LINERNOTES & SEASONS.

Here we are! These are my 24 favorite albums of 2024! Well, there’s actually 32 haha! I added some bonus albums this year that are either EPs, live albums, or deluxe editions of albums I love. Here is a lot of super personal, rambling writing about my memories of these albums and why they are important to me. While 2023 was a more insular, “working on myself” year, 2024 had more outward facing highs & lows. A really fun & exhilarating Summer, followed by a fairly dark Winter. My writing this time around deals a lot with my inner thoughts, deep questions about life & death & time & magic, and how these songwriters & albums have made me think about it all. 2024 found me deeper in my thoughts than ever before. Still digging out, still figuring out who i’m gonna be, what I want to be, & where I want my life to go.

There is a deep thread of time running through these albums and my writing about them. I used these albums & songs as a way to “bend” time in my own life this year. To slow everything down. To appreciate songs & magic moments. Three minutes at a time. One walk at a time. One sunset at a time. Trying to make my 38th year last. I won’t belabor it here, I’m about to write some version of “magic” & “time” and “meaningful” in about 32+ different ways! If you’ve been following along over the years, I’ve been making this list every year since 2012, so this is my 13th annual! Every year I fall deeper in love with music and use it to guide my life in new & varied & exciting ways! I went to 141 live shows in 2024! I saw 13 (roughly 40%) of these artists live in 2024! As always, these are MY favorite albums and I use this blog as a way to introduce albums that I think are important (dare I say essential) for everyone to hear. Thanks to you for reading! And to all the artists listed below, thank you for creating these albums. Each one means so much to me, in ways I am still coming to understand, and they will all stay with me for the rest of my life. Without further ado, here they are!... My 24 favorite albums of 2024!

My 2024 Favorites Mixtape!

*

ADEEM THE ARTIST   /   Anniversary

“I came here with a strange & earnest feeling” 

This line is sung in the chorus of Adeem The Artist’s wistful “Part & Parcel” off their heartfelt third full length album Anniversary. A line that you could easily miss if you weren’t paying attention, a line so simple & so deep, a line that could stand as not only a mission statement for this album, but Adeem’s career. I feel that line. Like deep down, gut-punch feel it. Like it could be my mission statement. 

“I came here with a strange & earnest feeling” 

How do you explain a strange & earnest feeling? It’s the kind of iykyk moment that leaves me feeling understood by Adeem. Like the feelings go both ways. To be strange & earnest may be Adeem’s lifelong blessing & curse. The rest of the song rides along on a gorgeous lilt, a song of yearning, of trying to build a career in music “And the timelines interweave” Adeem croons mysteriously “creating patterns that I trace and fall asleep in my parents basement.” Verses about childhood & adulthood find Adeem chasing “all of these contradicting versions, childhood perversions, and dreams that never steer. Let them drive a little while so that I can disappear.” and then, like the late great Tom Petty they trail off and disappear back down south “Into the great unknown, I am nameless…”

Well, here we are, it’s 2024 and we’re starting this list in the exact same place we started 2021 AND 2022! Alphabetizing by first name has put Adeem on the top of this list 3 of the last 4 years, and I LOVE that! I love this album, I have loved following Adeem’s career, and I can’t wait to see what’s next! 

Anniversary is another absolutely, barnburning Adeem The Artist masterpiece. Dynamic, unpredictable, full of life & humor, a real real-life album full of glowing, autobiographical snippets and powerful political statements from Adeem’s colorful life. Adeem challenges the religious right (“Nightmare”),\ tackles personal relationship responsibility (“Wounded Astronaut”) fatherhood (“Rotations” is ummm… quite the tearjerker!) apocalyptic homesteading (“Plot of Land”) and of course, the Genocide in Palestine (“Night Sweats”) and the racist, murderous history of the south (“White Mule, Black Man”). Anniversary is the kind of album that attacks everyday problems with an “I don’t have all the answers, but singing & talking about it seems to be one of the only options we got” kind of way. But never fear, Adeem’s belly laugh humor is still present in these darkest of times. “Nancy” rides a perfect little twangy country riff and has my favorite laugh-out-loud opening line of the year “She’s got borderline personality disorder and in order to get off she’s gotta see me cry” Adeem contains multitudes! I have a feeling that opener “There We Are” is gonna be a deep favorite of mine for years to come. It wears its Josh Ritter vibes on its sleeve, a rumbling, rattling mystery, the kind of song you can listen to for years and still find meaning in it's strange & earnest darkness. All in all, Adeem has built a deep catalog of powerful folk & country songs; songwriting both immediate & timeless, songs that make me cry & laugh & dance along in the shower and the kitchen and on my late night walks!

I have this dream where we live in a music world where Adeem can headline Red Rocks. It’s sometime in the Summer, hot & sweaty, with dry lightning threatening in the distance, a show for the ages. Because this is my dream, I build the setlist and I describe the crowd. A sea of queer colors, cowboy hats and extravagant outfits, think Orville Peck & Kacey Musgraves meet Jason Isbell & Tyler Childers meet Chappell Roan & the swifties. Adeem comes out with a deep cut opener, I’m gonna choose “Carolina” (the slow burn opener from 2022’s White Trash Revelry, I mean “I started out as a light in my father’s eyes” is a fucking baller Red Rocks opening line!) although as a diehard I’d also like to hear "Chicken Scratch Love" get the same re-record treatment that “Carolina” got (Adeem?! LP4?!) So yeah, that 2019 raucous, sunset strummer about kissing, hiking, cigarettes, west coast road trips, summer rain, gin, more kissing, yeah, that one comes second! The sun is going down now and I like a slow burn start, but the Red Rocks crowd needs some energy, so I vote “Plot of Land” Adeem’s 50’s blues rocking, Johnny B. Goode ode to homesteading next! Rife with blueberry bushes & pecan trees (you better pronounce it PEE-can) and against the throes of the economic crisis, Adeem belts an inspiring, uplifting anthem that looks to hope “the world’s all wrong and we don’t belong, but baby we’re making us a better one, and it ain’t just us with a heart full of justice, it’s tough, but it’s catching on!” They jam this one out a few minutes, settling into the Red Rocks stage, the band is hot and Adeem is laughing & dancing; before launching into back to back face-punch protest songs, Anniversary’s “Nightmare” and 2022’s “Heritage of Arrogance.” “Nightmare” embodies the same “put yourself in someone else’s shoes” supposedly christian ideal that Tyler Childers referenced so powerfully back in 2020 when he released Long Violent History. At the root of my growth & change over the last 10 years of my life is putting myself in someone else’s shoes. Taking them at their word. Making their problems my problems. After that, it’s time to have some good old fashioned country fun. The crowd participation singalong “Going To Hell” backs perfectly into “One Night Stand” the greatest country love song written in the last five years. If you like late 90’s, early 2000’s classic (and maybe kinda shitty) country music (think Garth, Toby, Tim McGraw, Alan Jackson, Travis Tritt etc…) don’t sleep on Adeem’s classic country bangers! It’s almost dark now, a perfect Summer night and the moon will be rising soon, and hey I got an idea! Maybe Nathaniel Rateliff wants to surprise-guest-come-out and sing & dance a little (I’m thinking “Fast Cars” or “Socialite Blues”) cuz Adeem’s got big band rock & blues & soul bangers too! There’s space in here for a few deep cuts, I’ll let Adeem play whatever they're feeling, my only request is that they hop on the grand piano and play my 2022 fav “For Judas.” I’d also like a little, in-the-crowd-banjo-medley moment with Cast Iron Pansexual favs “I Never Came Out” “Honeysuckle Hipbily Homo-Erotica” “Going to Heaven” and the silly random fav “Asheville Blues” (which I think Adeem could turn into a Boulder joke probably). I could see Adeem throwing one big cover song in, but I definitely want a full band version of “Fervent for the Hunger” for my closer. A strange & earnest feeling song, an “I’m still figuring out who I am & why I feel this way” song. A barnburner, a whooper, a lifelong favorite, trafficking wonder, "sutured with lip gloss & hot sauce & Indian summers" I'm dancing & singing & cry laughing "just a kid with a mixed up head... fervent for the hunger..."

For the encore, I’d love if we could welcome another VIP local guest, Gregory Alan Isakov out to play a duet, and in thinking about the threads between Adeem & Gregory, I’d love if they could do John Prine. I’d pick “Far From Me” since it’s late Summer, but take your pick Adeem and Gregory! After that Adeem plays their most streamed sp*tify song “Middle of a Heart” a trigger warning, tearjerker about America’s gun crisis, veteran suicide, and sobering small town truths. Finally, Adeem closes with their lifer tune “Live Forever” a reverb drenched showstopper about life & death. As Adeem’s guitar echoes out across the rocks, everyone sings along “I’m a daughter of feminine wisdom, son of the American dream” Adeem is singing for all of us now, this isn’t just for them to carry on, this is for us. What will be remembered about you when you’re gone “Sing one of my songs from time to time” Adeem asks, and I promise through my tears that I will. As the last notes drone out, I realize that Adeem is years into building a catalog. A collection of songs that mean a whole lot to a few of us. The kind of grassroots career that takes a lot of time and a lot of work. Adeem is in the middle of it now, Collections of songs that have marked time & space for me since 2019. Songs & albums that mean the world to me. Anniversary is a special album, An album about cycles, an album about timelines. Adeem came here with a strange & earnest feeling, and I’m leaving with that same feeling. Walking down the steps under a full moon, singing quietly to myself, daydreaming about my own personal cycles & timelines and how they interweave. Thanks Adeem, I'll hold onto these songs & feelings forever.

"Now Isley’s in the backyard with fists of Dandelion / mixing potions up in mason jars with mint & wild violet / were that I could trap that laughter in a vial around my neck / save it for the hard times so that I could open it / 'cause I know it goes fast, everybody says that / it’s on every fellow parents lips / but it’s true and it’s coming fast for you / that sweet & beautiful eclipse..."

*

ADRIANNE LENKER   /   Bright Future

In 2024 I talked & wrote & thought a lot about the power of music to bend time. How a song can stretch 3 minutes out for eternity, freezing & melting & twisting time. Forcing me to let go, giving me the space I need to slow down, to mark things, to feel the sobering, eternal passing of time, to live in the moment. Perhaps no other record on this list practices that magic as deeply as Adrianne Lenker does on Bright Future. Recorded straight to tape, 3 minute moments memorialized for eternity; Adrianne sings about time like she knows a secret I haven’t found yet. A secret that she wants to tell me. Whispering in my ear under the cover of a blanket fort. Since we’re bending time a little, let’s start at the end. “So much coming through” Lenker sings longingly on pleading closer “Ruined.” Over hushed, sustained piano, she sings about a missed connection, a secret, faraway love. “So much coming through, every hour too, can’t get enough of you, you come around I’m ruined.” Every hour is how I marked the passing of time with Bright Future this year. Every song another chance to bend, to focus on just an hour. When I listened to this album, I sometimes listened to it as a whole, transfixed the entire way through. Sometimes, I would loop one song for an hour. 3 minutes turning into 9 minutes, turning into 33 minutes and on & on… When “Ruined” loops over into “Real House” Lenker sings plainly about her childhood, telling us a story of growing up. “Do you remember running?” she asks innocently “the purity of the air around. Braiding willow branches into a crown.” In that question, I am hers. I too want to talk childhood, I too am obsessed with the same youthful magic & teenage love that we’ve been seeking since those early days. The power in Lenker’s writing is how it feels like a conversation. When I listen to Bright Future we are staying up late together, maybe walking through my beloved Cheesman Park, pointing out trees that look like monsters, pointing out the clouds & stars & city lights, noticing the late night magic. Maybe we’re drinking wine out of paper to-go cups, she is sharing her teenage trauma, she is sharing her 31 year old trauma, she is sharing, sharing, oversharing. The kind of convos that might scare off less serious friends, but are really the most important thing we have. 

Bright Future marks another chapter in what is becoming quite the songwriting streak for Big Thief’s primary songwriter Adrianne Lenker. Between her solo work & Big Thief, she has released 8 albums in the last 8 years (I might be missing some actually, but it's well over 100 songs in total!) all full of her now trademarked magical, mystical, down-to-earth songwriting style. She is critically acclaimed & widely celebrated at 31 years old. Perhaps my favorite album title of the year, Bright Future marks the year that Lenker returns to my favorite albums list. When I talk about my favorite songwriters, I often tell people how a new album from them feels like an overdue, deep friend check in. How have they’ve been? Where’s their head at? What are they up to and what deep questions have they been pondering? Lenker’s writing makes good on those check-in convos, Bright Future touches on the apocalyptic horrorscape that is the rise of capitalism & the fall of civilization all around us. But despite that darkness, she is spinning tales of love, deep deep love, and how happy she is to play in this world. Personal favorites include “Fool” a vibey indie bop that my littlest sister showed me before I landed in Arkansas last June. “We could be friends” Adrianne asks sweetly as only she can “You could love me through & through” before sharing what could be the best relationship/life advice on this whole list “Just say what it is that you want.” From there “Fool” (and the rest of the record) tell tales of all her real life friends (Tommy, Kenny, Lu-y, Zoe, B, Jamie, Max, John, Lucky, Jerry, the list goes on). Album centerpiece, and all-time love song “Free Treasure” invites a lover to a secret river spot, to dance, to sing, to cook together, leading to a chorus that speaks deeper of love than any song I can remember from the last 15 years. “You show me understanding, patience & pleasure, time & attention, love without measure.” This is a “Landslide” level all-time great song, put it up there with “Fast Car, “Tangled Up In Blue,” and “Hallelujah.” Lenker is swinging for the fences, shooting for the moon, leaving a blazing comet trail of songwriting greatness. 

Through it all, Lenker’s songs consistently saw me through another challenging year. They look past our current darkness, they see… idk… a Bright Future. They are rooted in the everyday, mundane conversations, the kind of magic that comes from being completely and absolutely yourself. The kind of relationships that can only be built on meeting people where they are, where you are. Telling the truth, leaning into love, looking for a future, somewhere deeper, somewhere brighter. On an album full of lifelong love songs, Lenker asks the kind of questions I like to ask. She experiences love the same way I seem to experience it. When she sings to a lover on the oooof-inducing  “Sadness As A Gift” it feels like she is singing to me and no one else “You & I could see into the same eternity” she states sweetly “every second brimming with a majesty. Oh kiss so sweet, so fine, you could hear the music inside my mind, and you showed me a place I’ll find even when I’m old.” Is that place the secret river spot you were telling us about in “Free Treasure“? A place “so deep & green, with wild raspberries & apple trees & rocks to climb between, with water like a washing machine.” I have a feeling Adrianne has a few places like this, and honestly, they can be found (or created) right in your home, in your own mind, just “Leaning on the windowsill.” Finally as “Sadness” finishes, she throws out a question. A random deep thought, an idea about the passing of time that sometimes seems to occupy 100% of my mind. “The seasons go so fast, thinking that this one was gonna last...” Maybe we talk about it for hours together. Maybe this one is gonna last. Or maybe, just maybe… idk, Lenker shakes her head and laughs it off, a laugh like the washing machine river water at the secret free treasure river spot  “Maybe the question was too much to ask…”

"We moved into a real house, a wild field behind it / I wanted to be an inventor, collected scraps to make a portal / I wanted so much for magic to be real..."

*

ANGÉLICA GARCIA  /  Gemelo

It has been four long years since Angélica Garcia topped my 2020 favs list with her breakout sophomore album Cha Cha Palace, a record that I called “a rhythmic, bombastic masterpiece.”  In those four years I feel like everything has changed for me. I’m now single & living alone, working towards an entirely different career; older, wiser, but I still feel mostly the same. Similarly, Garcia has been busy in the four years since Cha Cha. Musically, she has mostly moved away from the aggressive, blues inflected electric guitar from her first two albums and leaned more heavily into vocal looping. Her voice is a showstopper and when I finally saw her live last February opening for Blonde Redhead at the Gothic, I was blown away by how much power she could generate on a stage by herself! Gemelo practically burns with cascading, evocative vocals, slithering & pirouetting over dark, moody electronic beats. Personally, Garcia has also lived a lifetime since Cha Cha, ending an engagement and moving back to her LA home to be closer to her family. In press for Gemelo, Garcia talked plainly about the grief & pain that came with the ending of that relationship, about not feeling like a “good person,” and the weight & freedom of choosing yourself, even if that means hurting someone else. Gemelo is sung almost entirely in Spanish (a first for Garcia), so I haven’t been able to pick up or translate many of the lyrics. In fact, my goal from this album is to finally put some effort into starting to learn Spanish in 2025! Will update you next year! In the swirling, dreamy “Color De Dolor” she references the pain & grief of her last four years singing “even though I will never sever the ties with my pains, I paint them full of colors.”

A loose, concept album about processing personal grief, Gemelo means “Twin” in Spanish. Garcia says it refers more to the “twin self,” the unseen version of you that exists deep inside, like she cleverly sings on the aptly named “Gemini” “I see double, I see double, everywhere I go.” Garcia says that the writing for Gemelo really began when she had a mini epiphany about trusting yourself. She said she felt like she could trust her body more than her brain. With that in mind, Gemelo started to take shape around the musicality, both Garcia’s commanding vocals, and the dynamic electronic backing rhythms. Produced by Chicano Batman’s Carlos Arrevalo, Garcia says she wanted the beats to sound “elemental,” like dirt & rocks, water &  lava. This is a dance record, but not in the same way that BRAT is. These songs are sensual & slinky, moving loosely & languidly, sometimes sneaking up with sparks and stutter steps, but all living in a constantly moving body. When Garcia really does cut loose (ok, “Y Grito” & “El Que” could both totally live on Cha Cha Palace, and never fear, she has not lost one ounce of her in-your-face bombast!) the results are explosive & demonstrative. Garcia belting over pounding drums, her voice swirling to the ceiling, dreamy, sweaty, sexy, strong.

As Garcia started to trust her body to Gemelo, she encourages us to do the same. I’ve taken to dancing in my kitchen in the dark more often. It helps if I’m a little tipsy, but I’m not usually much of a dancer, especially not in public. If we’ve gone to shows together that I’m really into, you’ve probably seen me bop around, but it’s not really dancing. At the encouragement of Angélica & Gemelo and others on this list (get ready, I’m definitely leaning more into electronic music these last couple of years!) I’ve been tried to move my body more. Slowly at first, feeling the music in my arms and legs, loosening my neck, loosening my heart. I’m always a lyric-listener, so it’s nice to take my mind off the words and think about how the music feels. How it seeps & traces & moves through my body. To let it take me over, from my head to my toes, through my chest and out my arms to my fingers. A surrendering process, a healing process. Thank you Angélica & Gemelo for teaching me and moving me this year. I hope to keep learning, keep moving, keep living, keep loving. This album is special.

"Llegas a decirme 'esto también pasará, entre las reflexiones dentro amores, ya sanará...'"

"You come to tell me 'this too shall pass, among the reflections within loves, it will heal...'"

*

*ANGIE McMAHON   /   Light Sides*

If you read this list last year, you know that Angie McMahon’s earth-shatteringly magical sophomore album Light, Dark, Light Again was my favorite album of the year. The songs on Light, Dark, Light Again were healing, essential, & life changing when I needed them most. Years & years from now, when I’m in my 40s, I hope to look back and remember what it felt like to hear those songs for the first time. The soft, summery opening swell of “Saturn Returning” (a call to dance, a call to love your body & mind, a call to be “wide awake when I’m 40!”) to the measured, dedicated drive of “Letting Go” (a call to be proud of yourself, a call to let go, surrender, & move on. A call to not only love, but celebrate the mistakes you make) to the final seance; the captivating, illuminating, life changing “Making It Through” (a call to grow, a call to survive, a call for routine & cycles, a whole life in one song). A mantra I’ve repeated desperately, quietly, & finally peacefully “light, dark, light again…” Safe to say, Angie’s writing means the world to me. Since the album came out in late Fall, my listening carried over into 2024, making her my most streamed sp*tify artist of the year. Last March I planned a trip to San Francisco to see my friend Steph (& her fiance Sarah!) and we saw Angie for the first time at the Chapel. It was powerful, emotional & spiritual in ways that I’m still fully understanding. One of my favorite concerts I’ve ever been in a room for. Most of that show is on youtube if you’re interested! One of my favorite nights of 2024. I felt so so so lucky to be there.

In late July, Angie announced that she had a few more “light” songs that hadn’t made the album, and that she’d be releasing them as singles for this EP. Light Sides. I knew from the first moments of first single “Just Like North” that these songs were just as special. Like catching up with an old, close friend after some big life changing experiences, Angie’s voice sounds familiar & comforting, singing about more change... more light & dark! “This season is for going back to the sea” she states majestically, still trying to shake some of the pain & mistakes that were littered throughout Light. If you ask me years from now, I’ll probably believe that these songs exist as part of the full album, a swirling, building masterpiece. They come from the same place, feel the same emotion… Sooooo... most nights in August I could be found roaming Cheesman Park, making mistakes like Angie encouraged, believing from the bottom of my heart that (as “Just Like North” concludes) “If you get everything right… then there’s nothing else left.” So cheers to making mistakes & not getting everything right! Personal favorite “Untangling” hones in on the change Angie keeps referencing, she is growing, she is changing, she is “untangling you from my center.” Finally, the root of many of my lessons over the last 2+ years, the kind of truth that cuts deep & hurts to hear, Angie states firmly “my least favorite feeling is hurting someone cuz I was slow at healing.” OOOF Angie. Fuck. I think so many of the lessons I’m learning, so much of why I sometimes feel insular, removed, & distant, circles around this idea. At its core, it means to love others you must first love yourself, Must do your own healing. It doesn’t mean you have to heal right away. It doesn’t mean you have to abandon friends & loved ones. But everytime I doubt my process, everytime I question why I’m still single & alone, I sing that line back to myself. I work on my own healing. I try to be good to others, I try to be good to myself. Light Sides stands as a sister to Light, Dark, Light Again, a really special little EP to me. But wait! There is one more song! On December 12, English superstar DJ Fred again.. (wayyyyy more on him if you keep scrolling!) released his remixed version of “Making It Through” simply called “light dark light.” A perfectly simply closing. A magnificent celebration of the power of a song. When I recognized Angie in my yearly spot*fy wrapped post, the message she recorded for her top fans said that she was excited to “keep writing the next thing” and then she said “I hope you’re excited for the next year and the next thing!” I am Angie. I fucking am. Thank you for every single one of these songs. They will be with me for the rest of my life.

