Fontaines D.C.

Read our full review here.

4. The New Abnormal by The Strokes

Few records have ever been as perfectly titled as The Strokes’ sixth studio album The New Abnormal. The album was announced in February – pre-pandemic – and by the time it came out in April, the whole world was in an entirely different place. In the wilderness years between their fifth album Comedown Machine (2013) and this one, the band released a sum total of three songs (plus a remix). Most of the members used the seven years to work on side projects and there were rumors that the Strokes were done for. Happily though, the situation now seems as far from that as it has ever been, because The New Abnormal sounds like a perfectly-curated playlist of the Strokes’ creative output – together and apart. There are of course the classic “Strokes-y” songs like “The Adults Are Talking” that could do pretty well on their earlier records; but there’s also tracks like the melancholy “At The Door” with its clear Voidz edge and “Brooklyn Bridge to Chorus” with its touches of Albert Hammond Jr.’s solo work. On The New Abnormal, the Strokes sound like they’re working well together and having fun again, and that shows in the music.

Read our full review here.

3. Future Nostalgia by Dua Lipa

If you’re a pop / R&B star not named Billie Eilish, chances are you’ve tried your hand at dance-pop / disco this year. We had 80s-inspired music from Kylie Minogue, Jessie Ware, The Weeknd and so many others, but none can come close to the disco perfection on Future Nostalgia. The album is pretty much just straight hits from top to bottom. The metaphorical strobe lights start flashing right from the opening beats of the bouncy, irrepressible title track; and it’s a full-blown dance party by the time we get to the massive hit singles like “Don’t Start Now”, “Physical” and “Break My Heart”. Dua has also excelled in live shows this year (of all years), taking and running with any opportunity she gets – see her stripped-back Tiny Desk session or her magnetic AMAs performance of “Levitating”. Future Nostalgia is fresh, fun, timeless and an instant mood booster at a time when we all needed it the most.

Read our full review here.

2. SAWAYAMA by Rina Sawayama

SAWAYAMA by Japanese-English singer-songwriter Rina Sawayama is, in my mind, undoubtedly the debut album of the year. Imagine a mixtape of all the music you illegally downloaded off Napster in the 90s and early 00s; but somehow all the tracks have magically mashed up across genre lines – that’s more or less what SAWAYAMA is. For example, “STFU!” sounds exactly like a Britney Spears cover of a Korn song, while “Dynasty” has all the harmonized pop extravagance of NSYNC or the Backstreet Boys, with a hint of Evanescence-style elven vocals. If those come off as odd mash-ups, it’s purely a testament to how well this album has been visualized, produced, mixed and implemented. Songs like “XS” and “Comme des Garcons” are crisp, campy, catchy and everything that good pop music ought to be. Rina’s confidence and integrity of artistic vision belie her discography length, and a legion of fans now eagerly await her next move.

Read our full review here.

1. Song Machine, Season One: Strange Timez by Gorillaz

Until about late November, when we in the music review hobby start charting out our end-of-year lists, I honestly did not think of the new Gorillaz album on this list. Indeed, Song Machine, Season One: Strange Timez was just released a few weeks ago, and although they have been steadily releasing great singles all year, I didn’t think the combined package would hold up. However, the more I started running through Song Machine, the more I was certain that this was the album of the year.

On Song Machine, Damon Albarn has turned the traditional album-single release tradition on its head. Every song is a single in its own right, and has been more or less treated as such, each with a separate release date, music video, accompanying snippets and so on. Release mechanics aside, the music holds up too: every single song on the 11-track album is worthy of the listener’s attention. Moreover, one must applaud the sheer audacity of throwing together musicians across genres – for example, Elton John with rapper 6LACK on “Pink Phantom” – and creating something totally unique and magical. From the opening notes of the otherworldly title track (“Strange Timez” feat. The Cure’s Robert Smith) to the high-energy closing track (“Momentary Bliss” feat. British rapper slowthai and punk band Slaves), Song Machine is the closest we’ll get to an eclectic and electric music festival this year. Virtually of course – what else could it be in 2020?

Read our full review here.