"Pain will be on every map just like north is / pain will be in every year just like august / & if you get everything right... then there's nothing else left..."

*

BRITTANY HOWARD   /   What Now

I don’t really know where to start or what to write about Brittany Howard’s second solo album What Now. This is an incredible, legendary album made by a superstar. I’m hesitant to hurl hyperbole but What Now conjures visions of Prince, Curtis Mayfield, Daft Punk, Stevie Wonder, Nina Simone & Alice Coltrane. These songs are ALIVE and they contain multitudes. Never has an album this varied, this galactically genre-jumping, sounded this cohesive. Brittany’s heart & brain, hands & voice all work together to make What Now an absolute masterpiece. This list has always been a very “Matt’s-favorites-not best” list, but if I had to pick an objectively best album on this list, it is hands down What Now.  

First off, Brittany has pushed the boundaries outward in all directions, tackling wildly varying soundscapes, genres, & feelings. From the fiery, flowing funk of the title track, to the vocal acrobatics and lush 60’s-meets-modern-pop production of “I Don’t” (if “Sound & Color” is your favorite Alabama Shakes song, start here!) to the dance-y (cuz OF COURSE Brittany can do dark, chill house vibes better than all yall) groove of “Prove It To You.” How Howard turned these intimate, delicate songs into stadium level anthems is a masterclass. I don’t usually put chart-topping, grammy winners on this list; because my blog is more to introduce people to new music, to find the undiscovered songwriters, but it’s clear that Brittany Howard is a superstar for a reason. When I wrote about Kendrick Lamar’s DAMN in 2017 I said “This is the kind of album you make from the top of the mountain, huddled in the cave, searching for enlightenment.” When I wrote about Florence Welch’s Dance Fever in 2022, I asked if she had "some demon or angel inside of her, something that all great artists have that forces them to create.” Brittany Howard has entered a rare stratosphere on What Now, having conquered the world with her rocking, retro-soul band Alabama Shakes, and won grammys for her solo debut album Jaime. She truly is creating from the top of the mountain, embodying the "What Now?" idea that the album title suggests. What she has given us is nothing short of a career-defining, future looking, alien spaceship, time capsule, all-time-instant-classic sophomore solo album.

I guess, what I love the most about What Now, is just how freakin GOOD the songs sound. The instrumentation is absolutely phenomenal (read some gear interviews with Howard, she is a true music nerd!) Brittany’s voice is earth shattering, and EVERY SINGLE SONG is like its own little universe to explore. Favorite moments include: The first piano chord on the album, 23 seconds into “Earth Sign” surrounded by swirling crystal singing bowls (Howard uses them between songs to set the vibe) the keys paired with her airy, harmonic layered vocals sounds like something from 2050. Or the sweet jazz trumpet outro in the last 2.5 minutes of “Samson” one of my favorite musical interludes of the year. Or the slinky guitar riff that slides in with the groovy soul vocals 20 seconds into “Power To Undo” before the song absolutely fucking lifts off in full Prince fashion 45 seconds in. Through it all, Howard’s voice is the flashlight, the lighthouse, & the beacon; shining through everything, steering the songs upwards & outwards, navigating through dizzying, tangled webs of intertwining bass & keys & guitars & synths & drums, always in search of truth. When Brittany was asked about her creative voice on What Now, she answered simply & deeply... “I turned 35 this year and something happened, just snapped. I don’t really care what anyone thinks about my expression, because it’s so divinely mine.” What Now indeed. 

“Out there, there's a love waiting for me / I can feel, I can’t see, but will I know? / will I know when I feel it? / the first moment I see it / the first moment that I hear you say my name / will you say my name?... / in the wet of my eyes / in the wind of my chest / it’s nearly there…”

*

*CHARLI XCX / Brat and it’s completely different but also still brat*

You didn’t think I was gonna leave BRAT off this list did you?! I’m choosing the deluxe edition for a couple of specific reasons, although tbh, the original BRAT is just  “disc 2” of the deluxe edition and it fucks as hard as everyone says it does and you can totally just listen to that all next Summer and have yourself a Brat Summer Vol. 2. I don’t need to go super in depth on the BRAT hits of here, I mean, the first 10 seconds of banging club-ready opener “360” will forever take me back to early Summer 2024. The soaring, bumping chorus of personal fav “Sympathy is a Knife” (which always reminded me of peak mid-2010’s CHVRCHES) is enough to get my adrenaline pumping, and the thumping 80’s groove of “Apple” is nostalgic in the best kind of way. It’s hard to believe these songs have only been in the world for less than a year. There were hot Summer days where I walked across Cheesman and heard BRAT songs blasting from multiple speakers on multiple blankets, soundtracking multiple boozy picnics, shirtless volleyball games, and dog hangs. I can’t remember a better example of INSTANT CLASSIC. Charli is a superstar and BRAT is career defining.

I’m choosing the deluxe edition for a couple of different, very specific & meaningful reasons. Reason number one is for the power a song or an album can have to morph & grow & change. Everyone's favorite BRAT songs have taken on new forms here, and they’re glowing with the power to influence your life in different ways and at different times. Examples of that power are littered throughout this list and throughout my life as a music fan. Songs that you fell in love with one season, can come back to you in a different way in another season. Songs that you weren’t ready for one year, can find you exactly when you need them. An old song sung in a new way can change the world. Reason number two is to memorialize the night that the deluxe edition came out on sp*tify. My siblings & I were in Durham, North Carolina for my cousin’s wedding and my brother Willie & were en route to RDU to pick up our youngest sister Bethy at midnight. We parked in the satellite lot under the moon to wait for her to land and played the 1975’s version of “I might say something stupid.” as loud as our rental car speakers would allow. The 1975 is Willie’s favorite band, and Bethy, Will & I have bonded over them and the Japanese House over the years, and The 1975 actually made this list back in 2020. We sit silent in the car as Matty Healy coos over whisper sweet piano, and it could be any year. It’s 2015 and Willie is moving to Portland, Oregon. We’re racing across bridges over the Willamette River, city lights dancing behind us, playing each other Angels & Airwaves, Frightened Rabbit, Typhoon, Macklemore, The Boxer Rebellion, LANY, The National, and the 75. We’re talking about new girls we like. About coffee & baseball, figuring out religion, figuring out life. The rain blurs the window and the wipers whip us forward another year. We’re winging our way to the coast, sweeping through gloriously green coastal pines with glimpses of ocean blue peeking between rocky cliffs. Then I’m crying on the plane, headed back home. Fast forwarding years and I’m in Arkansas now with Bethy. We’re getting a nightcap beer in some little hipster spot in Fayetteville. Talking about her life there. About growing up. About some deep, existential shit, bending time or whatever. I’m zoning out, looking out the window, listening to Matty Healy’s voice melt with Charli’s, flashing back to 2015, to 2020, to last month, to sunset. Time flings us all forward and now we’re in some unrecognizable state. There are trees yes, and a coastline, and I don’t know exactly what year it is, but I feel much older. We’re talking about Brat Summer and how “those were the days...” Willie’s daughter (my perfect niece Coco) is in college and crushing it, Bethy is married and I’m the happiest I’ve ever been… We’re all laughing about something. We can hear our other brothers & sisters laughing somewhere down the shore, walking back at dusk. I snap back and it’s now. Here. This year. We pick Bethy up at midnight and blast Charli (and honestly probably The Japanese House and The ‘75!) together on the drive home to the airbnb. BRAT sounds just as fucking fantastic in the Fall. Brat Summer is a feeling. Brat Summer is a state of mind. Brat Summer is for all of us. Brat Summer is for now. Brat Summer is forever...

"Fall... fallin'... fall in love... fall in love again... fall in love again & again... / (it's like you're living the dream, but you're not living your life...) / church bells in the distance / free bleeding in the autumn rain / fall in love again & again..."

*

CINDY LEE   /   Diamond Jubilee

Like a ghostly transcript from an alien radio station, Cindy Lee’s Diamond Jubilee slipped into my life in April and refused to leave. It was like one day I had never heard of Cindy Lee, and a week later, all of my music feeds were raving about this mysterious album from long tenured Canadian indie musician Patrick Flegel, who performs in their drag persona as Cindy Lee. Flegel spent a chunk of the late 2000’s fronting influential Canadian post-punk band Women, but they clearly have more up their sleeve; and have spent the last five years dreaming up the mythically massive scope of Diamond Jubilee. A masterpiece, a magnum opus. 2+ hours & 30+ songs! Music lovers unite! Of course I first heard about it word-of-mouth from a much cooler co-worker (love you Ike!) He told me it was only available to listen to through a youtube link on Cindy’s geocities website (as of writing, it’s still not available on streaming, but the youtube video has 1.6 MILLION views!) but that they were playing Hi-Dive here in Denver in a couple weeks! I should have bought tickets right then, but I waited and subsequently got shut out of their hella sold out Hi-Dive show, a couple days before they cancelled the rest of their tour. But honestly, I didn’t mind. I like having some things that are a little inaccessible, that make you work to earn it. You could call Cindy’s approach hipster allegiance to DIY & underground culture, or just a groundbreaking artist refusing to play by the rules. Diamond Jubilee feels like a calculated, artistic choice to practice some scarcity. As much as I love a good album rollout, it can get a little exhausting. To be honest, it was refreshing to wake up on a blue Saturday morning in April & May and simply click on that 2 hour-straight-through youtube and listen while I made coffee & breakfast with the windows open. Transported to another time, another planet, another life. WIthout knowing the name of a single song, or being able to sing one lyric, Cindy Lee stole my heart. 

It's hard for me to explain what exactly makes this album so special musically. To me, it plays as a whole. I can’t tell you which song is which; a fact I primarily attribute to playing that unbroken youtube link, starting at different points, never certain if I was at the end or the beginning. Or both? Or neither? Dreamy, moody, hard to place, like that mixtape your friend’s much cooler older sister showed you in High School. Mystical & magical, but warm & tangible, like you could make these songs yours too. I hear The Beatles, I hear Fruit Bats, I hear classic soul & 50s & 60s girl groups. I also hear modern folk & indie rock, sung gorgeously throughout in Cindy’s timelessly retro falsetto. This is how Lord Huron WISHES they sounded! Songs painted with western vistas of plains & canyons, distant city lights, UFOs & headlights over the dunes. I turn the dial and scan the AM radio waves, past minor league baseball & late night talk shows, until a warped acoustic guitar makes me stop in my tracks. I fiddle but it still doesn’t sound quite right. I hold my breath, Cindy sweeps in like an angel, the music pulses & sways and you just feel it. I bop along in the driver’s seat, smiling at just how good it sounds. I’m reminded of the power of music to transport me. I could be anyone, on any planet, in any lifetime. I’m happy to be me. I’m happy to love anything as much as I love this exact song at this exact moment. I roll down the window. The air is warm & light and feels like real Spring. The night stretches on, but it doesn’t matter. I could listen to this album till the end of time. Till the aliens come. Thank you Cindy. You deserve every single accolade. This is why I love MUSIC. Long Live Cindy Lee. Long Live Diamond Jubilee.

"Through my window, a silver moon / an open suitcase in an empty room / all I've got is the truth / all I want is you..."

*

CLEMENTINE WAS RIGHT   /   Tell Yourself You’re Going Home

There is a scene in one of my secret favorite “random-life” movies, the soul searching “Away We Go” where 30-something couple Burt & Verona (played sweetly by long time favs John Krasinski & Maya Rudolph) lay in bed together and she asks him honestly “Burt, are we fuckups” Burt answers emphatically “NO! What do you mean?!” She replies “we’re 34 and we don’t even have this basic life stuff figured out. Basic like how to live. I mean, we have a cardboard window!” They argue briefly about whether or not they’re “fuckups” (an internal argument that I’ve had with myself more than I care to admit over the last 8+ years of being a 30-something, a battle of positive/negative self-talk) before the scene launches into Alexi Murdoch’s haunting “Blue MInd” (I highly recommend both the movie and Alexi’s gorgeous soundtrack!) and Burt & Verona spend the rest of the movie searching for a place where they fit. A place where they are free to be fuckups AND be happy. I think of this scene everytime I listen to the seagull-soundtracked, aptly titled, mournfully silly  “It’s Ketchup (We’re Fuckups)” on Clementine Was Right’s majestic third (Junior?!) album Tell Yourself You’re Going Home. Clementine Was Right sings songs for all us fuckups. For the 30-40 somethings who care so much about the world. About feeling things and experiencing things, about celebrating the tiny, wonderful, magical things all around us. Maybe we have a cardboard window & a broken faucet, maybe we struggle with health insurance & car insurance & finding where we fit. But when the light pours out like syrup or ketchup (or a concrete wall loves the color of the sky at dusk!) sometimes, with the right song, it feels ok to be a fuckup. 

The songs on Tell Yourself You’re Going Home have wedged their way into my life in essential pieces over the last year and a half. After putting their 2022 album Can’t Get Right With The Darkness on my favorite albums list (I called it “a postcard of American rock & roll, with silly drawings on the back in gel pen from all your queer friends”)  I finally met Clementine’s captain & lead storyteller Mike Young & his partner (and Clem’s resident poet & narrator) Gion Davis at shows and became friends. In that way, I’ve had many of these lyrics memorized from live performances long before the recorded versions were released. This is a secret, special way to learn favorite songs, a deep, deep connection. Believe me when I say, the Tell Yourself You’re Going Home release show in May at The Roxy on Broadway was one of the most special live shows of my music going career. When people ask me about my all time favorite “local” bands, Clementine Was Right always makes my list. 

The songs on TYYGH are special. Mike writes from the heart and he wears his heart on his sleeve. Painfully heartfelt, with little silly bits, streaked with Mike’s passion to tell everybody’s stories. To recount the dumb little details. To notice as much as possible. There is a theory I’ve built that started buzzing in my brain around a Mountain Goats lyric about “nameless bodies in unremembered rooms” and to be honest it goes deeper than songwriting. At its core it’s the idea that we need to care about people that we don’t know, in places we’ve never been. It’s the type of thinking that leads us to feel deeply for the Palestinian genocide, to mourn the murders of trans women in the US, and the countless Native Americans gone missing without a trace. We don’t just care that Paris Hilton’s house burned down in the LA wildfire because we know her name, you get it right? In a lighter sense, songwriters tell us stories and give names to those people (and since songwriting is my portal) it serves to change my views, and therefore my life. Mike names everyone, from Travis, Jesse, Hunter & Charlene in “There Are No More Almond Trees” (the unfortunately way-too prescient apocalyptic punch to the gut opener that sounds like the kind of scream-y indie rock I would’ve blasted in high school & college) to Christine & her late husband Paul in the tear-soaked “Coca-Cola Vigil.” He tells stories, he remembers your story, he makes each & every person he comes in contact with feel like their story is essential & important, worth singing about, worth remembering. 

In June of 2023 (a month before it’s actual release!) Mike texted me a wav file of “River Boys” (a new song they’d been playing live) and I played it on repeat for all my Summer creek adventures over the next two Summers! Imagine Tom Petty (or idk Matchbox 20?!) wrote a gay love song to a river, to the passing of time, to life & death, to the end of the world. It’s like it was meant for me! My other personal favorite “Takes Tall Walks” was the lead single (suicide trigger warning here) and it’s hard to think of a better opening line on this list than...

“Well I love the kitchens of all my friends / Every mug for whiskey, every regal pet.”

Clementine’s entire discography (dare I say life philosophy) can be wrapped up in that one line; songs for hanging in kitchens with friends, songs for mugs of whiskey, songs for regal pets. Songs about life & love & the passing of time. Finally, TYYGH arrives at its penultimate track “Goddamn Universe,” an earth-shattering poem from Mike’s partner Gion, the critically acclaimed New Mexican poet. When I wrote about their 2022 album, I talked about how Mike & Gion’s writing is all tangled up in the story of Clementine. Their lives, their voices, their writing, their words echoing off each other, reverberating against reverb drenched electric guitar strums, careening down hallways like summer thunderstorms, lightning & wind, time going on forever in a never ending flat circle. Songs & poems for lovers & friends & fuckups, Summer looming over the ocean, hard blue linoleum, another year passing, love platonic & romantic, the little things, the massive things, everything… I would have crossed state lines for less.

"You told the world 'I feel lost' / you told the world 'let me off' / you watched the lightning take tall walks... / & I want to tell you I see everything / two redwood trees at the edge of the beach..."

*

DEERLADY   /   Greatest Hits

Greatest Hits is the debut album from Deerlady, the brand new indie, shoegaze, slowcore supergroup duo of Mali Obomsawin & Magdalena Abrego. The songs on Greatest Hits are moody, dark & mesmerizing, led by Abrego's rhythmic, explosive guitar and Obomsawin's dreamy, floating vocals. This album fucking rocks. Deerlady was started by classically trained bassist, composer & songwriter Mali Obomsawin (whose gorgeous solo album nearly made this list in 2022). As she was writing more rock inspired songs a side project, she reached out to fellow Berklee alum, free jazz, punk guitarist Magdalena Abrego to form Deerlady. The result is nothing short of incredible. More supergroups please people! More collaborative writing projects! Deerlady is a force. “Honestly, it just feels fucking great to be in a rock band” Obomsawin said with a laugh in press for Greatest Hits. “I feel like that’s my natural state, but then I have to put on my suit jacket and pretend to be a respectable grownup when I play in my jazz band.” (Obomsawin has fronted the Mali Obomsawin Sextet for years on the jazz festival circuit). Abrego adds “I feel like clarinet-playing, childhood goth girl Magdalena would be so psyched right now! The thing I’m most excited about is the opportunity to be in a rock band!” That excitement, that “fucking great” feeling can be felt throughout Deerlady’s songs. Abrego’s unhinged, raging, spiraling guitar swells in and eviscerates Obomsawin’s vocals like a crashing wave. Obomsawin wails, her bass throbs, Deerlady is the fully realized result of two world class musicians cutting loose together, making rock & roll for the fun & anger & fire of it all. 

While recording Greatest Hits, Obomsawin was reached out to by Reservation Dogs (best soundtracks ever!) to provide a song. She is a citizen of the Odanak First Nation and the blending of her & Abrego’s indigenous & immigrant cultures is an essential part of Deerlady’s music. Do a little googling & reading about Native American genocide and the "Save The Man" idea found in the lyrics of the gentle droning “Masterpieces.” When Rez Dogs reached out, Obomsawin sent them the at-that-point unreleased version of the sweet, hushed “There There” that was featured in the show. As someone who is always shazamming songs from TV shows, movie trailers, in coffee shops & bars, I know the feeling of trying desperately to figure out “who plays this song?!” only to be denied. The hype around “There There” helped convince Deerlady that Greatest Hits was… gonna be a thing. I’m sharing the full lyrics of “There There” at the end of this review, it is a powerfully tender love song, one of my favorites of the year. RIYL: Big Thief, Phoebe Bridgers, indigenous songwriters, & crying in your car lol. If you keep reading this list, you’ll find two other albums that pair so perfectly with Deerlady, that they make a sort of triangle. The PNW shoegaze of Somesurprises & the New Mexican indigenous rock of Lindy Vision are both powerful touchstones that Deerlady sits between. At their core, their songs most remind me of one of my all time favorite bands, Black Belt Eagle Scout. Deerlady is definitely a new favorite, please don’t miss their ferocious KEXP session from last month, Greatest Hits is exactly what it claims to be… a debut record for the ages. 

“What you want, what you need, what you love, who you really are / if you dare, if you don’t, if you try and you wanna cry / there there… / seeing you, being two, facing one, lost in motion / barricades going up, coming down, your arm around my bony shoulders / feeling young, buying time and bumming one from you / there there… / cracking up, freaking out, staying in and losing every inch I’ve gained / angry tears, getting free, letting you see my ugly side that wants to come out / throwing hands and fighting the world with you / there there… / unexplored, ignored particles of brain & heart / resuscitate, CPR, care & patience, rage and making space for who we really are / despite this world it led me to you / there there… / what you want, what you need, what you love, who you really are / if you dare, if you don’t, if you try and you wanna cry / I’m there…” 

*

DOECHII   /   Alligator Bites Never Heal

“Let’s start the story backwards” begins Doechii’s captivating third album Alligator Bites Never Heal. Over a late night humid groove, Doechii cuts loose right from the start on “STANKA POOH” “I’m just shootin’ the shit over some pretty production” Doechii raps loosely, rhyming production with muffins, before taking off into an anxiously frenzied outro about her deepest fears, over the same pretty production. At this point, what can I say about Doechii that you haven’t seen all over your social media and the news in the last couple of months?! 26 years old, born Jaylah Ji'mya Hickmon in Tampa, Florida, Doechii is having her moment. From her wildly infectious NPR Tiny Desk (this one is gonna give Mac Miller a run for my new favorite!) to her show-stopping performance and huge win at the Grammys, Alligator Bites Never Heal is one of the best rap albums of the last few years. Chock full of sleek, jaw-dropping, head-turning, swampy trip rap that reeks of Doechii’s hometown of Tampa, Florida. I wish this album woulda been around for True Detective season 1, I can picture Rust Cohle and Marty driving through decrepit Yellow King land, with the throbbing “BULLFROG” bumping sweetly from their ‘95 Chevy Caprice. From the classic, light retro swing of “BOILED PEANUTS” (“it’s a sunny day! The gang’s all here!”) to the staccato back & forth character study and undeniable bounce of “DENIAL IS A RIVER” (“I mean fuck, I like pills, I like drugs, I like day-drinkin’ & day parties & Hollywood!”) Personal favorite “CATFISH” finds Doechii shape shifting through all her different voices, one second she’s laugh out loud funny, smiling her million dollar smile, the next second she amps up the aggressive energy, calling out haters, before closing with “Doechii the don, Doechii the dean, Doechii supreme, the swamp ruler.” 

Even though I had heard her name, my real introduction to Doechii came one night late last year, riding with my coworker and best friend Danielle, she was driving me from Lost Lake to the Squire Lounge in a late Fall snowstorm and she put on “Balloon” from Tyler The Creator’s majestic CHROMAKOPIA. Halfway through Tyler’s infectious groove, Doechii comes out guns blazing “I don’t need a Range when I got an airboat / I don’t need a plane cuz the airboat float / I don’t need a passport I’m a SWAMP BITCH oh!” I remember exactly where I was the first time I heard Nicki Minaj’s verse in Kanye’s “Monster” It gave me chills. In the same way, Doechii’s verse shook me, windows down, heater on, snowflakes blowing, swamp bitch Doechii making a statement. My rap knowledge & background are probably not deep enough to go in depth here, but I hear Nicki, Missy Elliot, Azealia Banks, Biggie Smalls, MF Doom, Lauryn HIll, Doja Cat, Trick Daddy, and of course Doechii’s TDE labelmates Kendrick & SZA. Bottom line, this is a superstar level rap album, Doechii is the real deal. Alligator Bites Never Heal is here to stay.

"Say it's real and it's rap. and it boom and it bap / and it bounce and it clap / and it's house and it's trap / it's everything! / I'm everything!"

*

DREAMER BOY   /   LONESTAR

Back almost a year ago, in Spring 2024, one of the venues I work at (Lost Lake) announced a touring show for early Summer, a band called Dreamer Boy playing on June 21st. As I do when I begin marketing a show, I gave it a cursory listen, and maybe judged it a little bit. Texas born, LA raised, Nashville based, indie pop blended with americana and r&b, a white boy named Zach Taylor with a flair for the dramatic (he lists David Bowie & Tyler The Creator as inspirations for this album) press pics shirtless or in rodeo clown makeup, a concept album about the American west, blah blah blah blah blah, you know you know haha. I wrote it off as just one more Nashville knock off, a young up-and-comer, trying to make a name for himself. Oh well, the kids love that shit, it’ll probably sell out I thought. It wasn’t until maybe May that Dreamer Boy started to seep into my veins. I read his bio and it began…

“It’s humid and you’re going to baseball practice. You’re ‘listening to Big Star, lying in your car.’ You’re ‘cutting into the country-fried / Got a lawnchair, open into the fall air.’ You’re a kid under the Texas sky: ‘Friends come through the side door / Mail is in a pile...’”

Sooooo I actually listened to the full album and first noticed personal fav (and linernotesandseasons alumni!) Miya Folick lending her dreamy guest vocals to the woozy, summer swoon of “Big Sky.” And then… I fell HARD for the perfectly named opening track “Summer In America.” Sliding in sweetly on a synth-y swell, lurching into an electronic drum beat, rhythmically tracking my teen years. “The sun’s on my back and it’s Summer in America” Dreamer Boy chants softly, and the song rattles to life with a big heartland piano pulse. Part Tom Petty, part War on Drugs, part your favorite shitty dive bar cover band, this is the kind of song I can loop on repeat for a lot of Summer mornings. As luck would have it, it was June and I had just started a new part time job for Westword, a job that required me to spend a lot warm dawns working on coffee shop patios. So I would start most mornings with an iced coffee and a couple rounds of Dreamer Boy. Needless to say, I played “Summer In America” often enough that it ended up my #1 most streamed sp*tify song of 2024, and by the time it chimed out and the groovy, punchy “Heartbreaker” kicks in, I decided that I actually LOVE this album! “Heartbreaker” mirrors my other personal fav “If You’re Not In Love” (#10 on my most streamed sp*tify songs) with some genuine 80’s swagger, galloping, driving, danceable pop-rock bops, the kind of songs that are fun to sing in the kitchen or in the shower or on sweaty, Summer night walks, when it feels like the season will never end. So that was that, I was hooked. Dreamer Boy’s tour rolled on across the West, I did my best with marketing, but the show only sold about 80 tickets. By all accounts, it was a good one though. In a way, that only made me love Dreamer Boy more. This is not a sure shot, easy win, rocket to the top, this is a little bit of an underdog story. Fuck I can’t wait for it to be Summer in America again. See ya then Dreamer Boy!

"On a new train going uptown / this is how it feels to be unbound...."

*

*Drinking Boys & Girls Choir   /   DBGC Live in Busan*

드링킹소년소녀합창단 

One of my absolute favorite live shows of 2024 (and of the last five years honestly!) was the Drinking Boys & Girls Choir show at Lost Lake Lounge back in November. Drinking Boys & GIrls Choir is a punk trio from Daegu, South Korea and they are one of my new favorite bands! I was first introduced to DB&GC when they opened for 2022 favs Otoboke Beaver at the Gothic about a year ago. Their set was absolutely electric and hosting them at Lost Lake (where I work!) was like a dream come true. Since they haven’t released a new album since 2019, I’m choosing to add their live album to this list, and hoping for some new music in 2025. Ok, let’s dig in!

DB&GC began when bassist and lead vocalist Meena Bae met drummer Myeong-jin Kim in the Korean punk scene in 2007. They first started a band called Chicken and Mayo ABC (!) but have been playing as DB&GC since 2013. They have a strong commitment to the local scene in Daegu, touring extensively in South Korea and speaking out for LGBTQ & human rights. They have played with a few other different members, but while searching for a new guitarist in 2023, Scottish guitarist Megan Nisbet reached out via a heartfelt email. She already spoke Korean and said joining the band has been a life’s dream come true. When the trio hit Lost Lake last Fall, the camaraderie of the band shone through both personally & musically. A punk band through & through, most of the songs on Live in Busan are 1.5-2.5 minutes long, breakneck blasts of energy, wall of sound, relentless drumming, angular shredding guitar, and Bae & Kim’s shouted vocals, both melodic & abrasive, sometimes singing in unison, sometimes bouncing off each other, hyperactive & unrelenting for 45 minutes. Standing in the crowd at Lost Lake (ok maybe jumping around a little, maybe getting bounced into the pit and swirling around a little) I teared up a few times thinking about how lucky I was to be in that space. How lucky I was to witness Drinking Boys & Girls Choir. One of my goals for my 40’s is to travel internationally more. To see faraway places & new countries (and of course see live music everywhere I go!) But for now, what a gift to get to see a punk band from South Korea live at little old Lost Lake Lounge on east Colfax. Go listen to Drinking Boys & Girls Choir, see you at the next punk show!

"There is no spring / do you have something special? / nothing is enough to live... / run it today / don't miss today / you can be today.... / before I knew it the flowers would bloom / before I knew it the flowers would fall..."

*

DU BLONDE / Sniff More Gritty

“I am a solitary individual! I know exactly who I am!” screams the middle-fingers-up chorus on Du Blonde’s Laura Jane Grace assisted punk blast single “Solitary Individual.” That should be the first clue that we’ve wandered into the world of a superstar. Du Blonde has been releasing music in the UK for 15+ years under both their birth name Beth Jeans Houghton and as Du Blonde, and Sniff More Gritty is the jaw dropping work of a mad genius. Houghton engineers, produces, and plays every instrument (besides for some of the live drums) on Sniff More Gritty, and the entire record oozes with a snarling, sneering, screeching self confidence. This was one of the last albums I added to this list, it was recommended to me by Du Blonde collaborator (and linernotes&seasons alumni) Ezra Furman (can’t wait to see what you have coming for us in 2025 Ezra!) and when I heard these songs, I was shocked that I’d never heard of Du Blonde before. But, in a way, it came into my life exactly when I needed it. I was feeling down, feeling like I wouldn't be able to finish this year’s list, but most of all, feeling despondent about my own personal future. I’m lucky enough to not have had to deal with too much depression in my personal life, but sometimes in the Winter, the blah, helpless feeling overtakes me. In getting excited about this album, I read a lot about Du Blonde, and stumbled across this interview from 2019. Houghton speaks candidly about feeling suicidal (TW) saying...

“I guess I’d thought about it in the past, but not in a way that I would do it. I finally got to a place where I was like ‘Shit. I’ve got to go to the GP round the corner right now because I’m going to do it’; I’d been looking up the most painless way to kill myself. I was going to go through with it, and I had this moment of clarity. I can only describe it as something outside of myself blowing a hole through a cloud, and I could see the good weather on the other side just for a moment, and I thought ‘on the off chance that three days down the road I would have regretted this, I need to seek help and I owe myself that.’”

Reading this, I let the power of Houghton’s words move through me. Like “something outside of myself blowing a hole through a cloud so I could see the good weather on the other side just for a moment.” What a fucking powerful image. Whether you’re feeling truly suicidal, or just, as I was, unable to see that good weather on the other side of the clouds, just hang on a couple days longer. Houghton goes on to talk about medication saying…

“My doctor prescribed me Citalopram, and I woke up three days later feeling more emotionally stable, productive and engaged than I had in ten years. I realised a huge part of my depression was simply a chemical imbalance. I cannot adequately impress upon anybody struggling with depression how common this is, how important and okay it is to seek help, and that genuinely life can and will get better. I have been in the place of no hope; the place where even your loved ones become peripheral to your need to cease existing. I understand how very real the benefit of death can feel in that moment, and I made it out, and so can you.”

Lots of those feelings relate more to Du Blonde’s first two albums, and it’s clear that Sniff More Gritty finds Houghton at a much different place in life, but finding this album when I did, and reading those stories & words when I did, felt meaningful in a deep way. In the way that I use artists & songs & albums to lift me up when I need it, Sniff More Gritty was like a lightning bolt across a dense gray sky. Like one shoot of brilliant, electric green grass, popping up in between snow drifts, way way way before it was supposed to! Personal favorite “Blame” has some of my favorite singalong chorus harmonies of the year, a soaring, anthemic 2+ minute blast with a rip-roaring guitar solo. The Broadway glam of heart-breaker “Out of a Million” lets Houghton’s breathtaking voice shine through, and everywhere else that you turn on the album there are huge catchy, Weezer-y, early 2000’s alt rock choruses to belt along to. Thanks to the music gods for delivering this album when I needed it, go turn it up to 11, roll down your windows, and scream along!

"What does that mean? / & can I bring all my friends? / it's such a shame to miss the end... / I'll carry the beers in / while you light the barbecue / cuz no one stokes a fire like you... / the road is long girl / it'll meet you where you're at / sorry I've been so damn bad..."

*

DUNUMS   /   I wasn’t that thought

One of my most favorite records of the year is DUNUMS massively monstrous third record I wasn’t that thought. A powerful album teeming with new life, bursting at the seams with love & grief & rage. Self-described as “Arty, noisey, post-rock, bedroom fake-jazz for a free Palestine” DUNUMS is the collaborative project of Durham, North Carolina Palestinian songwriter Sijal Nasralla. “The improvisations & churnings of Sijal Nasralla. Blending memory & homeland heartache into feelingsfull sonic moments on family, love, rage, and how ‘God’ will always be greater.” It’s hard to think of another album on this list (or in the last 5-10 years) that so tenderly holds feelings of love & rage simultaneously.

Conceptually, I wasn’t that thought is a record of songs for & from the perspective of Nasralla’s child Tasneem. “Most of the album is from the perspective and voice of Tasneem -- her wonder, earliest impressions of our world, her first hurts, her big messes, our traumas, and what life feels like when change is overwhelming.” Interspersed with recordings of Tasneem experiencing her world & telling stories, using her voice gives Nasralla’s writing a precious innocence, stream of consciousness lyrical ideas that bloom like a gloriously gorgeous garden. Although I don't have kids of my own, I now have three beloved nieces & two beloved nephews growing up faster & faster, and I am leaning into the magic, the struggles, and the importance & sacredness of those learning years. How to show love, how to teach, how to shape lives while allowing freedom. I don’t often think about childlike innocence when writing about music, but I wasn’t that thought glows with it like a magical lullaby. A late night bedtime story, a nightlight against monsters (while still acknowledging their existence), and most importantly, deep, essential truths of what is right in the world. Human rights. A Free Palestine. How to stand up for what is right. Things you can (& should) learn when you are very small. We would all do well to listen. 

Musically, the sprawling scope of I wasn’t that thought recalls one of my favorite records of all time, Portland, Oregon collective Typhoon’s 2012 mini-orchestra masterpiece White Lighter. Similar to Typhoon, DUNUMS is the work of a primary writer, supported by a cast of friends & loved ones (Nasralla calls his band members & collaborators “deep, deep, close people”). Everywhere you listen there are collaborative group parts. Background vocals, both soothing & screamy, instruments howling & crashing together, a lo-fi collision of passionate musicians, making their heartbreaking wails louder and more valuable than any production can capture. I fell in love with DUNUMS in 2023 at Hopscotch Music Festival in Raleigh, NC (if you’ve paid attention to this list over the years, you know all about my love for North Carolina bands!) when they played a 1pm set at Ruby Deluxe with heavy rain outside, and I feel so lucky to have been able to be in the audience for a few of their magically LOUD sets. For their 2024 Hopscotch set, I forced my friend Dylan to come with me, saying DUNUMS was the best band at the festival. We crowded in close downstairs at Neptunes and the band raged. It’s always special seeing Kym Register on horns! When we left Dylan exclaimed “you didn’t tell me it was gonna be so MATH-Y!”

I keep trying to think of deep words to describe this album. Monstrous, essential, pure, childlike (Nasralla refers to DUNUMS as "toddler-core") adventurous, immense, intense, magical. But somehow all those words don't quite describe the secrets hidden in these songs. I feel like a baby so I just babble & coo & gurgle & smile & laugh & learn learn learn. i wasn't that thought sweeps me away with tempo changes, midwest emo mixed with math rock, indie-folk sweetness, youthful punk angst & ragged jazz, all helmed by Nasralla’s singular voice. Equal parts tender & gentle, fiery & roaring, directing these songs, raging when needed, immediately breaking back into sweet despair, emotional depth & maturity, songs about how to survive. It’s not hyperbolic to say his words and music are required reading & listening in these, the darkest of our times. To put it another way, this is the most important record on this list.

In these songs, I can hear Sijal’s true, deep artistic self. I can hear the pain & rage he feels. I can feel how much he loves his child, his homeland. I am listening, I am learning. Music is the most powerful teacher. As the emo energy of Side A slowly bleeds into the noisy, free jazz of closing couplets “usa ain’t shit” & “the portal” Nasralla closes the album with the tender a capella lullaby “habibi bear.” To hear him describe the creation of these songs is purely magical. 

“In the mornings after Tasneem was born I would scoop her from the bed and take her downstairs to mingle with the early light and the cat while my partner slept a few extra hours. We would sense each other, talk and try to hold our heads up. Most mornings I would play her these songs, work them out while she stared at me from her pillow or practiced her ‘tummy-time.’ Making this record reminded me of how I got into playing music as a young person – moving sound and air made it feel safer to feel the bigness inside and outside of me. I wanted to write music that felt like a memory of the emo songs that made me cry as a kid. I wanted to capture the angst of being so small in a big enveloping vortex of things and more things. And the near-painful sensation of glee about life, friends, and being a kid.” 

When I listen to I wasn’t that thought, I can feel all of that. It reminds me of how I felt as a kid, falling in love with music, falling in love with people, falling in love with life. I wasn’t that thought makes me want to be better, try harder, fight evil, do my part for the world. I can feel it pushing me to grow up into who I want to be. When Nasralla’s songs make me cry, it is a good cry. This is a powerful album. These songs hold the magic spells to change the world. I am listening. I am learning.

"Before I thought

There was a thought about me

But I wasn't that thought

It was just me..."

*

FRED AGAIN..   /   ten days

Interspersed between every song on Fred Again..’s glowing new album ten days, are numbered snippets of mostly ambient noise or background conversations. Voicemail messages, seemingly insignificant placeholders, like the chime sound effects in childrens’ read along audiobooks (“when you hear this sound, turn the page”) that I remember from my childhood. Hidden in these little chapters, lie the secrets to what makes Fred so special to me. You know the kind of people that make you feel special? Like when you’re with them, everything that you say is important. Your memories together matter, your lore, your funny backstories, your inside jokes. All of it adds up to something super special. Fred is the kind of person that’s always appreciating and noticing those moments. Celebrating them and memorializing them, making you feel special. Take “.one” for starters. The album opens with infectious laughter, a little backyard group singalong, voices in different languages, a birthday wish from a friend. In fact, many of the snippets contain laughter and group singalongs (delightfully common themes for Fred) and they serve not only to freeze & bend time a little, but to create the kind of cohesive, “one big jam” album feel that makes ten days such a memorable listen. Fred is a superstar, but he's also a friend. Buckle up, ten days is one of my favorite fucking albums of 2025!

I don’t remember exactly where or when I first heard about the groundbreaking English DJ & singer-songwriter Frederick Gibson, who goes by Fred again.. but I fell in love with his Angie McMahon collaboration “Angie (i’ve been lost)" back in 2021, and his absolutely endearing social media presence over the last couple years won me over completely. Wherever he goes he brings laughter & joy; dancing, involving everyone, throwing any kind of little pop-up party/show that he can. A budding superstar DJ, but a man of the people, someone I want to talk to and hang out with. When ten days dropped at the end of last Summer, I fell hard. Emotional, trance-inducing, rhythmically repetitive, chill electronica; this album might just be a blip in Fred’s burgeoning superstar catalog, but to me, it’s essential. From the “love song of the summer” bop “Adore U,” (I beg you send this song to your best friend or your lover or your mom! I can’t listen to “Adore U” without breaking out in a huge smile!) to the Sampha assisted soulful “fear less” to the Four Tet & Joy Anonymous instant raver classic “glow.” All the way to personal deep deep favs “just stand there” and “where will i be.” Fred is like the friend who knows just what I need to hear. He manages to team up with artists & songs that I already love, or introduce me to songs & artists that I need to hear. 

Flashback to September 2024 and I’m having the time of my life in Raleigh, North Carolina at Hopscotch Music Festival with all my music friends. My friend Dylan from MIshawaka (an incredible venue by a river in the mountains of Colorado outside of Fort Collins) is stressing about this “biggest show of his life” that “the Mish” is throwing in a week or two. He says he can’t tell me who it is, but turns his computer to me and the name on the show says Fred again.. To be clear, Fred is about to headline two nights at BALL ARENA, but as he loves to do, he’s sought out a super cool little spot off the beaten path in the state that he’s playing, to host some cool, weird, intimate little show. Most huge artists don’t do this. It’s a lot of extra work and it's not usually worth the production hassle or the smaller financial return. Fred loves it because it keeps him connected to his people. He gets to celebrate with his real fans & friends & fam up close. It memorializes not just his songs, but his moments, his places, his people. Not just what you’re singing, but who you’re singing with. There’s a reason most of my favorite concert memories involve singing & dancing together with people that I love. Hold onto those moments. Spoiler alert, I did not go to Fred’s Mish show (although I bought a nosebleed resale ticket for the second night at Ball Arena!) I got in the digital ticket line like everybody else, but it sold out so fast. Dylan said that he had no idea if Fred would hang before the show, most big name DJ’s would probably bus straight in and out of the Mish as quickly as possible. If you’ve never been, it’s pretty remote. Cell service is spotty. A true mountain venue. Well, I’ve been following Fred on IG and I watched his stories laughing as not only did Fred hang at the MIsh preshow, he joked with fans and took a dip in the Poudre RIver, drifting down behind the stage he was about to headline. Hey Clementine Was Right, we got another River Boy!

There are so many songs that I deeply, deeply love on ten days, but I want to wax poetic about a couple. In the same way that Fred won me over with his Angie collab, he pairs with Lucinda WIlliams for the magically haunting “where will i be” (a song that I was unfamiliar with before Fred. Thanks Fred!) and then long time fav Amber Bain of The Japanese House for her sunny pop closer “backseat.” Here, the fleetingness & continuation of Fred’s work is most evident, this album might be a blip, but a blip that will be worked into the fabric of the rest of my life. In the same way that Charli’s Brat was/is everywhere and in everyone's Summer stories (I'm talking IG or otherwise!) these songs will last, get remade, get resung. In the end it always does… Fred turns Amber’s sunny classic indie-pop bop into a glitchy 80’s montage (so hold onto this feeling kids, cuz you won’t feel it for long…) I’m riding a bike through the green trees in Arkansas (with my sunshine baby…) I’m running through the streets of Raleigh, North Carolina (well I’ve gone a little crazy) dreaming of a different, new life (in the end it always does…) I’m swimming in cold Colorado river water with Fred (this isn’t happening…) I’m in my little brother & sister in law’s kitchen in the apartment where they used to live in Portland, Oregon (i wanna be a part of it, I wanna sing along…)  my nieces laughing in the next room with their aunts (my sisters) (hold on to this feeling…) I’m walking on a sunny evening in Denver with someone who wants to listen to my stories and tell me theirs. Feeling young & new (cuz you won’t feel it for long…) I’m texting my sisters essays of texts at 1am from the warm grass at Cheesman wondering where this all goes, cuz in the end… it always does...

Finally, I want to close with all-time fav “just stand there.” Fred’s beats duet with SOAK’s spoken word piece in a powerful way, telling a story of a night, an empty apartment (“I sit with the night in anticipation”) The rush that comes with living by yourself (“I”m alive and I can feel it”) Self confidence dueling with self doubt (“I feel pretty… but in a handsome way”) Half way through, the song fucking lifts off on a jittery piano riff, pure Fred, with SOAK (Irish singer-songwriter Bridie Monds-Watson) still laughing & talking. The music, like my bedroom “feels like the coliseum.”  The piano skittering across high school feelings, merging with steady drums, layering vocals, picking up speed, running now, telling a story like only Fred can. “It felt like all four seasons happened in one day, and I just stand there” the song bleeps & bloops & cacophonies. I can see Fred grinning from ear to ear, hugging his new friends, hugging his old friends, welcoming us all into the circle, laughing & laughing, dancing & dancing, and then it’s gone… “she loves me” SOAK deadpans… like it’s the deepest truth anyone has ever said.

One of my favorite Mary Oliver poems is called “Snowy Night” and with your permission I want to close with it here.

“Last night, an owl in the blue dark tossed an indeterminate number of carefully shaped sounds into the world, in which, a quarter of a mile away, I happened to be standing. I couldn’t tell which one it was – the barred or the great-horned ship of the air – it was that distant. But, anyway, aren’t there moments that are better than knowing something, and sweeter? Snow was falling, so much like stars filling the dark trees that one could easily imagine its reason for being was nothing more than prettiness. I suppose if this were someone else’s story they would have insisted on knowing whatever is knowable – would have hurried over the fields to name it – the owl, I mean. But it’s mine, this poem of the night, and I just stood there, listening and holding out my hands to the soft glitter falling through the air. I love this world, but not for its answers. And I wish good luck to the owl, whatever its name – and I wish great welcome to the snow, whatever its severe and comfortless and beautiful meaning…”

I read that poem aloud with my friend Sarah under my tree in Cheesman Park in the dead of Winter, right before the end of last year. Throwing an indeterminate number of carefully shaped sounds out into the world. Just like Mary. Just like Fred. Just humans, always wanting so badly to be heard & understood. Feeling deep deep down how rare it is to connect with someone in that kind of way. An artist, a friend, a lover, a sister, an owl, a tree. So I just stood there. Like I stand there now. All over again. Over & over. Loving this world. Claiming these poems of the night. Singing these songs of the night. Loving all of it for its unknownness & its beautiful meaning. Singing along with Fred. Dancing along with Fred's friends. Laughing along with Fred & Fred's friends & my friends. Feeling heard & understood. Feeling like a friend. Feeling like this is forever. Feeling like ten days is forever. Long live ten days.