Top Five Albums of 2020 – Nikhil’s List

28 Dec

Not every year is a 2020 and thankfully so, but some very interesting music came out of it. Afrobeats has taken the next step. Drill broke out, although sadly marred by tragedy. Taylor Swift made music I wanted to listen to. Things got strange. Things got listenable too though and these are my picks for what best to listen to.

Honorable Mention: Amaarae – THE ANGEL YOU DON’T KNOW

2020 was the year that Afrobeats really broke into the mainstream. Burna Boy’s excellent album is naturally the headliner, but it’s a movement much bigger than the one man, African Giant though he may be and of everyone it was Amaarae that did the most. She took the base of Afrobeats and evolved it well past where I expected it to be so soon.

At it’s best, it’s impossibly fun. “HELLZ ANGEL” is clever, propulsive and has the still-amazing line of “I don’t make songs / Bitch, I make memories / I don’t like thongs / Cuz they ride up in jeans.” The SAD pair of songs are infectious. This is an album that makes you move.

Some inconsistency keeps THE ANGEL YOU DON’T KNOW from being higher on this list, but it’s still some of the most exceptional music of the year and a strong promise for what is to come.

Read our full review here.

5. Phoebe Bridgers – Punisher

This album really grew on me as the year went by. I was a little disappointed in it when it came out because of how much I liked BOCC and, to a lesser degree, boygenius, but this is actually a really good album. It’s just indie folk rock at its best.

The lead single of “Kyoto” is naturally the highlight. It’s a quick change of pace and a bright piece of fun. It’s more than a little precious, but smart enough to know that and play on it. It’s in the foundation that it shines though. It just lets Phoebe Bridgers sing and that’s sometimes all a song really needs.

This, writ large, is what makes this album. I like indie folk rock. I like the cinematic nature. I like the sharp, evocative and clever lyrics. I like the wistfulness. Punisher does all of these very well. When an album has a strong selling point, it’s easy to write about, but something like this can be hard to pin to a page because it’s all just excellent execution. It’s in a delicate swirl of strings in “Chinese Satellite” or in the sudden upshift right as the album ends in “I Know The End.” It’s in how Phoebe Bridgers’ singing is just the right kind of gentle. It lets the barbs stay sharp, but also, it can just be gentle and, above all, it’s always human.

Read our full review here.

4. Fiona Apple – Fetch The Bolt Cutters

Fetch the Bolt Cutters is an absolutely stunning album and the one that we’ve been waiting for Fiona Apple to make for her whole career. Apple’s feminist art pop has always been very likable and any one of her last four albums is well worth the listen, but Bolt Cutters is a whole new level for her.

This is an album of challenging, clever music and one confident enough to let you come to the challenge yourself. She puts space in each song just to play around with the music and expand the sound. She even throws in the unexpected with noise, chimes, even barking dogs.

It’s also an album with strong things to say. “Well, good morning / Good morning / You raped me in the bed your daughter was born in.” in “For Her” is the kind of line that you cannot miss and the metaphor of “Rack of His” is ingenious. There are a couple of moments where the privilege comes through a little too strongly, but it only mildly detracts from the unmistakable intelligence of the album.

When the pieces come together in Fetch The Bolt Cutters, it’s incredible. This is an extraordinary album and the best of Fiona Apple’s career.

Read our full review here.

3. Norah Jones – Pick Me Up Off The Floor

Like the album before this, much of what makes this album so great is in the details. There are lots of fascinating little flourishes through the album. Pick Me Up Off The Floor is impossibly lean though. There’s no fat, no embellishments meant to distract the ear from a middling track, just consistently excellent music.

It’s a smart album backed up by a powerful voice. She can take something like the already very listenable “Hurts To Be Alone” and put so much that’s interesting around the edges. The album is playful and fluid and ever-changing and yet always completely in control. This is both life and purpose.

It’s also astonishingly enervating. I’m used to a little exhaustion after getting through a jazz album. The effort that they need is not negligible. This is the rare one that refreshes instead.

Read our full review here.

2. Nubya Garcia – SOURCE

SOURCE is not quite the kind of work-out of the jazz I just mentioned, but it does pack a lot of action into a single hour. At it’s best, like in “Pace” and “Before Us,” it is fiery jazz of the best sort. It has a burning energy and isn’t afraid to take its challenge all the way to the listener’s limits.