"I been halfway under, I been halfway out / I been learning what I can't do without / you're further away now than you used to be / but darling, I saw you & you saw me... / Still, I can't let go of this version of you / that calmed me down as you held me through / you're further away now than you used to be / but darling, I saw you & you saw me..."

*

*HORSE BITCH   /   UVA*

For the last five years, Horse Bitch has been the Denver band you just have to go see. Their live show is the stuff of legends. Full contact reckless on stage antics, a sea of dancing, jumping, moshing diehard fans, lots of screamy lyrics about silly stuff (silly serious stuff! Silly sex stuff! Silly silly stuff!), and a wild cacophony of guitars, violins, keys, & banging tambourine. If you’ve seen them live, well… you know. When people ask me to list my favorite “local” bands, Horse Bitch is always close to the top. I love asking music people in different states about their bands (the ones that are legendary in their hometowns), the kind of bands that you wouldn’t know unless you lived there. Ask my best coworker friend Danielle about Tempe, Arizona’s T.O.S.O, or western slope Colorado folks about the glory days of Stephan Piker and Bully! Bands like this are essential to the scene. Bands that aren't obsessed with chasing career greatness, but instead, chasing local legend status. Like the high school quarterback who won state, destined to get free Subway sandwiches in their hometown for life. Believe me when I tell you, Horse Bitch are Denver legends. Listen to these songs and you might understand, but come with me to a Horse Bitch show... and you definitely will. Genre touchstones are mostly irrelevant here, but along with riding the western bootgaze/emo-cana revolution, Horse Bitch mixes in punk, classic country, 50's doo-wop, shitty mid-2000's pop punk, mournful midwest emo, jam band irreverence, Irish punk, & Weird Al literary great(silly)ness. Since releasing albums in 2020 & 2021, Horse Bitch has mostly focused on playing countless legendary shows around Denver and the front range, building a reputation as one of the greatest live bands I’ve honestly ever seen. At this point I feel like I’ve seen them in pretty much every small to mid-size room in Denver (that includes living rooms & backyards) and every time is different, important, a sweaty fucking blast, & absolutely, ballistically magical.  

UVA opens with long time live fav “Pirate Ride” burning up a ripped off Allman-Brothers-on-speed guitar riff, whining country steel, sad-boi pop-punk & emo vocals, lots of yelling, and lyrics about Disneyland, black mold, fast food, & tenant’s rights. Launching right into “Mountain Climbing” (most of the songs on UVA are long time live favs by now!) a scattershot, word vomit rocker with Irish jig fiddle, a shout along nonsense chorus, more background yelling, and lyrics about Harry Potter (a Horse Bitch favorite topic), Harry Styles, Taco Bell, PBR and yep, more tenant’s rights! Horse Bitch has never taken themselves too seriously, but hidden in the ever changing, shouted along nonsense spewing from stage like Nickelodeon slime are the secret codes to Denver dive bars & sacred spaces. We need Horse Bitch just as much as they need us. This is Lonesome-Crowded-era Modest Mouse meets 12 Golden Country Greats-era Ween, real iykyk shit. This is my favorite long forgotten Cali band Weatherbox singing in the hills above San Francisco, this is my lifelong best friend Stephen Piker (yeah, the one from Bully mentioned above) making up silly, shitty John Mayer rip-off songs (remember “Smooth Sailing” Stephen?!) under bridges, in back alleys, on riverbanks. Little silly starry dreamsongs that exist just make your friends smile. Mountain climbing in my backyard kind of shit. Donald Duck shit. Pterosaur with a broken wing shit. These are the kind of laugh out loud songs that take guts to turn into anthems. Brought to life by a silly goose troupe of friends, brought to majesty by the passionate playing of some seriously brilliant Denver musicians. Horse Bitch is a supergroup masquerading as a bar band. Horse Bitch will tell you to tell your friends you love them. Horse Bitch will make you scream “fuck” as loud as you can over & over. I’m eternally grateful to be alive at the same time as Horse Bitch. I’m glad I’ve been able to sing & dance & sweat along. This is one of my all time favorite bands. Long live Horse Bitch.

"I'm a pterosaur with a broken wing / ticked off about everything / holdin' onto all life's memories / & I feel so fucking guilty about everything... / I'm a pterosaur trying to catch a plane / I've sucked & fucked my way through TSA / holding onto unheard memories / & I feel so fucking guilty about everything..."

*

HURRAY FOR THE RIFF RAFF   /   The Past Is Still Alive

Perhaps no other album on this list shares my obsession with the passing of time & holding onto memories in the same way that Hurray For The Riff Raff does on The Past Is Still Alive. It's all right there in the title. Songwriter Alynda Segarra makes it a mission statement to share magic ways to bend & freeze & stretch & celebrate the passing of time, in fact the first words on the album are “You don’t have to die if you don’t wanna die / you can take it all back in the nick of time…” While Segarra cheats death in their own personal life, they also share stories that serve to rejoice in all the intricacies of time, both the aching sadness and the adrenaline adventure of it all. I"m looking forward to listening to this album for years & years and to come, and digging deep with these songs as they work their way into my own timelines. Like Segarra sings with a smile in her voice on the bittersweet "Hawkmoon "I coulda ridden shotgun forever!"

The Past Is Still Alive was the first record I fell in love with last year (way back in February 2024) and Segarra’s words have been helping me mark the passing of time over the course of my year. It’s hard to believe that this is Hurray For The Riff Raff's 9th record, but they have been steadily building a career in the Indie scene since 2007. Way back in 2017 I put Segarra’s The Navigator on my favorite albums list (calling it magical & transporting, uplifting & personal in the face of a political hellscape. Sound familiar?) Honestly that feels like a lifetime ago. I was a different person, but yet.. Still me. Like Segarra sings sweetly in the prairie-exploring “Buffalo” “Some things take time yeah I know they do…” The Past Is Still Alive explores not only Segarra’s very real, autobiographical past, but the hauntingly magical feeling when the present becomes the past all too fast. Segarra name-checks all their friends on the journey (Miss Jonathan, Eileen, Sister Sadie, Lorena) and they hold onto very specific places (the East River park, the FDR, a cousin’s farm in Minnesota, the Castro, Garbage Island, the back of a pickup, Ogallala, Nebraska, a San Francisco bookstore). Musically, my deep favorite secret weapon producer Brad Cook gives The Past a lived-in, rollicking folk rock feel, call it Waxahatchee-core, but like all my favorite Cook records, it’s the vocals & writing that take center stage. Segarra’s voice is the engine here, a flag flying through all these stories, rough & ragged & beautiful & real. I could listen to them sing about time forever. 

I want to close with a little time (& magic & grief & bending) detour courtesy of my dear, new friend Sarah. She is a writer & a painter and before we met, Sarah wrote something on IG that moved me in a way that not many songs or other writing have. I want to share pieces of it here, because I think it relates to this album as much as any other on this list (although to be honest, they are all related). Like Segarra says (directly to me I think) “I yelled and I didn't know the reason, but I knew that you’d understand” Reading Sarah’s writing for the first time (like listening to my favorite songwriters) was a deep moment of understanding & feeling understood. 

“Both love & grief can bend time”

goes the piece that Sarah wrote as a eulogy/elegy to her dog Princess that had passed away.

“One million distractions fight for our attention every day, pulling us towards numbness, away from everyone we love, and everyone and everything we grieve. But when we opt out of all that noise, and focus our gaze, our touch, and our heart on our truest loves, (which are, of course, also our deepest griefs), we… can… bend time. We can hold a lifetime in three minutes.”

It’s that same idea that I've been hunting all these years. Like a secret you can only learn through grief. But both love AND grief can bend time. Like Segarra coos lovingly on their mighty love song “Colossus of Roads” (itself a eulogy for the great American train graffiti artist buZ blurr) “I must be living twice, wrap you up in the bomb shelter of my feather bed… No one will remember us, like I will remember us. Children forever… In the end.” And how does one tap into this time bending magic? Both Sarah & Alynda seem to agree that it takes work...

“If a dog is sleeping on your chest, or if you need to dig a grave” Sarah offers “make the time, linger longer, use both hands. I promise. I promise. Whatever you are loving today, love it with wonder and intention. Love it for all of us, who will never get the chance to know that love as deeply as you. Whatever you are grieving today, grieve it with wonder and intention. We are all grieving with you. I promise. I promise…”

So I try my best to make good on those promises, To love & grieve & bend time in the way that Sarah does. To love & grieve & celebrate the passing of time with Alynda, and just like that… we’ve time-traveled all the way to The Past’s aching closer “Ogallala.” A lifetime of sadness pinpointed into very specific places & moments. Segarra is retracing steps and asking themselves the same repeating questions “What do I do with this terrible feeling? Been all these years and I’m driving the same highway stretch.” They’re lonely & broken, dreaming of meeting an old lover, rekindling a flame “Meet me back in a San Francisco bookstore” before Segarra lets me in on our bonding secret, the reason I feel this deep, heartbreaking connection to their writing. “We’ll get lost in a city forgotten” Segarra promises “Cuz I don’t like change and I hate goodbyes.” I feel that line deep as any on this album and it’s clear that Segarra lets it cut, lets it out. As the music swells to a close behind them, they let out years of pent up anger & sorrow for the time that we live in. “I used to think I was born into the wrong generation” questions Segarra (a fair ask for someone who's lived so much strife) but as the horns swell and time practically stands still, Segarra reveals the answer “But now I know, I made it right on time. To watch the world burn with a tear in my eye.” and then, one last ask... Segarra practically sobs “Meet me in the autumn, in the garden…”  I feel time bending. I feel Segarra using their grief & love to fit a lifetime into three minutes. I feel it all. Slowly, methodically, time starts up again. Everything has changed. The future feels real & exciting. And the past?... The Past Is Still Alive.

"I don't want us to be like that / running wild & running free / this year tried to kill us baby / well good luck trying, you can't catch me / and I'll jump off this cliff with you / if that means we will survive / 'cause we drove out to the desert / just to leave the past behind... / and our footsteps fall in shadows / treading light down the canyon trail / and the sun is barely rising / and the stars like a wedding veil / and I cannot lie to you / "cause you can read my mind / so I think I'll try with you / some things just take more time..."

*

JOHN-ALLISON WEISS   /   The Long Way

Full disclosure, John-Allison Weiss’ powerful fifth album The Long Way actually came out in 2023. I have a pretty strict personal rule that I stick to only current year releases for this list (I mean, it’s my blog, I can do whatever I want!) but every year, I discover countless albums released from 2012-2023 that I love and missed on previous lists, and I love that! Long story short (we’re taking The Long Way I guess!) when I found this album at the end of 2023 (I honestly can’t remember from where, the music internet community is a wonderful place!) it was too late to sneak it onto my list last year. So when John finally released an official physical release last Summer (check out this sick yellow cassette tape!) I vowed to include The Long Way on this year’s list! Ok, let’s get into the songs!

If you know me, you know I sometimes struggle to describe what exactly my favorite kind of music is. It comes from a good place, I truly do LOVE EVERYTHING! I listen to everything, and I try to make this list represent that as best as possible. But when pressed (or drinking at home on my own time!) I tend to lean into the straightforward, driving, early 2000’s indie rock & roll sound that John absolutely NAILS on The Long Way. It helps if the lyrics are thoughtful, challenging, and speak to me in deep deep ways (also nailed!) I mean, deep down it’s the same reason Angie McMahon & Middle Kids are on this list. It’s the same reason I love The Killers, Kings of Leon, and Andrew McMahon so much. It’s the same reason I’ll see Augustana EVERY SINGLE time they come to Denver (get me tipsy and ask me about how much I love their 2011 self titled album -spoiler alert, this is wayyyy after “Boston” and way after most real music fans stopped paying attention to Augustana!) From the first strums of burning opener “Dust Storm” I knew this album was special. “Pulled off the highway in a dust storm” Weiss begins, his voice the perfect blend of emo crack & desert bloom. “Headed home to change the future. Headed home to turn & run.” Weiss continues, a lifer song from a musician who’s committed their life to the road & the songs, a true rock & roller. Weiss, who grew up in Georgia, put out their first album in 2007, having since cultivated somewhat of an indie cult following working & playing with Hellogoodbye, The Front Bottoms, State Champs, Laura Jane Grace, Lou Reed, Tegan & Sara, Reggie & The Full Effect, The Wonder Years, Now, Now & Reliant K! It hasn’t been easy of course and we jump back in with Weiss lamenting “So tired of singing all these old songs, so tired of trying to be someone.” In fact, track 2 begins “there’s a song I've been singing for 29 years.” “Different Now” is a steady heartland pop-rocker that envisions Keane or The Fray, with a western, desert-y flair, Weiss cutting loose confidently over blue jean guitars and pounding drums, a road-trip escape anthem, windows down, open air, worries gone. “Tell Me To Go” gives a Jack Mannequin’s indie edge to a monstrous Tom Petty riff, huge guitars & emo lyrics.

John-Allison is a treasure of a social media IG follow, the kind of parasocial relationship that encourages me to be a better person. The kind of energy that I want in my friends and my life. They wear their emo-punk-indie influences on their sleeve, but tempered with a hippie, self care attitude, vanlife for the freedom, anti-capitalist, anti-facist, we need more musicians like this. In fact, part of me has this dream, that some of my current favorite songwriters (specifically the ones that seem disenchanted with the corporate music success ladder) will abandon the rat race and follow Weiss on vanlife adventures. I have dreams of some sort of traveling music festival/troupe/circus thing, forgoing aeg & live nation ticket fees, playing sick shows in weird wherever/whatever venues, DIY for life, a community where that kind of life isn’t so damn hard. Some of my favorite musicians from this list and beyond, Caroline Rose, Indigo De Souza, Tre Burt, Medium Build, Quinn Christopherson, Bartees Strange, Adeem The Artist, Clementine Was Right, Tomberlin, Fiona Moonchild, TK & The Holy Know-Nothings, Ezra Furman, American Trappist, Samantha Crain, Big Thief, Justin Peter Kinkel Schuster, Lady Lamb, Miya Folick, Field Report, Sun June, the list goes on. I want to live in a world where they can tour and have success, and not have to play by the dumb, bullshit corporate rules. All that to say, support your favorite independent artists (if you have the means) by buying their merch, giving to their patreon/fan club/whatever you can, and help them have a steady flow of income to keep the lights on while they write these life changing albums!

Johnny closes The Long Way with the moody, driving “Young Love.” His memorably aching voice echos out in an empty hall and he sings over & over on loop “baby we were young love…” The music rises behind him, swirling synths, a dusty electric guitar, and traintrack drums kicking behind him across the desert. His motorhome rumbles to life and Johnny smiles goodbye out the window, a pirate of the road, headed out to his next adventure. Headed home to change the future.

"And I see you now like I did back then / with a love so loud / let it bleed back in / to the headlights, to the big fights, to the sundown, to the end... / to the shoreline, to the old times, to those lovers, to those friends... / to the backyard, to the big stars, to the freeway, to the coast... / every new day wakes an old ghost..."

*

LEIF VOLLEBEKK / Revelation

“Stood up too fast…” begins “Surfer’s Journal,” the glowing centerpiece at the heart of Leif Vollebekk’s magnificent fifth album Revelation. Like many of Leif’s understated ballads, this one starts small & specific, a very real moment frozen in time. An aerial view of a shaggy haired, determined novice surfer, taking to the waves, before opening up gloriously into an entire alternate universe. “Surfer’s Journal” is a “how-to” song Leif fashioned about surfing and modeled after Bruce Springsteen’s epic car lover’s ballad “Racing In The Street,” but we all know it’s really just about life right? The curtain opens and he’s taking to the water to discover “what was on my mind.” But the water at the beginning of the song is unforgiving. The lip of the wave hits him and he’s down & he’s under & he’s caught inside. “It’s not my time to ride” Leif laments softly, before steadying himself and circling back. Feeling out the song over a repeated piano riff and the softest, sweetest, salt air acoustic guitar fills. He’s determined (“no sense in changing my reasons, I leave 'em all behind”) and on fire about something… or somebody (“you & me we were something. Then we were something else…”) The way the song builds itself behind Leif feels like years passing. A wave growing & bending, time & water, rising up to lift him to victory or swallow him whole. Like a classic Rocky training montage, Leif stretches a lifetime into a couple verses and 5+ minutes. He is practicing, he is learning, he is growing “every revolution is also a return.” He is back on the board. He puts his hand in the water… and waves goodbye. This time he stands up slowly, feeling out the song, feeling out his timing & balance. The music swells, a mythic wave standing with “green light through it” and Leif himself stands & laughs & shakes his head, throwing salt water droplets through the surf, catching evening sun rays, crossing the green-blue wall and taking off. When the strings sweep in, he pauses to wonder about fate & destiny “If I was a mystic, I”d say our lives were bound together in this life & the next.” Maybe he’s referring to a long lost lover, maybe he’s referring to this one very real wave, frozen in gorgeous turquoise time.  “Energy downwards” he reminds himself, returning to the present, focusing on technique, focusing on good habits, focusing on success. As the drums & the orchestra rumble behind him, the cascading wave carries him higher, effortlessly now, flying, not even trying, an aerial view of everything, caught forever at sunset, a moment so magical you can feel it in your bones. And then… as soon as it begins, the wave drops him back with a sweet, salty goodbye kiss, and Leif chuckles “stood up too fast…”

Leif Vollebekk is a singer songwriter from Ottawa, Canada, and over the last seven years, he has become one of my lifelong favorite musicians. When I first added Leif to my favorites list way back in 2017, I wrote about not fighting when an artist pulls you in. I wrote about how he tracked years (a lifetime as it were) into his Twin Solitude opening masterpiece (and one of my all-time fav songs) “Vancouver Time.” This year, Leif’s magical fifth album Revelation became not only an all-time favorite, but marked my Summer & Fall deeper than probably any other album on this list. A special collection of songs from a special, emotional songwriter. 

Revelation’s first single “Moondog” dropped in late May (meticulously planned on the night of a full moon mind you) and I was ready. I took my trusty lil blue squishy headphones to my beloved Cheesman Park, and beelined for my favorite table/bench. Situated on the eastern half of the park bordering the Botanic Gardens, just south of the columns, I’ve danced on that table in the dark more than a few times. I’ve facetimed my siblings from that table, I’ve made plans and thought about my future pacing around that table, I’ve stood on that table for hours, watching the moon rise, listening to the night sounds of the park and the city, marking the magical passing of time. It was there that I heard the first notes of the new Leif Vollebekk album. “Moondog” (like most of Leif’s catalog) is a deceptively slinky tune, an open, throbbing guitar beat sets the stage for a lifer tune “When I was young and I was barely free…” Leif begins, telling a story of a new love (or is it an old love?) back & forth across timelines, in bathtubs, under full moons, in Galena, Illinois! “Moondog” would go on to be my #2 most streamed song of 2024 and I knew that night that this new album was gonna be special. So of course, when the second single “Southern Star” (a song he says he inadvertently stole the title from his good friend Gregory Alan Isakov!) dropped a month later in June, I recreated the Cheesman table dancing, full-moon routine. I was in it by then. Figuring out my Summer, figuring out my future, figuring out my past, figuring out my brain & heart, figuring out the rest of my life. "Southern Star’s" Don Henley-wild horses-open prairies-wandering vibes was another mini Summer soundtrack. “Are you my friend or lover?” Leif asks knowingly in the second verse “I know I can’t take you with me” he bemoans, “you’re a map with no folding lines.” Most of this summer I felt like I was the map with no folding lines. Like those big crazily folding ones that are actually really hard to re-fold back to their original shape, and if you get one part wrong the whole thing looks all fucked up. Ok, maybe not that wild, but you get it... no one was taking me with them. No one was folding me up neatly. 

Throughout my wandering late Summer & early Fall, Revelation was a soundtrack. From the majestic rolling strings of ocean adventure part one “Rock & Roll” to the southern brooding rainy countdown of “Mississippi,” to the breathtaking, heartcatch stillness and late night saxophone of “Till I See You Again.” He sings of fleeting yet monumentally deep interactions & connections, people remembered forever. When I finally saw Leif live again (on back to back nights in Boulder & Denver last November) he talked about how parts of Revelation were written at Gregory Alan Isakov’s Starling Farm outside of Boulder, and how the mountains in the songs (specifically “Peace of Mind”) are our mountains, are MY mountains. Oh yeah, his buddy Gregory also surprise joined him in Boulder to sing one of my all time favorite Springsteen deep cuts “Dry Lightning” together. One of my favorite musical memories of 2024. Most of Revelation’s songs feel longer than they are (I could’ve sworn “Surfer’s Journal” was 10 minutes long!) a trick that Leif plays loosely, letting the songs breathe, letting time bend; no end, no beginning, one great swirling masterpiece of sometimes seemingly improvised music. In the magical, smoky city lights closer “Sunset Boulevard Expedition,” Leif acknowledges that time bend, recognizing it in a way that doesn’t break the spell. To point it out is to celebrate it, to embrace it, to revel in it and dance with it. “Sometimes I go down to the ocean” Leif purrs in the second verse “sometimes it comes to me.” It’s sunset in Sydney Harbor. Or is it LA? Or somewhere in Canada? “There’s no difference between me & you now” Leif confides sweetly “sun ceded to the moon now, it’s October & September soon now…” And then, while walking along the sand at the edge of the ocean, Leif turns, and with his impish grin lets us in on the big secret of all of this “See… time moves in both directions” he sings, barely above a whisper “with its ageless imperfections. It circles round our shoulders.” It’s a mystical thing time, something we cannot ever really know. Something the best writers spend lifetimes tracking down. But then, Leif grounds it, brings it back. “Big blue butterflies come over” he hums, rhyming “over” with “shoulders.” And then, in the same way he did when he stood up too fast on the surfboard, he lands us in a very specific place & time “A dirt road in Costa Rica.” and just like that, time is moving again. A different direction this time. Maybe back where it came from. Maybe onward in a whole new direction. Leif follows, slipping behind the great green-blue wall… and disappears. 

“Honey, it smells like rain / the sea is coming back again / sun's descending and the moon's lit up in half / so is every blade of grass / and the mystery makes me laugh at all my guessing… / I've got everything I need / Mississippi is in the seed / in the stars & you & me & the dogwood / those constellations climb / and me, I'm not far behind / your little heart beating next to mine / keep it going baby, keep the time / it's going 1… 2… 3… Mississippi…”

*

LINDY VISION / 1947

Lindy Vision is a family band formed by sisters Dorothy (DD) & Natasha (NA) Cuylear in Albuquerque, New Mexico in 2014. They are black & indigenous songwriters (from the Jicarilla Apache nation) and their sophomore album 1947 is a force to be reckoned with. Blending bouncy electro-pop with sweeping, cinematic indie rock and dark & droning synth-drenched new wave. Their family ties are immediately present on 1947 as their Auntie Doreen Martinez is the first voice you hear, giving thoughtful life lessons on blooming opener “Part-Time Lover.” “You cannot force people to love you” Doreen shares in the opening, and she also closes the album speaking on family, friendship, & love. The album takes off on the driving second track “Airplane.” Riding incessantly pounding drums, the sisters trade swirling vocals powerfully, building the song to an epic singalong chorus. Personal favorite “Balloons” is fierce & dark, with more steady drumming (rhythms are a constant theme throughout 1947) and growling guitar stabs, the kind of dizzyingly mesmerizing song that I tend to play on loop for hours at a time, letting the ending seep into the beginning and over again. 

I don’t quite remember where or when I first heard about Lindy Vision, but I remember watching their powerful short film doc "Stay on the Path" and immediately streaming 1947 on loop. In the doc, they talk a lot about familial struggles, losing their mother five years ago (she was clearly a deep & meaningful influence on both sisters lives) and working together as sisters & bandmates. They aren’t shy about the struggles of being sisters & business partners, but their love for music and their creative drive shines through brightly on 1947. With inspirations & touchstones as varied as Motown, Country (they talk about their mother’s love for Clint Black and classic country) David Bowie, Nina Simone, Radiohead, The Strokes, ESG, Yeah Yeah Yeahs, Joy Division, Interpol, Tame Impala, & Buffy Sainte-Marie. When I listen to Lindy Vision, it feels like a super personal glimpse into their lives. When I close my eyes and listen, I’m in the room with them. I can feel the power & struggle, the grief & love that comes with strong family ties. It makes me want to love my family better. These songs make me want to create, they make me want to do better in the world. They inspire me. They are more important now than ever. Thanks Lindy Vision! 1947 is special, I already can’t wait for the next one! 

"Chem lines across the sky / the soil is dry / the Rio is gone... / can I be pretty just like you? / can I be pretty forever? / don't let me grow old..."

*

*LITTLE SIMZ / Drop 7*

Way back in 2017, when I put Little Simz’ dreamy, captivating sophomore album Stillness In Wonderland on my favs list, I called it “a hallucinogenic monster; hard hitting, unhinged, and one of the year’s most ambitious albums” Since then, Simz (30 year old English-Nigerian rapper Simbiatu "Simbi" Abisola Abiola Ajikawo) has been building an empire. She has released three of the most critically acclaimed hip-hop albums of the 2020s, guest starred with some of the biggest names in the scene, and honed her craft as one of the top rappers in the game. With an increasingly prolific output (this is volume 7 of Simz’ long running EP drop series!) she is showing no signs of slowing down. Drop 7 rattles with sparkling, driving electronic beats courtesy of producer Jakwob; and at a breakneck 14 minutes, Simz’ races to cram as much energy into the span of an average morning commute as she can. Fiercely confident, sneakily smooth, and with a flow that is instantly recognizable, Little Simz is solidifying her legacy. Plus it’s just so damn fun! Plug in Drop 7 and turn it up!

"Got the power in my hands now I can feel it / if you're lookin' for the truth then motherfucker I'm the realest... / I've been buildin' a new mansion up on Venus / long time comin' for this shit, now we lit..."

*

MAGGIE ROGERS   /   Don’t Forget Me

2024 was the year that I officially fell back in love with Maggie Rogers. Way back in 2017 I put her debut EP on my 17 favorite albums of 2017 list, and saw her at my very own Larimer Lounge (still looking for a youtube vid from that show of her Harvest Moon cover!) From there, I loved her official debut album Heard It In A Past Life, and almost put her sophomore effort Surrender on my list, but somehow, it wasn’t until last Spring that Maggie & I truly found each other again. To be honest, you can probably track that back to my 37th birthday in 2023, when Maggie played “Don’t Forget Me”  for the first time at Red Rocks, and I knew that her next album was gonna be special. When it dropped as the first single last February, I played it nonstop during my Northern California adventures. I fell for Maggie’s more grown up songwriting. The way that she balances her headlong, youthful exuberance, with a more measured (maybe even rare for her) thoughtful decision making. Rogers turned 30 last April and one of my first steps into rekindling my ‘friendship’ with Maggie, into understanding her deeper, was a long form interview piece that one of my favorite music writers Amanda Petrusich wrote for The New Yorker. Petrusich is one of my favorite writers and interviewers, and Maggie practically comes alive in this piece. I kept sending screenshots to everyone! Petrusich referenced Rogers' process “she often works: urgently and with deep focus, as though she were channeling a faint signal” her onstage persona “can be a little wild. Her movement is spontaneous, erratic; she can appear almost possessed.” and when she asked Maggie to try and put words to the process Rogers said 

“When I’m writing, the first thing I do is take my shoes off. My hands get hot. It’s so fucking physical. It’s like a puzzle, if you can keep your focus on it for long enough, it appears. It’s right there—but the second your brain moves it’s gone. When I’m onstage, or when I’m making something, I’m not thinking about who I am or what I’m trying to do. Time gets really sinewy. It’s spidery and slow. There’s wonder. And it’s just special, and I’m in it, and my hands are up, and I’m figuring it out. And then I come out of it, and it doesn’t even ever feel like it was mine to begin with.”

Musically & lyrically Don’t Forget Me glows with a timeless energy, this could be a classic 70’s folk rock record. Maggie sounds effortlessly herself, living her life, name-checking her friends, being silly, being serious, being sad, being herself. Personal favorites happen to be the quietest, sad ones this time around of course :) The piano ballad “I Still Do” talks about the lasting love in the aftermath of a breakup (maybe a “Leave The Light On” Sequel?) and the gorgeously hushed “All The Same” talks deeply about the passage of time and the timelines of love. But the big hits burn with energy. “On & On & On” could be a late 90s/early 2000s girl group huge bop, and “Drunk” rages with that Surrender energy, you can feel the urgency in the writing, Maggie says she wrote most of Don’t Forget Me in only five days!

I think the thing that made me so excited to fall back in love with Maggie’s work this year, now, at this time in my life… is the anticipation of what’s next. What songs is she writing now? What life experiences will we share that she’ll put to paper and sound and release into the world next? In the deepest way, that’s why most of my music obsession over the last 15 years, has been centered around young songwriters doing it now. I want to be part of the process. I want to go on the journey together. I want my experiences to be sung about, I want my heart & brain out there in their songs. So, to mark another chapter with Maggie, I saw her not once, but twice, in 2024! First, at my beloved Red Rocks, because how could I not?! And then, a week later, I flew to Arkansas and was lucky enough to see her again with my youngest sister! We spent a weekend swimming & biking & camping & talking & eating & singing & laughing, making friends and seeing new places, talking about our futures and our pasts, building our stories. And then, on the last night of my trip, we saw Maggie and (my sister’s favorite!) The Japanese House! I felt like the songs of Don’t Forget Me were seared into the late Spring & early Summer of my 2024. I can't wait to come back and revisit these songs when the snow melts this year! As I grow, and my sister grows! And Maggie grows! We grow together. We face what’s next and we take risks for love. We use songs to mark time & space. We look forward to the next one. Thanks Maggie, this one is special. I won't forget you.

"So it goes / time moves slow / until one day you wake up and you realize / that what you see is what you know / and still you wish for one more kiss / a moment's bliss from a lover you've always known / so it goes..."

*

MANNEQUIN PUSSY   /   I Got Heaven

I Got Heaven is the fourth full length album from Philadelphia punk rockers Mannequin Pussy, and it fucking rocks in every way possible. It’s heavy & raucous, it’s sweet & sexy, it’s ugly & jarring & gritty. Every song exploding with vibrant, violent, virile life, a true rock&roll masterpiece. This record is meant to be shared with people, it’s full of camaraderie, sex & lust, the good & bad & sweaty parts of what it means to be friends & lovers. Powerhouse front woman Marisa Dabice writes these in your face, gut-punch songs about the nature of desire, and the band rages so hard behind her that the want in her words is echoed in the crash of the instruments. These songs are meant to be shared in the pit, meant to take communion together at the sacred church of Mannequin Pussy. 

Technically, Mannequin Pussy was my last pre-Covid concert, opening for Best Coast at the Ogden, March 7, 2020, mere days before lockdown. I fell hard for one song specifically, the gleaming, teen movie indie rocker “In Love Again.” When I got into running a month later to fight the Covid blues, that song soundtracked every running playlist I made. Nearly five years later, Mannequin Pussy is back in my life, at the perfect time, in a break-down-the-doors kind of way. I Got Heaven was critically acclaimed upon its release for a reason. In the same ways that Brittany Howard made her tender “space-funk-rock” songs big enough to fill stadiums (and galaxies tbh!), Mannequin Pussy has made a collection of songs that feel absolutely monstrous. From the thrashing opening title track (“I got heaven inside of me” is such a fucking cool line) that takes on the weaponized hypocrisy of the church, to the arena shaking growl and throbbing guitar stabs of “Loud Bark” (perhaps the most powerful writing Dabice has penned to date) to personal fav (why do I always love the quieter, sad ones?!) “I Don’t Know You” After the pounding angst of the first few tracks, “I Don’t Know You” dials the energy back into a moody repetitive groove, Over a hypnotizing synth riff, Dabice counts numbers into the lyrics, before Maxine Steen’s rumbling guitar threatens to take the song straight to heaven. The punkier songs fill up the back half of the album, Dabice voice ripping through dual screams, matching jarring tempo shifts and full on drum & guitar breakdowns. Finally, sugar sweet closer “Split Me Open” is a song about new love. But it’s deeper than just the butterflies you get when you’re falling for someone new. It’s digging into a heart that doesn’t know if it’s ready for new love yet. It’s asking the kind of questions I’ve been asking myself all year. It’s figuring its own shit out, doing the hard work, but wondering when its time will come. It’s a song about the next chapter. It’s a song about the new. It’s a song about the unknown. 

Mannequin Pussy is my favorite kind of rock band. They’re best friends (their camaraderie is apparent on stage & in interviews and it’s clear they love hanging out together and making each other laugh). They’re unashamedly queer & outspoken & angry, challenging the hatred of fascist America and creating safe spaces at their shows. Most of all, artistically, they are absolutely swinging for the fences. I Got Heaven is such a badass album. These songs have so much life, they sound SO good, they rock so hard, they feel so much. I’m tempted to call this album career defining, but for Mannequin Pussy, it’s just another chapter (a new & exciting & life changing chapter mind you!) on their journey to be the greatest rock&roll band that we’ve got.

“I’m a waste of a woman but I taste like success / I keep all of my sugar where I know you like it best / I am a loud bark, deep bite / I got a loud bark… deep bite…”

*

*MAX GARCIA CONOVER   /   toddy pond 7/29/24*

In the depths of what has turned into a harder winter than expected, I’ve found myself walking even more than usual. Maybe it’s my imagination, but Denver has felt colder this season, an icy wonderland waiting for Spring to come. In my Winter wonderings & wanderings, I re-stumbled upon an old friend & favorite songwriter Max Garcia Conover. Max’s songs have been companions for nearly 15 years now (!), and his new EP is no different; an insistent, gorgeous, tender little six song love letter from the great northeast, all sparkling with Max’s  heartfelt, gut punch songwriting.

“Sometimes the night comes crashing down over us”

goes the wavering moon anthem (another moon anthem!) “coming up low.” and I wonder how Max knows exactly how I’m feeling again this time. I’m listening to this in my little bedroom, the moonbeams slanting in from the window above my bed, wondering who else’s windows that same moon might be slanting through.

“I was desperate & I was hopeless, except for hoping that you wouldn’t notice”

Max confides, and I listen and confide back. Turns out maybe more than a few of us are desperate & hopeless, maybe hiding it from loved ones that we hope might not notice, or just ignore it long enough to let us get back on our feet. Just when I think that this is just a question song, and Max (like me) doesn’t really have any answers for this Winter where “I get quiet and I get cold and sometimes you ask for me and sometimes you don’t” there is another verse… 

“if there’s a cure I think it’s out there in the dark…”

Max sings uncertainly. But with enough questioning in his voice to make me cock my head. What if the cure really is out there in the dark? I grab my headphones, put on my jacket & boots, and head for Cheesman in the dark. If there’s a cure, I’m gonna find it. When I hit the west border of the park, I can see that same moon that Max can see “all month the moon comin’ up low…” I walk & I think. I cry & I hum to myself. I don’t have the answers this time I guess, but I feel a little better. I find my bench and stand on top of it and find the moon. I can see my breath in the spiky Winter air and I do a quick little dance, more of a slow shake than anything. I hop down, beeline across the frosty grass through the center of the park and walk through the alleys home. I make myself a hot cup of tea before bed. I guess a cure can be all kinds of things. 

Max Garcia Conover is a songwriter from Portland, Maine, the kind of artist that this list (and originally my whole music blog) exists to spotlight. I think I found Max through bandcamp recommended artists (the music internet was a different, wild place in the early 2010’s!) but after putting his lovely album Burrow on my 2013 list, I reached out to Max and asked if I could create physical art for a couple of his patreon-only albums. We collaborated on a couple of projects where he let me hand make art for his patreon releases in 2015 and 2016. Back then I thought that maybe Max would fall in with the right musician crowd and his well deserving songs would finally make him a famous songwriter. Maybe Big Thief or Wilco would take him on tour. Maybe this current indie-folk-singer-songwriter-guy third wave would sweep him up and his songs would glow on tik-tok. But truthfully, I like it better this way. I hope you’re surviving ok up in Maine Max (I’m not wishing NOT fame on you haha!) but his songs have always found me like secret little letters sent from secret lovers, delivered to me EXACTLY always when I need them. Little satellites from space, arrows made of ponderosas, splitting my heart with truths too wonderful to be believed from anyone else but a deep old friend like Max..

Toddy Pond was recorded one night in a barn in Maine with Max’s long time friend & collaborator Ben Cosgrove. The piano that Ben adds to the album is gorgeous, stately, fun & dramatic & moving. Max says the barn recording session was joined by barn cats, dogs, swallows & chickens, and like always, his songs are teeming with life & light. By my count we’ve got barn owls, walleye, geese, porcupines, whales, cats & dogs & birds, “bugs of all kinds,” & assorted “critters.” When Max finally lets the evening go quiet on the heartache closer “when all of this was heaven sent” he sings “you held to me awhile and showed me how to listen to the hills” He gets still as he looks out over the hills & the water and sings sweetly to whoever’s holding to him awhile “now everyone I’ve ever known is under their own spells, and me… I hear the singer singing still.” I’m listening Max… I’m under my own spell and I can hear the singer singing still...

“Hold my monocular I’m going swimming / goddamn universe / I’m gonna get in / the quiet of the autumn / the coolness of the bottom / the billion little particles floating through the water / and I come back up heaving darkness / full of critters / starkissed / starlit / starving at the edge of appalachia…”

*

MEDIUM BUILD   /   Country

Medium Build is the indie folk, alt-country, pop-rock songwriting project of Alaska’s Nick Carpenter. With relatably personal, autobiographical lyrics, impassioned emo folk vocals, and a sassy dash of silliness, Carpenter has been building a cult following in the indie world for almost 10 years. Country marks a big level up for him (his first full length since 2019!) and I fell in love with his songs back in October 2023 when he played Globe Hall (where I work!), and again last Spring when he made the big jump to two nights at the Bluebird Theater on Colfax. Something about the way Nick sings about his youth, helps me remember the glory days of my own. Memories of High School, small town nowhere western slope Colorado, Apple Tree Trailer Park, my best friends Joseph & Stephen, my first love Andrea, burned mix CDs, baseball, dumb movies, new haircuts & hoodies, converse all-stars, Jesus, punk rock, and girls. I was 16 years old when I first started realizing that music was my thing. I remember how we would drive just so we could listen to each other’s music, just to roll down the windows and sing songs. The songs on Country remind me of that feeling again. Real & youthful, raw & immediate, bursting at the seams. 

Country opens with the sweet, punchy self-love song “Beach Chair.” I’ve thought and worked on positive vs negative self talk a lot over the last couple of years, and it’s all too familiar to hear how Carpenter talks to himself. “You ain’t shit” Carpenter laughs in the mirror “but I love you!” There's an honesty in his voice as he continues “you need work, but I reckon it can be done” then he knocks it home with a sweet, impossibly endearing sly smile “I promise I won’t put no one above you, death do us part, beach chairs in the sun.” As someone coming to grips with loving myself, and loving my own space & time, this one hits home. But if you’re looking for a cutesy, loverboy song to sing to someone else besides yourself, check out “Knowing U Exist” when Nick chuckles quietly “Fuck I just love snacking with you... Seeing what you get!” For anyone who’s every shared secret favorite gas station snacks (for the record my road trip go-to’s are ranch corn nuts, sour haribo bears, hot dogs with all the fixings and fountain Dr. Pepper in the biggest cup they have!) Carpenter knows how to pen a love song. Personal fav “Hey Sandra” may be the deepest love song of the bunch, a song Carpenter says is loosely based on his dad. It’s the kind of post-fight, long time lovers, sad song that has me rooting for this couple so fucking hard. Like so many relationships, this guy is probably a little bit of a piece of shit who needs to go to therapy, but by the end of the song (maybe thanks to the daiquiris & Tammy Wynette covers) he is owning up to his shortcomings. They can make it work, they can make up. In press for Country, Nick talked about how his older albums raged with a youthful angst, angry & resentful. He talked about making this one feel “homey, lovey & lived in.” There is a real warmth throughout the album, you feel like you’re getting to know a deeper, more present version of Medium Build. Indeed, while Carpenter mines memories of his youth and tells stories, you can feel him coming to a deeper peace with the person he is in the public eye. 

Finally, title track “Cutting Thru The Country” showcases what NIck does best. Impassioned vocals straining against light 80’s power pop chords, screaming about life, hollering about his journey. He’s smoking cigarettes in the midwest, hooking up with strangers, thinking about someone special. In the midst of all this, he tells us universal truths in a new way… “Yeah, nothing lasts forever and everybody dies” Nick laments, but after taking a drink and waiting for a morning text, he resignedly mutters “Call me when you’re up, nothing lasts forever.. But I’m not in a rush!” In the swirl of all this "nothing lasting forever" talk I catch myself dreaming I’m back at Garden School, my cute little private christian school at the base of the Rocky Mountains along the mighty Colorado River. It’s where I had my first kiss, it’s where I started learned how to be who I was gonna be. I still have best friends from Garden School. Sometimes I feel like the way I loved music then was the exact same way I love music now. My best friends were Joseph & Stephen Piker. We would hang out after school, the purest pure joy I’ve ever known. We would sit in the car just listening to music. We reveled in our inside jokes, made plans for sleepovers, told stories about our mini adventures, watched cheesy movies and traded mixtapes & baseball cards. In high school I still loved straight-up christian indie rock (Switchfoot, Relient K, Bleach, Sanctus Real, The Newsboys, Delirious!) but Joseph taught me about heavier music, he ordered cds online from punk mailers, west coast shit (90 Mute, Pennywise) and old school shit (Black Flag, GBH, MInor Threat, Clash, Ramones etc…) and then later, classic metal. Stephen taught me about showtunes & broadway (Wicked, The Phantom of the Opera, Les Mis, Tick Tick Boom!) We met in the middle on late 90s/early 2000s alt rock, Third Eye Blind was our all time fav (way better than Nirvana) but we loved Blink 182 (and Angels & Airwaves!) The Killers, U2, Linkin Park etc… I have such fond memories of those days, sometimes I wish I could go back, even just for a week or a night, but “nothing lasts forever” as Nick yells, and I think I always knew that, even way back in those garden school days with Joseph & Stephen. We would drive to the Rifle Wal-Mart for no reason, simply to  drive the great stretch of I-70 west along the Colorado River with the windows down. To hear Joseph’s current favorite punk song, to sing silly harmonies with Stephen, to kick off a running joke about some dumb shit. To revel in the deep deep knowing that nothing really does last forever. To sing songs so loud out into the Summer night air that it didn't really matter if nothing lasted. So tonight, I do the same fucking thing. The way I love music now is the way I loved music then. So I roll the windows down and scream real loud. I'm cutting through the country. I'm on my way to you! I feel like a kid again. It feels good even though I know it won't last. The last light of Summer fades on the horizon out West. The last light of youth. I hit the great western highway curve doing 90 “Nothing lasts forever! But I’m not in a rush.”

"In my room check out this poster of the entire Simpsons cast / in my room I got this Weird Al tape, man, if you just wanna laugh / in my room maybe you could sleepover, hey, I just gotta ask / and then we could spend the night talkin' 'bout life... / In my room, I am sacred, I am safe, I am free / In my room I get to dream up who I really wanna be...."

*

*MIDDLE KIDS   /   triple J Live At The Wireless - Enmore Theatre, Sydney 2024*

Truthfully, I could’ve put Middle Kids fantastic, early 2024, third full length album Faith Crisis Pt 1 here, but a funny thing happened when I was working on this list and decided to open up some extra spots for EPs, live albums, deluxe editions etc… I noticed some seemingly random connections to my 2017 Favorite Albums list. Five artists that debuted on my 2017 list (Middle Kids, Maggie Rogers, Leif Vollebekk, Little Simz & Hurray For The Riff Raff) returned seven years later in 2024! Make no mistake, all of these artists have released great albums in the years between, but for some reason, none of those albums made my lists, until they all returned in the same year. Something about songs always being there for you whenever you need them. So, long story short (a sentence I never say on this blog, because obviously, if music is involved, I loooove the loooong story!) putting the live Middle Kids album here allows me to celebrate a few of those “gap” songs that were there right when I needed them. 