The title track does the same and the performers trade excellent solos across its 12-minute sprawl. It’s skilled, compelling jazz and a delight to listen to. It’s in “La Cumbia Me Esta Llamando” that the album is at its most interesting. It threads Latin sounds through top-tier jazz and the result is spectacular. I would never pigeonhole a talent on the level of Nubya Garcia. No matter what she does, I’m gong to be excited to hear it. She is just that good and that versatile. I would be lying though if I said I didn’t hope for more in this vein. This is truly wonderful music.

Read our full review here.

1. Lil Uzi Vert – Eternal Atake

The thing here is that Uzi can rap. The high concept of the album didn’t really land with me, but Uzi can just rap. It’s like prime Wayne where you just want to see what he does next. He takes the top spot this year purely off the strength of that flow.

He might be the most important rapper in the world right now. Kendrick is on hiatus, J. Cole has gone full Samson, Future has fallen off, Drake is in a holding pattern but Uzi is at full speed. It’s not a guarantee that he will deliver. The extended album had plenty of bloat and while he rapped circles around an apparently disinterested Future in Pluto x Baby Pluto, the album just isn’t enough to wake up for. With Eternal Atake though, he just flies.

Like with Wayne, Uzi just seems to do what he wants. It feels like there’s nothing he won’t try and nothing that he won’t rap about. There are just no limits to what he will do next. What makes it so unfair is how easily he can do it too. He can go hard or soft, he has more flows than you can shake a stick at, he has things you’ve never seen before and he can do it all in the same track just for the fun of it and be likeable to boot.

In my review, I called this the bebop of the trap world, and that still rings true. He makes rap that challenges and delights, rap that’s free-flowing and improvisational and always able to surprise. It’s textured, intelligent music that’s endlessly impressive and human for all of that. This is the most fun I had listening to an album all year and one that I’m happy to have as album of the year.

Read our full review here.

A Quite Literal Holiday Playlist

26 Dec

It’s that time of year again: the twilight week between Christmas and New Years’ Day. Most people are off work or school, staying warm (or cool, depending on your hemisphere) and stuffing themselves silly with every combination of carbs and sugars. As you’re lying there in your food coma trying to block out all thoughts of January 4th, take a whirl through our Quite Literal holiday playlist. Happy holidays and stay tuned for our end-of-year content!

5. “Holiday” by Little Mix

First off is the tune by British girl group Little Mix. The pop song’s saccharine notes coupled with the ladies’ perfectly synced vocals make this the perfect tune to soundtrack an impromptu tipsy dance party. (You know you’re almost there.)

4. “Holiday” by Green Day

Next up is a blast from the past – the tune from alternative rock band Green Day. This song was all the rage when it was released as a single from the landmark American Idiot (2004) album, and is still catchy enough to strike nostalgia in the entire millennial cohort. The “holiday” that Billie Joel Armstrong and the gang are talking about alludes to the apathy that the average American felt at the Bush-era Middle East wars, so that’s always a fun talking point at your holiday event with the broader family.

3. “Holiday” by Vampire Weekend

Once you’ve brought up the anti-war sentiments on the previous track, be sure to flip to this tune from New England indie rock band Vampire Weekend to lighten the mood. With an irrepressible beat and Ezra Koenig’s lackadaisical vocals, this song is the stuff of catchy advertisement music – and indeed, it was aptly featured on ads for the classic-prep fashion designer Tommy Hilfiger. One of the best tracks from their overall-great Contra (2010) album.

2. “Holiday” by Madonna

Going back several decades from all of these songs is this tune from Madonna’s eponymous debut album in 1983. The synths and handclaps are simply peak ‘80s, and Madge’s voice is carefree as she sings about the entire world coming together for a holiday. “If we took a holiday, took some time to celebrate / Just one day out of life, it would be so nice” she suggests, and that’s exactly the energy we need to be taking with us out of this hellscape of a year.

1. “HOLIDAY” by Lil Nas X

And now the song that inspired us to create this playlist – this tune from rapper and pop culture icon Lil Nas X. We’ve already lauded the track on our last Monthly Playlist and we admit we haven’t stopped playing it on loop since then. Lil Nas X’s smooth vocals layer over a tight, catchy beat for a new, alt-classic holiday standard. Bonus: Check out his recent performance for Amazon’s live holiday show!