There are tons of highlights that make listening to the live album worth it. The crowd energy is fantastic (check out the “Stacking Chairs” singalong!) frontwoman Hannah Cameron is an absolutely electric bandleader, and Middle Kids’ stage presence is delightful. They joke about smoking before playing a phenomenal version of the Lost Friends (their 2018 debut album) standout  “Mistake,” saying “this song is about… that” and when Hannah gets to the chorus, you can hear the laughter in her voice when she starts singing the line “It must be catching up my… smoking” and she blurts out “It IS about smoking!” Or when she jokes about the progression from Today We’re The Greatest (their underrated 2021 sophomore album) to Faith Crisis Pt 1 saying “we were like yess,,, Noooooooo” The live energy is palpable, Middle Kids seem to be having a blast “being in a room with people, sweaty & everything, down to connect, DTC baby!” and the band sounds incredible. The kind of catchy, anthemic Aussie, indie rock that I’ve loved so much over the years. Listening to the live album, I’m reminded how Middle Kids have been steadily building a career, right under my nose, and how I came back to them, exactly when I needed to.

There are three songs on the live album that cemented how much Middle Kids have been waiting for me, quietly writing songs that I needed, because they needed them too. The most obvious is the TWTG track “Stacking Chairs” a singalong rocker that finds Hannah belting one of my favorite declarations of true love on this list “When the wheels come off, I’ll be your spare. When the party’s over I’ll be stacking the chairs!” When Hannah introduces Faith Crisis' brooding “Bend” she says “I wrote this song in a hotel room when I was feeling quite alone. But this song is really about how you’ve gotta let some things crush you, and then the new life and the new strength can come out” before chuckling “so let’s get crushed!” I heard this song for the first time ever live at Red Rocks in the Summer of 2023 when Middle Kids opened for Manchester Orchestra & Jimmy Eat World. When the chorus hit, a soaring “I am one bend away from a break” I cried like a baby. 

Finally, the National-esque measured & declarative (and personal favorite Faith Crisis track) “Your Side, Forever” treads familiar Middle Kids ground. Hannah bemoaning tongue-in-cheekily “I know I’m doing it the hard way” before stubbornly insisting “But I kinda believe in the hard way.” But then, in all the hardness “Hannah goes down the rabbit hole” and ends up getting away from the party and talking about hard shit at the Hyde Park fountain. When she reaches the chorus (another soaring, emotional singalong) she sings a simple, universal idea that I have built playlists, conversations & whole friendships around these last few years “It’s a great, great sadness that never goes away” Hannah sings knowingly. Her acknowledgement of this great, great sadness serves to both celebrate and do battle against it. And if you know Hannah & Middle Kids, she believes in fighting. So she follows that acknowledgement with a heartfelt, brazen, dedicated encouragement “but it’s alright, I’m on your side… I’m on your side forever.” She is not denying the sadness (in fact the second part of the chorus says “IN the great, great sadness that never goes away, I’m on your side”) but she’s there. She’s not leaving. We’re fighting against it together. So many lyrics on this list mean so much to me, words to scrawl in notebooks, to burn into my brain, to tattoo on your skin, to share with friends & lovers in the dark, on the long walk home. Hannah’s words, simple & definitive, give a glimpse into what I’m searching for in all this music shit. It is feeling understood. It is someone thousands of miles away feeling the exact same way you do, knowing how you feel, and writing it down with words & music, melodies & lyrics, in a way that cuts right through you. Like it was written just for you. Like the song is yours. A secret magic power that you can use to transform your life. I love you Middle Kids. I’m on your side forever.

"Wherever you are / we're just getting started / out of the dark & into the highlands / give me your heart / I wanna hide it / and I can't keep waiting for things to change..."

*

PREVIOUS INDUSTRIES / Service Merchandise

Doechii’s album may have been the best rap album of 2024, but supergroup Previous Industries’ debut album Service Merchandise is my favorite rap album of 2024. A laid back, retro grooving, classic rap album, Chicago legends Open Mike Eagle, Video Dave & STILL RIFT team up to form a superstar trio, heavy on the light hearted wordplay. Their debut is a delightfully smart, woozily, lo-fi boombox mixtape straight out of Chicago's golden days. Back in 2022 I put Open Mike Eagle’s powerful eighth album on my fav albums list. He was headlining Larimer Lounge (where I work!) and my coworker best friend Danielle had been telling me about him since I met her. It was a perfect collision, the show was incredible, and that album still means a lot to me. My secret favorite thing about the show was Open Mike’s opener Video Dave. Long time friends & collaborators, Mike & Dave feature, guest, & tour together, and I can’t remember exactly why I didn’t put Dave’s glowing ArticulatedTexTiles on my favorites list in 2023. Luckily for me, David & Michael share duties with another one of their old friends STILL RIFT, trading laugh out loud funny raps, slick tongued references, and generally warm, familial vibes on Service Merchandise. They kick it off introducing themselves on opening track “Showbiz.” STILL RIFT (“pronounced with the napalm”) Open MIke (“My name is Open Michael, and it’s pronounced like it was fired from a broken rifle”) and Dave (“My name is David, pronounced with the video”). From there their references are deeply fun & googleable. From Celozzi-Ettleson (a car dealership in Illinois) to ShowBiz Pizza, Herve Villechaize, Shel Silverstein, “Glycerine” by Bush, comic books, movies, video games, sports, and of course the dusty nostalgia of 90’s shopping malls. In fact the whole album is loosely conceptualized around forgotten catalogs & department stores; flipping through pages & peering in windows, ruminating hazily on how the passing of time can make you appreciate what’s gone. Silly advertisements with deeper meanings on how to mine the past for future lessons on aging & growing. 

My favorite thing about Previous Industries is the warm camaraderie you can feel between these three friends. Most of Service Merchandise feels like joining a chill hang, the three rappers taking turns, jumping in & out, hanging out in a hot Summer night parking lot after the show, laughing at each other’s rhymes & references, clapping at especially deft & dazzling verses. When I saw Previous Industries live at 1pm at the same Hopscotch Music Fest where I saw DUNUMS, the friendship between them was obvious & infectious. A perfectly sweaty afternoon festival set (complete with a Hannibal Burress/Eshu Tune cameo) full of shared smiles, inside jokes, and the kind of vibey, lyrical pirouetting that only comes with years spent practicing at the same turn-taking parking lot hangs. These three have a clear appreciation for their craft, Service Merchandise is a hidden gem of an album, and boy is it a trip hanging out in the parking lot with these dudes, listening to three aging superstars having the time of their lives.

"Grip on all my vices cuz they hold me back / my vices love it when I grip them and I know because they hold me back..."

*

RACHEL CHINOURIRI   /   What A Devastating Turn of Events

About 30 seconds into the dramatic, drumming, world-building intro to Rachel Chinouriri’s jaw dropping debut album, the music kicks out and Rachel says flatly, almost matter of factly “ummm… I think we should record that.” Her voice is immediately swallowed by a swirling electric guitar riff and the album sinks in and lifts off. Traversing deep emotional trauma, relationship strife, familial differences, and the challenges of growing up, the 26 year old Chinouriri drives her debut album with surprising confidence and a singular voice. Born in London to Zimbabwean parents, Chinouriri has been amassing a growing collection of songs online since 2018. It makes sense then that What A Devastating Turn of Events is a highly dynamic debut. Chinouriri lists British music legends Lily Allen and Daughter as influences, and musically, Events glows with energy, both grungy & poppy, a completely modern album that also wouldn’t be out of place in the mid-late 90s.

Album opener “Garden of Eden” is a pounding kiss off to the fragility (and stupidity! “The kids are throwing up in the garden”) of youth. When it finally climaxes, Chinouriri interrupts herself with a cassette player click off, and in the same flat, careless tone states, “well… maybe I’m just trying to stay young.” Personal fav “The Hills” traipses similar lyrical content, Chinouriri bemoans familiarity in physical spaces (“your house don’t feel like a home, in a room you’ve outgrown / everybody’s been there, so you try your best to leave”) and the song careens on a massively grungy guitar riff to a huge, anthemic chorus. “Never Need Me” is more of a bop, an indie pop-rock earworm that I totally would’ve belted windows down in high school or college. Last September, my friend Paige texted me asking if I had heard of Rachel Chinouriri. She said she had just started listening and “I love love her!” I was familiar with her name, had maybe heard a song or two in passing on a playlist, but I love taking recs, so I did what I usually do when I don’t feel like I have time to give it a good listen right away. I threw her album on a massive playlist that I build throughout the year called “albums i may have missed in 2024!” Well, when I started finalizing this list, I put it on and was absolutely BLOWN AWAY! A sharp, inspiring debut album from an awe-inducing talented young songwriter, go listen to Rachel Chinouriri!

"We were perfect strangers / one life torn in two / you were robbed of summer / I was robbed of you / nothing lasts forever / but you were gone too soon..."

*

R A R E B Y R D $   /   PA$$-A-FI$T

If you’ve been around the Denver music scene and paid attention for long enough, you’ve certainly heard of RAREBYRD$. Denver’s own legendary hip hop duo is Kheya Lenay Yeager & KoKo LA (Korryne Da'nell Coleman) with the help of Michael Blomquist on instrumentation. Their jaw dropping new album PA$$-A-FI$T (I'll say PAF from here on out to $ave on dollar $ign$) was released a couple of months ago, at the very end of 2024 on Denver’s own (also legendary) Unit E Records. My all-time favorite music writer in Denver, Tom Murphy of Queen CIty Sounds, calls PAF “Super experimental yet incredibly accessible. Dreamlike, sensual, & immersive.” I always read everything Tom writes and recommends, and he has a way of describing music that makes me want to listen to whatever he’s recommending. “There’s some gangsta rap sensibility here” Tom goes on to say “and the lyrics are diverse, not short on songs about female sexuality and some social commentary mixed in. But it’s a deep vibe.” Indeed PAF is an instant classic rap and r&b album, a delightful listen, powerful, powerful music from some true Denver legends. 

The first thing that grabbed me about PAF, is the steady groove of the dreamy, woozy production. Instrumentally, there is so much to dig into in the production here. From the emphatically brooding synth riff that thunders late night vibes through the pounding opener “Antidote,” to the soothing vocal wash and layers that build “Living4It” into a meditative groove, to the magnetic drum machines and video game synth blurps that push “ILikeIt” into some seriously sexy territory. Lyrically, Tom was not joking when he said “not short on songs about female sexuality” from the breathy moans of "ILikeIt." to the naked yoga in “GirlYouNasty,” and the face-sitting in “BiGG FiGGa.” I particularly love “I am not a snack bitch, I’m a buffet.” Bottom line, PAF plays like a classic rap album, the production is incredible, the rhymes hard hitting, smile inducing, head turning, aggressively confident, bombastic, sexy & smart. PAF has everything you want in a rap album, By the time the dramatic pump-up closer "HotLikeDaBlock" rolls in over the ringing chimes of early 2000's indie production (think Twin Shadow meets CHVRCHES meets Phantogram meets The XX!) it's clear that RAREBYRD$ are shooting for the stars on this one. Denver is proud to call RAREBYRD$’ ours and this may be the best album to come out of the Mile High City in 2024.

*

REYNA TROPICAL   /   Malegria

Reyna Tropical was started as a duo project between guitarist & songwriter Fabi Reyna and the late producer & DJ Nectali “Sumohair” Diaz in 2016 in LA. Both Fabi & Sumo had been born in Mexico and raised in the states. When Sumo passed unexpectedly in 2022, Fabi took on the weight of releasing Reyna Tropical’s debut album in memory of him. The result is a powerfully meditative exploration of grief & emotion titled Malegria. A word smash (portmanteau if you’re fancy) of the Spanish words “mal” (meaning bad) and “alegria” (meaning happiness) basically “bittersweet.” Reyna took the album title from a song by the legendary Spanish/French songwriter Manu Chao. Effortlessly blending Central & South American rhythms with Reyna’s fluid guitar work, Malegra slinks through sensual late night club bops, and bright sunrise, bird chirp morning pop ballads. 

Upon its release, Reyna spoke openly saying...

“Malegria is dedicated to my brother, my ancestor, my guide, my protector, my soulmate in music and my partner in revolution, Sumohair. This vision is dedicated to our bloodline that runs like a river back to our roots, limpiando y sanando los que vienen del medio—beings of the diaspora. This prayer is for our own acceptance and liberation. May this music serve as a warm blanket when the time comes to let go.”

Sprinkled throughout the album are recordings of Diaz & Reyna’s conversations about the recordings, adding not only a light uplifting addition, but giving a sacredness and a deepness to these songs of grief & celebration. Reminiscent in a way of Tre Burt’s recordings of his dad from last year’s magnificent Traffic Fiction. A lot of my reading & listening in 2024 was centered around the idea of the passing of time, how it bends, how it moves, and how it relates to grief. One of my all time favorite writers Hanif Abdurraqib wrote about time & grief for the New Yorker, in a piece centered around the work of the great poets Nikki Giovanni & Octavia Butler called "Lessons For The End of the World." Abdurraqib says

“I will say that I was thinking about time—how it peels away from us in fractions that don’t always feel like fractions. The slowness of time’s passage, for me, has often depended on what story I can extract from the time spent. What can be told to someone else, which might then be told to someone else. If you are lucky, sometimes minutes feel like entire generations fit within them.”

Throughout Malegria, Sumo’s presence is felt, not just as a cheesy, AI montage, meant to induce tears at the passing of someone great. No, his presence is felt like a generation alive in a three minute song, told by someone who knows how important it is to remember. The fractions of time made important by who lives in them. Sumo’s life given meaning by how he lives on through Fabi’s life. These songs glow & dance with energy, Fabi’s singing & guitar transcendentally transporting, uplifting and magical.

"Un movimiento ritual / como las olas del mar / por un momento de paz..."

"A ritual movement / like the waves of the sea / for a moment of peace..."

*

SOMESURPRISES   /  Perseids

I’d like to start with some info about the Perseids meteor shower, after which Somesurprises magnificent sophomore album is named. 

“The Perseids are a prolific meteor shower associated with the comet Swift–Tuttle that are usually visible from mid-July to late-August. The meteors are called the Perseids because they appear from the general direction of the constellation Perseus. The name is derived from the word Perseidai (Greek: Περσείδαι), the sons of Perseus in Greek mythology.

The stream of debris is called the Perseid cloud and stretches along the orbit of the comet Swift–Tuttle. The cloud consists of particles ejected by the comet as it travels on its 133-year orbit. Most of the particles have been part of the cloud for around a thousand years. However, there is also a relatively young filament of dust in the stream that was pulled off the comet in 1865. 

The shower is visible from mid-July each year, with the peak in activity between August 9 (my birthday!) and 14. The Perseids are primarily visible in the Northern Hemisphere.”

Somesurprises’ shimmering sophomore album Perseids, shooting starred (I know, I knowwww!) its way into my life way back in May. Their swirling, mesmerizing, psychedelic shoegaze soundscapes seemed to soundtrack my Spring perfectly, all sparkly, starry, & uplifting. From the twinkling synth and big, impassioned dream-pop vocals of opener “Be Reasonable” to the absolutely monstrous, 8+ minute crushing closing title track, Perseids is a musical masterpiece, meant to be listened to as a whole, and in order, from start to finish.

Somesurprises is the musical project of Natasha El-Sergany. Natasha is Egyptian/English American, born in Ireland to immigrant parents (her day job is as an immigration lawyer in Seattle!) Growing up Sergany bounced between England, Florida, North Carolina, Virginia & Seattle, and those reference points constellate across Perseids to create her singular voice. Her ethereal melodies seem to connect the dots between eastern mysticism & PNW grunge; floating somewhere between the vastness of space, the ferocity of the desert, & the unknowable deep, dark ocean. Over the majestic drone cacophony of the closing title-track, PNW experimental vocal master Jessika Kenney reads an interpretation of a poem from the legendary Persian poet Hafez. Sergany’s attention to detail pays off throughout Perseids, she is world building, she surrounds you with these songs, this album is intoxicating. 

Perseids had just been released when Somesurprises played the long-standing DIY venue Glob here in Denver, CO. Glob is one of our last remaining sacred DIY spaces, housed in a nondescript warehouse building, long & narrow, with couches lining the walls. Surviving in what was once a barren industrial district on the outskirts of Five Points, Glob holds on miraculously against the increasingly horrific squall of breweries, hip restaurants, and lifeless blocked squares of AI-created luxury apartments. Somesurprises performance at Glob felt sacred, legendary & fleeting. A favorite show of the year for me for sure. I brought two cans of good beer from home and drank them with my friend Casey (cuz who else would come with me to a DIY venue?!) and I remember walking out into the sparkling Spring night air saying to myself, “Perseids is a lock for my end of the year favorites list.”

A secret thing I’m trying to do with all of the albums on this list this year, is to pick a goal or a learning or a lesson, something tangible that I can work on to cement the albums' importance in my life. The goal I’m picking for Perseids should come as no surprise (some surprise?!) Come with me this August to somewhere outside of Denver, far enough from the city lights, and let’s watch the Perseid cloud ejecting from the comet, abandoning its 133 year journey, hurtling to earth as fireballs of electric light, visible for seconds, streaking across the sky, one after another, before they fade into the epic, black vastness of space. I want to close with the heartfelt words Sergany shared upon Perseids release into the world.

“These songs have kept me company for years in many layered stages and it feels so good & right to finally share them with all of you! I experienced deep joy & profound loss during the making of this record and beyond (like most humans) and rediscovered some of the things that make life worth living. I am grateful that I got to share some of these songs from my phone with my grandmother before she passed away, and that one of the songs made her feel like she was in ‘another world.’ I hope a sense of the possibility of renewal is transmitted through these songs, personally & collectively.”

*

YASMIN WILLIAMS   /   Acadia

Way back in 2021, I put Yasmin Williams’ instrumental guitar album Urban Driftwood on my end of the year Favorites list calling it “delicate & uplifting” a true “morning record” full of “rainbows of warm light.” Indeed, I spent many mornings in 2021 with Yasmin, easing into days & months & years. For her third album Acadia, Williams has upped the energy big time, and she pushes her boundaries as an artist in a really exciting way. For starters, while Driftwood featured mostly Williams alone, Acadia features 19 (!) guest artists, all handpicked by Yasmin. They weave in & out, sharing the stage with Williams’ generous playing, creating a warm, cohesive familial energy; elevating the album with an almost sunset, campfire, “sing” along magic vibe. Check out the boisterous strumming on the adventurous opener “Cliffwalk” courtesy of Piedmont folk-blues legend Dom Flemons, or the dreamy vocals (vocals?!) from Darlingside & Aoife O’Donovan on the gorgeous “Virga” and the sunrise wonder of “Dawning.” Banjo & fiddle dance in on the bluegrass inflected, wild romp of “Hummingbird” courtesy of Allison de Groot & Tatiana Hargreaves, and it sounds Spring-y in all the ways I need right now. Finally, it should come as no surprise that when Williams picks up an electric (electric?!) guitar on “Dream Lake” and “Malamu,” she absolutely shreds!

Well… It’s 2024! Here we are. Here are my 23 favorite albums from 2023. Here is a lot of rambly, super personal & emotional writing about why & how I love every one of these albums. 2023 was a harder year personally, so a lot of these albums (and especially my writing about them) leans heavier & sadder, but I’ll try to explain the brightness in my writing. I have been making this end of the year favorites list every year since 2012, so this is the 13th annual! Every year I fall deeper in love with music. 2023 marked my first full year working in marketing for music venues full time. 2023 also marked my first full year of being single since like 2001. So like, since when I was in my early teens! Over 20 years ago! Lots of growth and lots of change. I went to 162 live shows this year! 162! I saw over half of these artists live in 2023! These albums were all life saving & life giving to me, in ways that I am still coming to understand. Thanks to my friends for reading, and to all the artists for creating, I won’t forget any of these albums. Without further ado, in no particular order (unless you know the English alphabet) here are my 23 (or 30-I actually included one bonus album-cuz The National released two albums-and 6 bonus EPs!) favorite albums of 2023!

2023 Favorites Playlist

AMERICAN TRAPPIST   /   Poison Reverse

In 2023, I took countless walks through my beloved Cheesman Park here in Denver, CO. I walked at sunrise, at sunset, in summer afternoons & on winter nights. On many of those walks I cried, and on some I listened to music. Most of the albums on this list were companions on my Cheesman Park walks at some point during the year. One of my deepest companions was the new album Poison Reverse from one of my all-time favorite bands American Trappist. The songs on this album contain hard, deep, inspiring truths & they have helped me immensely on the early steps of my personal journey to believing that things can get better. I spent a lot of conversations with friends new & old talking about how fucked the world is and if we believed things could get better. That idea, both personally for myself (and big picture for the world) was at the heart of much of my brain gardening over the last year. Do I truly believe that I can get better? And do I truly believe the world can get better? I’ll come back to this idea a few times across the next 23 albums, but first, let's do a shallow deep dive into why Poison Reverse & American Trappist mean so much to me!

It feels comforting to start this list with this album. Out of the 12 years I’ve been making this list, this is the 5th (!) time I’ve written about a Joe Michelini album! Michelini fronted New Jersey folk-punk rockers River CIty Extension during the peak of the stomp clap folk revival in the early-mid aughts. At times an 8 piece mini-orchestra, RCE released two of my fav records of all time with 2010’s The Unmistakable Man and 2012’s Don't Let The Sun Go Down On Your Anger, both of which are regrettably not on spotify anymore. When they broke up in 2015, Michelini began releasing music under the American Trappist moniker and has since released four of my favorite albums of the last eight years! I called 2016’s American Trappist “angsty & heartfelt, religious & romantic!” 2018’s Tentanda Via “Springsteen-y boardwalk rock & roll!” and 2020’s The Gate “a goddamn dark, noisy masterpiece!” You can also read about the handmade, super personal Anthology Mixtape I made for myself during early Covid 2020, and the New Red Shoelaces Mixtape I traded Joe for an advance copy of The Gate! Safe to say, I have a long, growing & evolving history with these songs, but let’s talk about Poison Reverse!

Album opener “Split Horizon” brings back all the early 2000s indie vibes, a brooding acoustic riff and 2.5 minutes of Michelini quietly intention setting “Far from the edge I’m lost, taking my necklace off / making a pact with loss to never be whole / closer to death again, willing myself back in, begging for punishment / & I wanna grow old someday, giving myself away / I won’t make the same mistakes back on the ground.” From there “Seg Fault” explodes into an epic Michelini guitar solo at 1:55 and wakes up some demons. From the psychobilly punk of ”What Did You Wish For” to the raucous, queer energy of “Lipstick” it’s apparent that this is another American Trappist classic. In their journey to finding themselves, Michelini has dealt with things as a queer, non-binary artist that I have not dealt with. Their writing explores those things fragilely, gently & majestically on Poison Reverse. Michelini opens up not only their deeper thoughts & emotions but also their physicality; unafraid to examine their physical body, its growth, its changes, what remains & what fades. This is a landmark album in their discography. A lighthouse, a beacon, a “weird, little candle.” Album centerpiece, obvious personal favorite, and song of the year contender “Temple Song'' is the flame & heartbeat. Michelini talked about this song on its release explaining “I will say by some cosmic arrangement beyond my understanding, from time to time, I have been guided to a little light, and in the best of times have possessed that light & protected that light. Let me share that with you now: a weird, little candle that won’t burn forever, but maybe enough to serve as a reminder until the next time you find rest.”

These are songs about finding yourself. About how to care for past wounds and move forward. About trying to know the truest, deepest, best version of you. About how to allow growth & change to take you in new directions. These are songs you can sing back in the mirror when you’re scared of what’s coming and you doubt your purpose. Poison Reverse is unsure of the future, but sure of the strategies and work required to get there. When Michelini was asked about the meaning of the breathtaking cover art (and album in general) they explained “To me, it is new growth in the darkness. It is dawn. It is hope… A few years ago my therapist asked me what I would have to say to my younger self and I was crying so much in the session that I couldn’t respond, but when I sat down to think about it later and drafted an e-mail to her, I wrote: ‘If you don’t believe in the potential for things to get better, nothing that comes next will be worth it.’”

“I’m still alive and I wanna dive in / It’s not enough surviving, I wanna break the spell / I’m gonna kiss the memory in the darkest part of me / I’m gonna leave the light on for everybody else…”

*

ANGIE MCMAHON   /   Light, Dark, Light Again

There is a point about halfway through Angie McMahon’s once-in-a-lifetime, masterpiece sophomore album, in the driving “Divine Fault Line” where she lifts up her head and sings directly at me over a steady guitar strum “I’m learning to love my skin, I’m learning to dive right in” she encourages me as if she knows exactly what I’m afraid to hear. “I think it’s time to sweep the eggshells clean” she continues, as I’m doing the dishes, or meal prepping in my kitchen, or cleaning my bathroom, and I cock my head and listen (like really listen) “I’m starting to dance again” Angie sings with an increasing carefree confidence “I’m using my hands again” In these 35 seconds I can see the sunrise. I can feel the Spring coming. I believe that I can change. That these days or weeks or months or years of darkness will pass. That when you’re “all fucked up and wanting to die” that maybe God is just a divine fault line and that “when you got no water left in the well” maybe that’s just “the place where breaking out begins.” 

Angie McMahon’s lyrics are my favorite of the year. If you asked me to pick my personal favorite album of the year, I would say Light, Dark, Light Again. In fact “Divine Fault Line’ is literally like my 7th favorite song on this album! There are at least five songs on Light that are contenders for my song of the year. Lyric snippets worthy of tattoos & late-night prayers, lines that I will return to until the day I die. 

Opening track “Saturn Returning” finds McMahon singing (as she sings many of her songs here) hair down, staring into a mirror, face to face with herself, with her growth, her survival, her story. The same way that I often chose to listen to this album in 2023. Staring in my own mirror, facing myself, my growth, my survival, my story. What begins as a simple, repeating piano riff, quickly swells to a swirling epic ballad, McMahon spitting one liners like “I’m gonna dance everyday till I’m old” and “I’m gonna love every inch of this body, the limbs that are writing each day of this story” and finally “i just wanna be wide awake when I’m 40” Holy fucking shit Angie. “Saturn” is over as quickly as it begins, surrendering its keys to the universe, 2 minutes and 44 seconds of a storm rushing through, setting the tone for an album that is as emotionally challenging as it is inspiring. These are songs about growing up, songs about youthful drunk kisses, feeling caught in older, more constraining relationships, songs exploring the real shit. Secret personal fav “Exploding” rides another steady, explosive guitar to a burning outro, singing along with McMahon wailing “I hope I am always exploding!” If good songwriting is about making up words and rhymes, then “supernoving” is a gamechanger. This collection of songs also happens to be brought to life by some of my favorite musicians and producers. Brad Cook is probably my all time favorite producer, and it’s hard not to listen to the enchanting “Staying Down Low” without hearing Canadian super-sad-star Leif Vollebekk (see ya in 2024 Leif?!) and not think of his & Angie’s whistling, duet version of her “If You Call” that soundtracked so many of my Summer nights in 2021 & 22. For all the aching, end-of-the-world emptiness on Light, there are friends, familiar faces & familiar voices. 

There are two songs on Light that I especially, deeply, deeply love, songs that will stay with me for a long time; so I want to close by talking about sister songs “Letting Go” and “Making It Through.” The twin mission statements of Light, one an uptempo, driving indie rocker; one a swirling, piano, power-emo ballad. “Letting Go” paints a picture of a dark time (“six months lying on my living room floor / sick, then well, then sick some more”) but it speaks of the growth that happens in those times (“I might be prouder of me than I ever have been”) and the catch, the hardest thing for those of us like me & Angie… The power of letting go. How to do it “without my claws scratching the surfaces.” When Angie finally repeats the closing line over & over, louder & louder, increasingly more violent & unhinged at the end of the song, it always feels like she is holding me by the shoulders and shaking me, looking me directly in my face and admonishing me “It’s OK, it’s OK, make mistakes… MAKE MISTAKES!” In a year of making mistakes, letting go, feeling my claws scratching the surfaces, and wasting time; what a comfort to talk to someone about “closing some doors, hoping to open more down the line.” This song is a force, and an all time, lifetime fucking favorite. 

Finally, at the end of the record, lies the secret to all of this. The hope, the story, the thing that gets you up out of bed. The first time I heard a snippet of this song, back in October, 10 days before the album came out, Angie posted a quick video of her playing it on a little keyboard saying it contained the mantra that made it all make sense… light, dark, light again. I remember watching tentatively and then dropping my phone almost instantly, sobbing on my bed, thinking of everyone I love, thinking of my place in the world, thinking of how to love better, how to be better… how to survive. How to make it through. There will be years for fighting, there will be years for making a difference. This year for me, was about just making it through. So I kneel late at night and early every morning, waking up with a view of the moon, and I say the same prayer that Angie sings as the album closes “Time is supposed to run out. Sun is supposed to go down. Like your mood, like your power, like your battery. Rise, fall, rise. Life, death, life again. Sky, ground, sky. Day, night, day again. Light, dark, light again. Light, dark, light again…” Thank you for this album Angie. I truly, truly love it. Light, dark… Light again.

“& when I grow up, I wanna be like a tree / & change with the seasons, helping people breathe / but all I’ve achieved lately / is making it through / just making it through… / I froze on the spot where you left me / to hold everything still worth protecting / I know now at the end of the ending / that just making it through is the lesson / just making it through…”

*

BECCA MANCARI   /   Left Hand

There is a centerpiece lyrical idea running like a river through Becca Mancari’s magically enchanting third album Left Hand. Stated most simply on the magnificent “Don’t Close Your Eyes” Becca pleads with us “Don’t close your eyes. Are you ready? Only get one life. Wake up, it’s right here. Are you ready?” When you dig deep into most of the albums on this list honestly, that idea is running underneath all of my favorite writing. It is the idea of life & love. How, in order to live your truest, best life, you need to do the inner work to love yourself. The work that Becca is describing is very specific to the queer experience, and Left Hand is full of songs about coming out, and being true to yourself. It is glowingly apparent that Becca has done & is doing that life-changing work, and encouraging us all (queer or not) to do the same. You can hear it on the desperate title track, a statement “Wake up. Love yourself. Be honest.” and a plea “I want to live. I want you to live too.” Or in the epic, swirling album closer “To Love The Earth” where they quietly & defiantly declare “I wanna live right here, right now. Wanna let go of the past.” Clearly these thoughts are too important to ignore, and Becca strikes me as the kind of friend who skips small talk for the real, important shit. 

Speaking of friends, Left Hand is an album made with friends & for friends! In the midst of their “love yourself” work, Becca chose to co-produce and play the album with their good friends. Becca plays many of the instruments (guitar, synth, bass, drums, vibraphone, OP-1 & piano!) and recruits friends to give the album a cohesive, brooding, indie pop-rock authenticity. Masterfully crafted instrumentals, calming drum machines, layered synths, cascading chimes, commanded by Becca’s singular voice, at times shallow & quiet, growing strong & urgent, leading the songs through rises & falls. The Brittany Howard assisted groovy opener “Don’t Worry” is a powerful love song to & for their queer community. Becca encourages & pushes a friend or a lover to “Give me all you got, I can handle it.” They see them slipping, running out of time; but they’re not leaving “Go & take your time, I’ll be right here” Becca comforts. Then louder, more final “Don’t even worry, I’ve got you.” From there, “Homesick Honeybee” opens with fluttering synths and the sweetest voicemail message from Becca’s grandfather. The song builds on itself until closing with stabs of roaring, grungy guitar. Radio single “Over and Over” is a huge queer pop anthem. The earworm chorus sticky & sweet “There is something to the feeling, head hanging out of the window, being ok that we don’t know / & we can have it like we used to, over & over & over & over again / we were invincible, do you remember that feeling?...” While much of Left Hand rides similar uplifting pop vibes, the moodier, darker moments are some of the most powerful. Ultimately (as with all the albums on this years’ list) it is Becca’s writing that cements Left Hand as a coming-of-age classic, lines of poetry that I will surely recite to myself for years & years to come.

We were lucky enough to host Becca at Lost Lake (one of the venues I work for!) on Halloween night. It was that night, celebrating these songs with Becca live, that I finally, fully realized how special they are. Becca’s presence is warm & energetic, like an old friend, and I felt deeply how real & important these songs are to them. How in Becca’s openness to share pieces of themself, their work and their journey, they are encouraging me to do the same. Through the gifts of sharing & listening, I know Becca deeper, feel the things they care about, and am inspired by their courage & vision. I cry often at live music, usually in a cathartic, very good kind of way haha, and all I could think on Halloween night was how special this bond is. How lucky I am to get to know people through songs, and how grateful I am for people like Becca sharing themselves. Being true, being good, working hard, digging deep, being strong. The encouragement & empowerment I feel after listening to Left Hand, is similar to what I get from talking to my best friends. I feel motivated to keep doing the hard work. To keep trying to better love myself and be the best version of myself. Left Hand is the sort of masterpiece that I will return to when I need that encouragement. To check in with Becca and their songs and to catch up. Left Hand is a career defining record for an artist on the verge of breaking out. Left Hand is also one of my new best friends. 

“We’re here and then we’re just not, what a magical thing…”

*

BLACK BELT EAGLE SCOUT   /   The Land, The Water, The Sky

The songs on Black Belt Eagle Scout’s third album, the perfectly titled The Land, The Water, The Sky, echo back screams from the planet she sings so passionately about. Screams of beauty, rage, agony, destruction, despair, magnificence, majesty, peace & power. When I wrote about the first two Black Belt Eagle Scout albums, 2018’s Mother of My Children and 2019’s At the Party With My Brown Friends, I talked about Katherine Paul’s incredible writing & playing, about how those albums made for such great driving music (a very important genre in my own head!) but also how culturally important those albums were in their time & place. How important it is for us to listen to (and heed the warnings) of queer, indigenous songwriting. The Land, The Water, The Sky is no different. A searing statement on the scary state of our planet, yet filled with tender explorations of Paul’s mental health & familial bonds. Paul is equally skilled writing cinematic, widescreen, sprawling epics about the vastness of the earth and its many mysteries, or small, gentle tales about how to take care of yourself. How to quiet your mind. How to love yourself. For my money, she is also the best guitarist in rock & roll right now.  

Musically, The Land wastes no time, opening track and song-of-the-year contender “My Blood Runs Through This Land” squalls from 0:01 into a monstrous guitar wall that builds and burns behind delicately measured vocals, an absolute showstopper of grungy, shoegaze-y, post rock, with a solo that could cause a rockslide. As with their first two albums, Paul plays all the guitar AND drums (while also adding keys, mellotron, vibraphone, omnichord & organ!) and (as with Becca Mancari -see above!) co-produces. She brings in collaborators for understated, orchestral strings, PNW legend Phil Elverum of Mount Eerie & The Microphones fame, and her parents even sing on the gorgeous “Spaces.” This album SOUNDS HUGE! Like an avalanche, like a thunderstorm, like a wildfire. Paul’s writing has always had an environmental bent, the kind of detail-oriented, time & place writing that makes a good listener actually feel why the protection of the land is important to her. It is the way I feel when I’m in wild places, when I force my racing thoughts to be quiet, when I listen to the trees & the wind & the hills & the animals. A joined chorus of anguish, an upwelling of desire to remain. To stay safely untouched, to continue through time as always, steadfast & serene, changing only with the seasons. How could something in such distress remain so peaceful? 

Although Paul is very deeply connected to their native PNW, I can hear in these songs all the places I love and have spent time in, as well as majestic, mysterious places that I watch on National Geographic & Planet Earth, ones that I can only hope to see someday. From my beloved creeks careening & crisscrossing the Colorado mountains, to the Amazon rainforest in Brazil, the skeleton coast dunes of Namibia, the wild, remote deserts of Siberia, the green rolling hills leading to the exquisite coastline of Northern California, deserts, lakes, oceans, mountains & trees. The magic in Paul’s writing is how she can make us feel these things, these huge abstract, wild places; while still making the songs intimate, filled with details of an important life. Waking up, touching rocks in the river, watching out a car window, a phone call, a kiss, a skinny dip, a good cry & a deep laugh. Like many of the artists on this list, we were lucky enough to host Black Belt Eagle Scout at Lost Lake last June. A rescheduled show from one that was postponed due to a (ha!) epic, late-spring, Colorado snowstorm. Seeing Katherine live was like watching a superstar. They were warm, friendly, and the music was emotional & powerful. Hands down one of my favorite shows of the year. I’ll be listening to The Land, The Water, The Sky on road trips for years to come! Long live Black Belt Eagle Scout. 

“Slow, important love / it keeps me alive / you wanted a second chance at life / well… you’re alive / you hear your heart beating / you walk under the trees / I was only seventeen / I was only seventy / the land, the water, the sky…”

*

FUST   /   Genevieve

If you’ve followed this list for the last 10 years, you know that I write A LOT about North Carolina bands and the albums & songs & connections I have with that state. I’ll talk about that more when I write about Kym Register (the deepest example of my fav “North Carolina sound”!) but this year, Asheville based “supergroup” Fust is the latest iteration of a specific North Carolina vibe that I can’t help but love. The songwriting project of Aaron Dowdy (who’s actually from Virginia ha!) Fust’s second full length album swells with the kind of yearning, hopeful, achy, pedal steel folk, alt country & americana songs that can soundtrack any backroad mountain drive, from Colorado to Carolina & California! My favorite moments include when “Violent Jubilee” rises up on layered electric guitar throbs and becomes a true road trip anthem with Dowdy cutting loose belting creakily “I like driving with the odometer busted, when I know the stars are gonna fall any minute! & I’m ready to burn up with it!” Or the bittersweet sadness in the struggling marriage/relationship commitments lamented on “Rockfort Bay” when Dowdy confides to his partner that he wants “a small life” and wants them both to “Do their best tonight, I’m praying we do not fight, I’m thinking we’ll be alright.” but also the creeping, darker secret that Dowdy admits halfheartedly “I’ve got a bad feeling, I’m never gonna change…”

These strong, nuanced lyrical themes across Genevieve set it apart from any old folk-americana album you might hear on a Spotify playlist, and in my mind, it’s almost a concept album of sorts. Themes of marriage & divorce, friendship & commitment. Themes of searching, restlessness & unsettledness. Themes of domestic contentment and what to do when you & the person you love want different things and have different goals in life. On the resigned “Open Water” Dowdy reveals longingly that despite all his restlessness, what he really wants is “a little old home to call my own / Where I like the wallpaper and what the sun’s done to it.” or in the Indigo De Souza (more on her in a sec obv!) assisted “Town in Decline” where he rejoices in a warm house, cooking, watching the news & cleaning the gutters, singing “I’ll bring candles, we can celebrate, the paper plates are fine!” There are also people all over the record, Genevieve of course (a fictional character according to Dowdy) John & Angel, Sarah Lee, Jimmy, Sam, sisters, brothers, neighbors, the whole damn band! There are also the real life collaborators in the Fust circle of music that I love, Indigo of course, drummer Avery Sullivan, Jake Lenderman and Xandy Chelmis from Wednesday (a record that I also loved but not on this list!) Courtney Werner from North Carolina legends Magic Tuber String Band, and all brought together on the production side by one of my all time fav producers Alex Farrar (Hurray For The Riff Raff, Tre Burt, Indigo, Wednesday etc…) Musically this album contains all the little evocative elements of North Carolina that I’m in love with. 

The mission statement, gut punch of the album is one of my favorite sad songs of the year. The accurately titled “A Clown Like Me” is a languid, ranging, late afternoon-into-dusk heartbreaker. There are enough clues in Dowdy’s small details & big ideas that I think I know deeply what this song is about, but I feel it more than any other song on the record. In a year where I started coming to grips with my own life decisions costing me actual, real things, and my carelessness hurting actual real relationships & people, this one hurts. This is an aching anthem for how to move forward. How to have open & honest conversations about it. How to walk & talk & make plans big & small. How to rebuild and try to make the deepest kind of friends. The awkwardness, the hardness, the checking in on family members & friends. The ache of loss and the bright, dull sting of a future alone or together. My fault I fear. There is still light shining through the kitchen window and the Winter is long. You should park on 4th. Seventh Ave stretches out forever and iced coffee tastes good even when it’s cold outside. How are your parents? I don’t know what I want. My family is good, things are changing, but good. Nieces, nephews, new job? Oh, your sister’s worried. How’s Sam? I’ve been trying really hard too, but feel like treading water, getting tired. I thought you’d want what I want. This song plays hard on the place that I knew you were dark. I was just trying to tell you how proud I am. I’m in awe and regret everything. My fault I fear. The sun goes down, the light slants differently when you’re not around. We don’t know how to do this but we are doing it anyway. Songs like this are hard but necessary. I feel heard & seen. I am listening & learning. Growing & moving forward. I feel that this hardness will never really go away. 

“It feels good to be a part of a greater kind of looking / gonna be a searcher for the rest of my days…”

*

GENESIS OWUSU   /   Struggler

“Sometimes it feels like there’s an old man waiting in the sky, just to fuck my life up.” begins the driving “The Old Man” on Genesis Owusu’s breathtaking sophomore album Struggler. He refers to this non-benevolent God all across the album, the title track crashes with the refrain “better run, there’s a God, and He’s coming for me!” and in “Stay Blessed” Owusu is just “a roach that a God is coming after.” Owusu has said that his alter ego “the roach” that appears in every song on this concept album, also represents humankind, fighting against the struggles daily life throws at us, surviving day-to-day, just getting up, “putting our ties on, and keep truckin!” He says the “God” that just won’t leave the poor roach alone (could that be the God of the bible?!) represents "these huge, unrelenting, uncontrollable forces that, by every logical means, should have crushed us a long time ago.” Lyrically, this concept is repeated over & over again across the album, almost every song references the struggle between the roach & god. But the music… the music of Struggler is where Owusu comes alive and breathes life into his epic narrative! From the first 30 seconds of the frenetic, electric opening track “Leaving The Light” I knew this one was gonna be special. Dance pop, synthwave, pop rap, breakbeat, funk jazz, disco & neo soul, part Bloc Party, part Jean Dawson, part Prince. It’s all splattered across Struggler, upbeat & relentless, danceable & underground-y, vibrant & all out wild. In a year where I continued to lean into lyrics, this is one of the albums on this list (add Kumo 99, Paris Texas, Sofia Kourtesis & Y La Bamba) where I can confidently say I like the music more than the lyrics, 

The first time I saw Genesis Owusu was at the magical Treefort Music Festival in 2022. It was a late night set at the Shrine and Owusu’s stage presence was incredible, from the dark, theater-influenced “black dog” opening half, to the celebratory dance party that had everyone in Boise sweating, it was my favorite set of the festival!  I told everyone about Genesis, and riding a scooter home at 3AM along the Boise River, I knew I had found a lifelong musical friend. Owusu brought that same energy to little old Globe Hall back in November, playing one of my favorite shows of last year. For the sold-outest of crowds, Owusu commanded the stage all by himself, dancing, singing, taking to the crowd to start a pit and sing along with fans. Owusu is one of those “you have to see him live” kind of talents. Born in Ghana, raised in Australia, Owusu is creating his career with a singular voice. Staying true to himself, shapeshifting, crawling, dancing, roaching, running, crashing, and always in the end… getting up again.

“Feeling like Gregor Samsa / a bug in the cog of a grey-walled cancer / I’m tryna break free with a penciled stanza / so are we human or are we dancer?...”

*

INDIGO DE SOUZA   /   All of This Will End

When Indigo De Souza released her incredible third album All of This Will End in late April, I listened to about 30 seconds of the first track, the innocently poppy, burning 2 minutes of “Time Back” and realized that this album was going to be one of my favorites, but also REALLY hard for me to listen to. Like she did on Any Shape You Take (one of my favorite albums of 2021) De Souza holds nothing back, making the most soul baring, life questioning indie rock album of 2023. When I wrote about Shape back in 2021, I called it a truly great emo album and said it made me feel like a teenager again. With this album, I feel like I am growing up alongside & with Indigo. Despite all the heartwreck that she’s singing openly about, she manages to grin & bear it, to see some lightness. “We’re gonna love again on the other side / when you come home I will begin again” she smiles through tears on “Time Back.” When she’s calling off work on the catchy, upbeat “Parking Lot” she laments “I’m not sure what’s wrong with me, but it’s probably just hard to be a person feeling anything / I’m a growing girl my ups & downs are natural” and at the end she concludes “maybe I’ll always be just a little bit sad.” She unpacks trauma and abuse in real time on the raging “You Can Be Mean” slyly admonishing “I’d like to think you got a heart and your dad was just an asshole growing up / but I don’t see you trying that hard to be better than he is.” and the fuzzed out, rocking grunge & bloodcurdling screams of “Wasting Your Time” & “Always'' are heavier shit than any album on this list. Like she has mastered in her blossoming career, De Souza continually balances the darkest darkness with the sweetest light, whether musically (“Losing” masks it’s aching longing with De Souza’s friendly, lilting vocals and a gentle, rolling guitar) or lyrically (“The Water” quickly came my favorite skinny dip song and soundtracked many river & creek hangs throughout my summer). The honest autobiography of Indigo’s writing lets me in on her secrets & growth, and I feel like I’ve known her through this chapter of her life. 