Monthly Playlist: Nov. 2020

1 Dec

This month has been a big one for music-related news, from the AMAs to the GRAMMY nominations. While there were certainly moments to celebrate (see: Dua Lipa bagging wins and nominations galore), there were also some notable let-downs (see: the GRAMMYs’ radio silence on Rina Sawayama and the Weeknd!). Awards shows aside, though, there were some great tracks this month. Read on for our top five picks from November 2020.

5. “505 (Live)” by Arctic Monkeys

Arctic Monkeys return in December with a studio album – but before you get excited, it’s not new content. In the mythical past known as 2018, the Monkeys performed at the vaunted Royal Albert Music Hall with a set-list drawn partially from Tranquility Base and mostly from their older material (i.e. a palatable ratio). The proceeds from this album, recorded that evening, will go toward War Child, a non-profit focused on helping children from war-torn nations. As a promo for this live album, the band has released the live version of their classic “505”, and we must admit that it sounds great. The acoustics of the famous Hall lend new depths to the song, as do Alex Turner’s vocals – which have unmistakably changed in style since this song’s original version in the mid-aughts. If you can, get this one on vinyl.

4. “Man’s World” by Marina

Marina, formerly known as Marina and the Diamonds, has been a favorite of ours for many years. We’ve always loved the way she does pop – with all the bubblegum sex appeal of Selena Gomez and the like, yet imbued with biting self-awareness that is rare in the genre. With “Man’s World”, the multi-faceted popstar takes on the male-driven world (as the title suggests) with a good measure of COVID- and climate-change-reckoning thrown in. “Don’t underestimate the making of life / The planet has a funny way of stopping a fight,” she warns. The weirdest part of the song is her long interlude about the noted homophobe Sheikh of Brunei buying an LA hotel overtaken by the gays – but hey, she knows her audience.

3. “Therefore I Am” by Billie Eilish

Billie Eilish delivers the ultimate snide cold-shoulder with catchy new single “Therefore I Am”. She delivers the line “Stop, what the hell are you talking about? Ha” with all the iciness of the high school queen giving you a sneering look, and quotes (of all people) Rene Descartes in the chorus: “You think you’re the man, I think, therefore I am”. As with most Billie songs, the magic lies in her brother Finneas’ precise, inimitable production values; we especially loved when the heavy, layered chorus occasionally breaks into Billie’s crystal-clear voice. Reading between the lines, the song seems to be about someone she has been linked with (she mentions being asked about them in interviews and articles) – let us know if you’ve cracked the code.

2. “Edge of Midnight (Midnight Sky Remix)” by Miley Cyrus feat. Stevie Nicks

Maverick pop star Miley Cyrus has released her latest album Plastic Hearts earlier this month. Probably the most innovative track off the album is “Edge of Midnight (Midnight Sky Remix)”, a mash-up of Cyrus’ own recent hit “Midnight Sky” with Stevie Nicks’ legendary 80s banger “Edge of Seventeen”. And what’s more – Nicks herself performs on the track! “Edge of Midnight” is an electrifying mix of these two ladies’ instantly recognizable voices. Expect to get goosebumps the first time Cyrus sings the famous “Just like the white-winged dove” line in her deep, powerful voice.

1. “HOLIDAY” by Lil Nas X

There is honestly no justification to why Lil Nas X should continue to churn out impossibly catchy songs with no real changes to his formula. “HOLIDAY” follows the same ingredient list as the mega-platinum hit “Old Town Road” – the minor scale, a simple and repetitive beat, his silky-smooth and slightly anachronistic voice; and yet we fell for it hook, line, and sinker. Move over, Mariah – this is our holiday song from now on. (Side note: This song got us talking about a literal “Holiday” playlist, so keep an eye out for that!)

Monthly Playlist: Oct. 2020

2 Nov

As 2020 draws to a close, and we start making the first drafts of our end of year lists, we took a look back at some of the best songs in October 2020. Read on for a quick spin through everything from dance-rock to synth-pop – to whatever Gorillaz is…

5. “I Love It” by Kylie Minogue

The firs of our big-name artists to feature on the list this month is Aussie pop legend Kylie Minogue, who blessed us this month with the 1970s disco-throwback gem called “I Love It”. Readers of Top Five Records will note that this particular aesthetic is rather chic among female pop singers this year, whether it’s Dua Lipa or Jessie Ware or Gaga herself. Kylie carries forward this year’s trend with this bouncy, Technicolor soundtrack to all the parties you wish you’d had this year.

4. “Straight to the Morning” by Hot Chip feat. Jarvis Cocker

Dovetailing right into Kylie’s above track is “Straight to the Morning” by British dance/synth-pop outfit Hot Chip, featuring none other than Pulp’s Jarvis Cocker. As you may expect from this combination of artists, “Straight to the Morning” is a classic heartbeat-speed of a dance track, supported by Cocker’s irreverent drawl. Hot Chip are, of course, famously known for making great music videos, so be sure to check out the one for this track.

3. “Intercontinental Radio Waves” by TRAAMS

British indie rock three-piece TRAAMS is #3 on our list this with their catchy jam, “Intercontinental Radio Waves”. You simply can’t ignore the bluesy, sludgy bassline that hits you right at the start – and before you know it, you’re nodding along to lead singer Stuart Hopkins’ sharp, staccato pronouncements. The band last released an album a few years ago (2015’s Modern Dancing), so perhaps this is a sign of new music to come. If so, they’ve got new fans here at Top Five Records.

1. (Tie) “The Valley of the Pagans” by Gorillaz feat. Beck & “The Pink Phantom” by Gorillaz feat. Elton John and 6LACK

Over the course of this year, Gorillaz have been releasing a song every few months, including the recent ScHoolboy Q collab that we covered here at Top Five. All this new music from the virtual band was a lead-up to October’s Song Machine, Season One: Strange Timez. All tracks on this perfectly-titled album (for, after all, these are indeed strange timez) are collaborations between Gorillaz and an eclectic mix of artists, from niche (e.g. CHAI) to arena-filling (e.g. Elton John). Naturally, such a mix has resulted in a number of possible picks for a stand-out track this month, but we decided to go with two, both of which we’d rank as some of the best songs this month.

With its slick, dance-rock embellishments and playful pacing, “The Valley of the Pagans” is reminiscent of the golden Demon Dayz-era Gorillaz. “The Pink Phantom” features the one and only Elton John, whose vocals shine on this slowed-down, melancholy track. Elton’s voice is impressively – and surprisingly – complemented by American rapper 6LACK’s Auto-tuned, R&B-tinged verses. Props to Gorillaz’s Damon Albarn for putting all the pieces together!

Have you started thinking about your Albums of the Year and Songs of the Year? Let us know in the comments below!

Top Five Lo-Fi Indie Rock Songs I Keep Coming Back To

5 Oct

I’m a sucker for a certain style of art. I love books by Kazuo Ishiguro and David Mazzucchelli. I love Machinarium and Old Man’s Journey. I loved the animated movie L’Illusioniste. I also love lo-fi indie rock records.

I love the gentleness and the intelligence and the melancholy. I love the quiet and the lack of hurry and the sincerity. I love the way they feel. And with this list, I’m going to give you 5 (plus a bonus) of the ones I love the most.

Honorable Mention. Sufjan Stevens – Should Have Known Better

This is a delicate, gossamer track. Sufjan’s singing is a caress and that softness animates the track. It’s a very hazy, very ambiguous track and that’s key to the whole aesthetic. You don’t want full sentences or a full story.  The  empty space is the point. This is magical realism as music.

That gentleness and obscurity accentuate the melancholy of the music. The title tells you the emotion that the song wants to convey, but by itself, it would be flat. The attraction of this music is in the texture. It’s in pushing a feeling that you can’t pin down, but can only hint at. He sings “I should have known better / Nothing can be changed / The past is still the past / The bridge to nowhere / I should have wrote a letter / Explaining what I feel, that empty feeling” but his voice doesn’t carry regret, but lightness instead. It’s accepting of what has happened, not recriminating. Melancholy doesn’t have to hurt.

5. Girlpool – Chinatown

This is still lo-fi, still indie, but this is a track with an edge to it. Where “Should Have Known Better” is soft and gentle, this is a track that’s not shy about its pain. It’s a misfit’s song and so sharp it cut itself. “I’m still looking for sureness in the way I say my name” is a razor blade and the loud of “I am nervous for tomorrow and today” after the soft of the chorus has all of the emotion of Nirvana but with millennial anxiety instead of 90s angst and “If I loved myself, would I take it the wrong way” is a line both painfully smart and just painful.

4. Ghostpoet – Meltdown

Ghostpoet may not be the most traditional pick for a list like this, but “Meltdown” hits all the right notes for inclusion. It’s the sadness of a missed opportunity and of the gap between knowing that you should act and acting itself. It’s a hazy and indeterminate song, it doesn’t feel like any particular moment, but instead of a period that blends together in memory into a singular feeling.

It’s also strikingly urban in a genre that’s typically small-town. Normally, these songs are situated in a suburb that’s easily painted sepia, but this song feels like I walk I once took at 2AM in San Francisco as things fell apart. It was cold and the mist muddled the brightness of the streetlights and passing cars and the blurriness contrasted with the sharp, wet pinpricks of the air outside. It’s every bit as cinematic as anything else on here, but with a very different palette and for all of its differences, it holds all the same quality.

3. The National – I Need My Girl

You cannot write a list like this without The National. They’re the poster child of this kind of cinematic melancholy. Indeed, movies of this ilk turn immediately to the National for a reason. I was tempted to pick “Pull of You” or “I Am Easy To Find” off their latest album instead of this track. I Am Easy To Find took the giant step forward of adding female vocalists to their track and so balancing out their biggest flaw, their preoccupation with themselves.

It is for that preoccupation that I picked this track though, to highlight that clear single point of view that so typifies the genre. It’s in choosing self-flagellation over making amends. It’s in how the fault was his and yet he is still centered in the song.  He needs his girl.

That inability to understand animates the song though. This is the music of having made a mistake and being the kind of person who can’t fix it. Were it not for the delicate skill of the music, this song would be nothing, but instead it is the perfect distillation of the wistfulness of past wrongs.

2. Speedy Ortiz – No Below

I spent months singing the chorus of this song over and over again. I didn’t even sing the full thing, just “I was better off just being dead / Better off just being dead.” There’s something about the tone of Sadie Dupuis as she sings that I cannot resolve in my mind and so it sticks to me. Her singing is sweet and rough and jars so sharply against the song’s content, which in turn is so clearly enunciated that you cannot miss a single word and which itself communicates fatigue so cleanly.

Sometimes, things change you and you just stay changed. Some things are permanent. Sometimes, you can have all of the pieces you need to be happy, but you’re just not a person who can be happy in the way you used to be. It’s just not in your range anymore.

The distortion at the end of the song is everything here. The song is built on some very efficient storytelling. It’s honest, vivid narrative all the way through, and then the vocals stop and the guitar’s screech gives you some space for your own thoughts, and as this song describes, there are few better ways to lacerate.

1. Better Oblivion Community Center – Service Road

I’ve written a lot about things like magical realism and cinematic qualities in this list, but no song does that better than “Service Road.” It’s exceptionally clever and that results in truly excellent storytelling. “Asking strangers to forgive him / But he never told them what it is / He did to them that made him feel so bad” is evocative and open-ended and so the best of what the genre has to offer. Truly excellent melancholy is not mere sadness nor mere self-reproach, but needs the intelligence both to trap the singer and to enthrall the listener.

The comes through in the music as well. The simple, effective guitar frames the vocals very well and gives them space to be gentle, human and regretful. Where some of the other songs here have jagged edges, this one slips into you without a ripple and never leaves. I do wish that it had more Phoebe Bridgers though.

It ends on such an open note though. It ends with motion, with the feeling of freedom. Maybe that’s the only way for these to end. These are stories about life and there are no true conclusions there. Things go on.

The sharpness of a regret is not in it happening, but in living with it having happened, but maybe there’s a second side to that. It’s not in redemption or in self-improvement or forgiveness. It’s not even in having a fresh start. It’s just that tomorrow exists. It’s not a new day or a fresh page and it can’t change what happened today, but it still exists, both as blessing and as curse.

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