As I’ve sought out new friends this year (my first year of being truly single since I was kid) I’ve been drawn to people who want to talk about things the way that De Souza does in her songs. People who know the world is ending. People who struggle with their place in all of it. People who don’t feel like they fit in, but face it anyway. De Souza mixes an everyday “conversations with coworkers” vibe, with a deep, deep restlessness. The kind of unsettledness that makes her either the most fun at parties, or the kind of person that runs & hides. At the center of the album sits the title track. A mission statement & a bleak revelation, but one that could be looked at in many different lights. De Souza realizes that no matter how hard you try at all the things shes writing about, sometimes none of it matters and all of this will end anyway. She faces her deepest fears & inadequacies, forgiving herself and coming out singing “I’m only loving, only moving through and trying my best / sometimes it’s not enough but I’m still real and I forgive” 

This self-gentleness & self-forgiveness shines through especially bright on the gorgeous album closing ballad “Younger & Dumber.” Go watch the music video for this one, it’s incredible! I looped this song on repeat one night last Summer at Cheesman Park (“having an experience”!) sitting at the columns and watching a roller skater perform a routine that I SWEAR was made for “Younger & Dumber.” As the song picks up, pedal steel whining and De Souza’s voice rising fiercely with the second chorus, my anonymous roller-skater spun faster in the sunset “Sometimes I just don’t wanna be alone & it’s not cause I’m lonely” De Souza confides “It’s just cause I get so tired of filling the space all around me / & the love I feel is so powerful…” It’s here, on the brink of the end of the album, that De Souza changes the words to how powerful this love they feel is. On the printed lyrics in my CD copy they say “I’ll meet you anywhere.” This is of course a powerful, romantic statement. A commitment of love. But when De Souza sings the song on the album, they don’t say they’ll meet someone anywhere. They say that the love they feel is so powerful “it can take you anywhere.” This is self love. This is an open future. The freedom to let love take you anywhere. To love others truly, you must first love yourself. You must first admit to past mistakes, to know that “when I was younger / younger & dumber / I didn’t know better…”

As with many of the musicians I love and follow online, I feel super connected to Indigo through her social media. I’ve read a lot about “parasocial” relationships, and I’m always careful with how invested I get, but as I’ve referenced countless times in these reviews, following & connecting with artists, specifically their lyrics, has completely changed my life direction over the last 10-15 years. But when I see someone like Indigo struggling, posting openly & honestly about her struggles, I want to reach through the vastness and tell her it’s gonna be ok. That she is loved, that she is incredible, that her work is valid, important & essential. To help her in some way. In that feeling & that moment, I realize… Indigo is reaching through the vastness to tell me the same thing. Her work, her songs, her music, her lyrics, are carrying me. She is reminding me that I am loved. That life is hard but I am incredible. My passions & my work are important. The greatest gift, the deepest magic. Time travel, teleportation, whatever you want to call it… I call it magic. Hug your friends. Talk about everything with them.  Be open & honest with your struggles. Who gives a fuck, all of this will end. 

“Am I losing to the dark? / is it overtaking me? / I was overcoming last month / but June is killing me / & all my friends are leaving or trying on new faces / & in the dark, where my car’s been parked / I remember how to face it / there is nothing I can do when the winds of change blow through…”

*

KING TUFF   /   Smalltown Stardust

“There are times in our life when we feel magic in the air.” So begins the bio/press release for King Tuff’s magical fifth album Smalltown Stardust. Way way back in November of 2022 (!) one of the venues I work for, Globe Hall, was getting ready to announce a King Tuff show in March of 2023. As I gathered all the info I would need to put the show on our website, I sat and read all about King Tuff’s new album and subsequent tour. As that kind of writing often does, I was brought to tears. I knew a little of King Tuff, was familiar with his fuzzy, psychedelic rock background and wizard’s hat, but reading about his desire to  “make an album to remind myself that life is magical. An album about love & nature & youth.” and his ultimate revelation that “I’m a different person now than I was 20 years ago when I first started this. But oddly, when I first started the band, it was more like this.” There are glimpses about his journey back to Brattleboro, Vermont (the town he grew up in), his communion with nature, his collaborative community (he lives & records in LA with Meg Duffy of Hand Habits and Sasami, who also co-wrote much of Stardust!), his joy & energy bouncing off the page and coming to a life as a real life wizard right in front of me. I became an instant fan!

The actual songs on Smalltown Stardust make good on all those promises! With some classic touchstones (I can’t help but hear The Beatles all over this record!) it is a psychedelic, hippie, pop-rock masterpiece. From the celestial garden swing of green thumb opener (“I just wanna dance & write love letters to plants”) to the rollicking, mountain folk rock of “Portrait Of God” and the measured indie of personal favorite “Rock River,” a summer river, skinny-dip love song for the ages! My favorite thing about the glorious nature King Tuff has splattered all over Stardust, is that it is accessible, ordinary, & worth celebrating! When you grow up in the heart of the Rocky Mountains in Colorado, there is a tendency to search for nature that is epic. Hard to get to, untouched, Instagram worthy, requiring multiple plane flights, or strenuous double digit mile hikes to obtain. Tuff’s nature can be found right in your own backyard! Green plants & wildflowers. Butterflies, stars, sunflowers & rain. “Walking in the woods, wading in the river, breathing in the mountain air.” Falling leaves & pebbles in a stream. As I get older (like Tuff) I have continually turned to nature for comfort, and last Summer found me exploring secret, favorite “accessible nature” spots less than 30 minutes from downtown Denver. Hit me up next Summer for secret creek spots in Clear Creek Canyon, Bear Creek & Boulder Creek. Come run around on Green Mountain! And of course, my deep, deep favorite nature spot… Cheesman Park!

My final connection with Smalltown Stardust & King Tuff was cemented last March, when my already-planned trip to see my little sister in Arkansas was unfortunately happening on the same weekend as King Tuff’s Globe Hall show in Denver. Tbh, I thought about canceling my trip and staying for Tuff, but I went to Arkansas and instead told my sister all about the album, the bio, and we stayed up late talking about nature & friends, siblings & youth, bittersweet nostalgia & an epic future! We drove rural Arkansas backroads to waterfalls, epic cliffs, mossy, leafy ravines, rock walls, Candy Mountain & Middle Earth. We drove through forests, across rivers, under skies storming with March gray & blue. We drank dark beers late into the night, talking about all the things that matter. I find myself always thinking a lot about how “growing up” feels. About my siblings and my friends old & new. Thinking about times when I was a kid in nature “In the back of a pickup truck, staring up at the blue, blazing down the backroads, blooming wild.” Sometimes as we get older, it feels like we’ll never have those same kind of feelings again. And more heavily than that, it feels like we shouldn’t want to have those feelings again. Like we need to grow up past those feelings. I’m so grateful for artists like King Tuff, friends like my sister Bethy (and of course my old and always best friend Stephen who always talks about all this shit with me haha!) and all the other people & music in my life that help me celebrate those feelings. That cycle of life. As King Tuff closes the album, I’m right there next to him, driving through our love & nature & youth together “Caught up in the turning of the wheel… & it’s coming round again…”

“When I close my eyes I’m going home / lonely sidewalks where I used to roam / ‘I’m A Loser’ lost in my headphones / back when all my dreams were silver & gold / sitting under the falling leaves / wondering where I’ll go / I’ll be where the rivers meet / looking for answers that I’ll never know / that’s where you’ll always find me…”

*

KUMO 99   /   Headplate

Headplate, the third album from LA duo Kumo 99, roars to life with the kind of visceral, electronic energy you won’t find anywhere else on this list. Kumo 99 describe themselves as “post-national, apocalypse-adjacent, lo-tech love songs for the digital native.“ Nate Donmoyer (Passion Pit, Brandon Flowers, Crosses) handles the production and Ami Komai sings with a shapeshifting wildness that absolutely lights this album up. Sung entirely in Japanese, she explains “making the choice not to write our lyrics in English is a political act. Our lack of translation is political.” While I haven’t yet done all the translation work to dig into what this Japanese-American duo is singing about, the music needs absolutely no translation. This is mosh-pit ready EDM for the underground. Breakbeat, drum & bass, jungle, glossy pop-techno, all carried by a ferocious punk energy that tears at its seams and explodes out through Komai. At times she is sleek, slinking cat-like through 8bit video game beats and stomp-y pop, regal & aloof. When she cuts loose, like on the bonkers-ballistic “Dopamine Chaser” her screaming tag-teams the energy of the beat, both leveling up to a frenetic climax, the punk-est thing you’ll hear this year. Headplate is 29 minutes & 22 seconds of trance-inducing magic. If you’re still missing Crystal Castles… Go dive in. 

“Breathe calmly! / grab your hair in your hands! / hug each other till you’re one & the same!...”

*

KYM REGISTER & THE MELTDOWN RODEO   /   Meltdown Rodeo

Back in 2016, I put Kym Register’s debut album Sweet High Rise on my fifth annual favorites list. They were still going by Loamlands then, and I was at the beginning of a journey that I am still very much on now, and will be for life. I was starting to unpack a lot of my internalized racism, sexism, & homophobia from my years spent in conservative, christian, straight-white-male circles; choosing the wrong friends, and being afraid to stand up for what I thought was right. It was through musicians like Register (and countless others) that I started finding inspiration, searching for progressive, challenging lyrics over familiar favorite sounds. I have been inspired watching them confront their peers, watching them write songs unpacking their own trauma, telling American stories about the racism, sexism, & homophobia that our country is built on. I began collecting musicians like Kym as inspiration, as education, people I could look up to, songs that challenged what I had once believed. Songs that encouraged me to challenge those around me. Songs that the new & changing me was proud to sing along with. Soon I began to collect friends & peers who believed the same things as I did and helped push me further down that road. Today, I still have so far to go on that journey, but it is not an exaggeration to say that musicians like Kym Register and albums like Meltdown Rodeo have completely changed my life. Woohoo! Let’s melt it down!

Meltdown Rodeo begins in a very similar place to Sweet High RIse. “Scottsboro” tells the horrifying story of The Scottsboro Boys, nine African American teenagers who were falsely accused of rape and sentenced to prison in Alabama in 1931. “Come on now” a frustrated Register mutters “this story’s not that old.” Sweet High Rise standout “Little River” told another off-forgotten, historical tale, the murder of Ronald Antonevitch at a popular gay swimming hole, that led to North Carolina’s first gay pride marches. While the music of “Scottsboro” echoes the sadness of the story, with yearning & spiraling guitar, track two “Blue” cuts loose with the kind of rage that reminds you of Register’s background in the punk scene. Telling another historically accurate story about Joni Mitchell wearing blackface, a song about how to critically examine your “heroes.” Lyrically Meltdown Rodeo deals with intense topics, but Register’s classic folk-country storytellers’ heart, makes them personal & relatable. These are real people, real struggles, and Register is constantly examining their own heart & brain, unpacking trauma, digging & replanting, learning & regrowing. Challenging the listener to do the same. 

Musically, this album takes me to North Carolina in the best way possible. I had a weird, deep connection with the state before I had even been there, and a lot of it had to do with the music made there. I didn’t step foot inside NC till 2016, but I’ve been there 12 times since! In a way, the connection that I’ve built over those seven years probably mirrors the internal growth I talked about, the most important years of my life so far. I have loved so much music from North Carolina in the last ten years and I hope to live there someday. Register owns The Pinhook in downtown Durham and is a staple in the local scene. The powerful guitar of Meltdown Rodeo and Register’s singular, ramrod vocals are evocative of the North Carolina countryside, rolling, rugged & gorgeous. Sweaty, humid & full of life. Of course, the musicians in this iteration of The Meltdown Rodeo are an all star cast of North Carolina legends! Rissi Palmer, Kamara Thomas, Phil Cook, Saman Khoujinian, Brevan Hampden, Sinclair Palmer, Joe Westerlund, & Matt Phillips. If you know, you know!  I’ve compared them to Lucinda Williams & Fleetwood Mac, but the closest thing I’ve been able to say is that it sounds like how North Carolina feels. Sweltering, swaying, stabbing guitar; melancholic yet hopeful, spring-y in all its longing. 

I’ve been lucky enough the last two septembers to finally catch a Kym Register set at Hopscotch Music Festival in Raleigh, and their presence & energy has been magical. There are a few bands that I’m always scared I’ll never have the chance to see live (looking at you American Trappist!) and the Meltdown Rodeo was one of them, until I snuck out of an eTix work conference in 2022, ran to Kings, bought myself a Tecate and a cheap whiskey shot, and started crying the second Kym started singing. Singing songs that I’ve kept close these last seven years. Songs that I’ve played every single one of the 12 times I’ve been in North Carolina. Songs that have actually helped me grow & change. I promise you, Meltdown Rodeo sounds so much better live. The guitars & organs crunch & squall together, and the drums lurch in mesmerizingly, making this also one of my favorite backroad driving records. When I live there someday, I’ll take these songs out on the backroads. From Asheville to the coast, I-40, 15-501 & the Blue Ridge Parkway. I’ll visit old friends. I’ll drive over the Little River, the Haw River, the Eno, the Deep. Until then, when I put this record on, I just close my eyes & I listen to the stories, I feel the staggering, suffocating heat, I hear the bugs & the birds. I can smell magnolia, dogwood & hydrangeas. I let the pedal steel carry me away. I melt down slowly in a good way. My brain & my body dissociating into something new & better. Melting down to start over. To begin again. I think about my past & my future. I know these songs are sticking with me forever. In a way… I’m already home. 

“Lightning bugs are larger when you’re lit up / can’t tell what’s sweat from mountain dew / foggy summer mornings they hide the shadows / and the barking dogs are songs to wake up to / daddy never taught me one good lesson / no one ever told me the truth / the South is a hotbed of resistance / to the whiteness that keeps trying to bury you / that’s why I’m coming home… / the only name I can reclaim is my own…”

*

MARGO CILKER   /   Valley Of Heart’s Delight

There is a simple conversation that opens my favorite song on Margo Cilker’s incredible sophomore album Valley Of Heart’s Delight. The next to last song on the album “Sound And Fury'' opens with a rolling country gait and finds Margo asking “Tell me where you’re going, ask what I’m doing, wonder how it’s coming along / It’s a piece of a puzzle, it’s a midnight struggle, I’m goin, I’m goin, I’m gone.” Sung direct & straightforward in Cilker’s powerful, conversational tone, it’s lines like these that endear me to writers like Cilker. Real, authentic country, americana & folk lyrics over familiar, worn musical ground. Pedal steel, fiddle, & piano rolling right along stretches of blacktop highway & “Lowland Trails.” This is running into a neighbor at the grocery store (New Castle City Market IYKYK), this is sharing life challenges over a cup of bad coffee at the dusty diner, later this is deep, heartfelt conversations over cheap beer at the kind of pool hall or dive bar that can be found in any of the small towns Cilker namechecks across Valley. In her own carefree style, this album begins to cement Cilker in a growing pantheon of “new country” (anybody got a catchier name?!) songwriters, as much Prine & Dylan as Willie or Waylon, Lucinda, Linda, Townes, Steve Earle, The Band, there’s probably a long list of influences & favorites here that I would love to stay up late hearing Margo talk about! 

Growing up in rural, western Colorado, I fell for country music in high school, and it’s been hard to shake ever since. Good country mind you, not the shit you find on mainstream country radio these days. Musically, Cilker’s band really cooks, most notably in the lighthearted “Steelhead Trout” (the only cover on the album) and the driving, dramatic “Mother Told Her Mother Told Me.” Another great folk songwriter Sera Cahoone (who I was lucky enough to catch at Red Rocks last Summer) produces the album, plays drums and calls Margo “her own authentic weirdo.” Cilker’s “weirdo” nomadic lifestyle is a huge influence here, these songs trace lines and name cities all across the US (Greenville, San Francisco, Oakland, Lodi, Bozeman, Boston, Los Gatos, Los Altos, Manhattan, Houston & little Santa Rosa, NM!) Despite all Margo’s journeys, there is a clear sense of place, and her Northern California roots are deep & evident throughout. In fact, when “Sound And Fury” turns late night serious in it’s second half, acknowledging America’s racial tension, economic depression, and climate crisis. Referencing William Faulkner and “the gatekeeper’s footing disturbed” Cilker takes comfort in her familiar places. She talks about the yearly return of the apricots, her home in Los Altos, and her deep held beliefs in listening & learning. “It’s a song down the ages” she sings with just the slightest twang “It’s a tearing of pages, I’m listening, I’m listening, I’ve heard.” She doesn’t have all the answers, but she’s working hard toward simple, deep truths. When she finally closes Valley on the Justin Townes elegy “All Tied Together” it comes with a deep answer and a simple question. “It’s all tied together” she sings confidently if sadly. But like so many of us, those of us out searching for these kinds of truths, that answer makes her question… “If it’s all tied together… Are we better unwound?”

“I remember Montana always treating me fine / driving up to Eureka / Polebridge on the 4th of July / went on a bender in Bozeman / sobered up in Hamilton / fell in love with a fisherman / but it was catch & release…”

*

McKINLEY DIXON   /   Beloved! Paradise! Jazz!?

“I’m crazy about this city” begins McKinley Dixon’s majestic Beloved! Paradise! Jazz?! These are not Dixon’s own words or voice; instead, legendary poet Hanif Abdurraqib reading one of Dixon’s favorite writers, the also legendary Toni Morrison. Dixon named the album after Morrison’s Harlem-based trilogy of novels. Hanif & Toni go on to tell us all about the city they love, their specific, slanting details echoing the intimate, illuminating details that Dixon is about to share across his jazz soaked, ethereal, classic rap album. Hanif talked about Dixon’s writing style saying “You have to archive the beautiful corners of where you’re from, because if you don’t then no one else will.” Archiving beautiful corners is such a meaningful way to describe Dixon’s writing (and great writing in general!) and to really listen to Beloved is to gain a deeper understanding of those beautiful corners that Dixon really loves. His city, his people, his life. Blooming & bursting through tragedy & trauma. Inspirational, life giving & heartfelt. 

To answer the question mark in the album title, McKinley Dixon’s Beloved! Paradise! Jazz!? Is my favorite jazz album of the year! Of course, this is also one of the best rap albums of the year! Dixon raps & sings over a sizzling live band, skittering & swaying over horns & strings, poetry, jazz, time travel, paradise, love, friends, death, forever. From the mood setting harp that introduces the shimmering opening song “Sun, I Rise” a forward looking anthem featuring Spacebomb Records sister Angélica Garcia (see you in 2024 Angélica!) to the undeniably bouncy piano riff that starts “Run, Run, Run” the musicianship here pulls its weight supporting Dixon’s generational-talent lyrics and fierce, focused delivery. Dixon is a can’t miss artist building an impressive catalog. A Richmond, VA native, who I discovered through one of my favorite record labels/recording studios/music collectives, Richmond’s mighty Spacebomb Records. There’s definitely a future version of me that moves to Richmond and works for Spacebomb! When I wrote about Dixon’s Spacebomb debut (the intensely personal For My Mama And Anyone Who Look Like Her) on my 2021 Favs list, I referenced the trauma & death that gives birth to this kind of writing. Make no mistake, that trauma & death is still very present on Beloved. Take the bombastic, friday-night-lights brass of second single “Tyler, Forever” a song Dixon penned for his friend that passed on. In the last verse he imagines them laughing together “If he was here now he’d say that that shit’s unheard of / I’d laugh, say yeah he right, it’s probably true / Then sitting on his floor I’d realize poets lie too.” Dixon says the song shows how “Celebrations of life & moments of sadness can be tied to each other.” and “To Tyler: I made it off 225th! I remember you laughing when I showed you my first song in 2014. The whole world to us was only Linden BLVD. Never woulda thought we make it this far. I take you wherever I go.” All across Beloved it’s clear that Dixon really is taking people & places from his past wherever he goes. References to his parents, grandparents, close friends & cousins imbue the album with familial love & warmth amidst the inescapable death, violence & trauma. 

Personal fav “Live! from the Kitchen Table” is a song inspired by Carrie Mae Weems 1990s photo series of the same name. Breathtaking black & white photographs showing essential family activities happening around the kitchen table. I am instantly taken back to seeing Bruce Springsteen with my dad and hearing Bruce talk about his own father. It was the River Tour and Bruce was introducing his heartbreaker "Independence Day." He said the song is set around a late night kitchen table conversation between him & his dad, and if I close my eyes I can see the picture Weems would’ve taken. “Well papa go to bed now it’s getting late” Bruce begins, before painting a picture of leaving town, a story of striking out on your own. This town could be anywhere, Dixon’s Richmond, Springsteen’s Freehold, or my New Castle, but the idea is the same. Bruce went on to explain the song as a memory of the first time he saw his parents as their own people, chasing their own dreams, trying to make their own way in life. Dixon explores that very same balance delicately throughout Beloved, checking back in on his childhood self, remembering his earliest connections, holding on to what made him, but also, striking out on his own. Chasing dreams, chasing sunlight, chasing better for everyone he loves. Chasing as Morrison says “Future thoughts.” Look out everybody, “Here comes the new!” 

“LIve! From my momma’s kitchen table / where she pulls heartbreak to her chest and folds up cards to keep legs stable / where the currency for meals is often the laughter that’s exchanged in / I ain’t seen you in a minute, so sorry, tears blurring your frame / our line different, nothing missing, you ain’t call but we ain’t trippin / come in / still remember the seatin’, treat the home just like the heart / keep it warm and always beatin’ / it’s alive / Live!”

*

THE NATIONAL   /   First Two Pages of Frankenstein & Laugh Track

For being one of my all-time favorite bands, it’s hard to believe that The National has only made this list once, all the way back in 2013 when Trouble Will Find Me (my all time favorite National record) lost out to only Josh Ritter, Frightened Rabbit, Phosphorescent, & of course Typhoon (more on them later shhh!) in my second year of making this list! If you look at it that way, it makes a little more sense, as each of the three pre-Trouble National records (High Violet, Boxer & Alligator) would have been at the top had I been making this list before 2012. Plus, since then, I was fairly un-enamored with their direction for Sleep Well Beast and I Am Easy To Find. Also, only releasing two albums in the ten years since Trouble?! Welllll… discography lesson aside, Indie Rock’s favorite Sad Dads The National are back in a BIG WAY in 2023! Releasing not one but TWO career-defining albums, somehow becoming a way wayyyy better live band (mixing up setlists, satisfying the die-hards with deep cuts galore, and playing 27-33 songs per show!) and doubling down on the kind of middle age mediocre angst (ha!) that seems to speak to me more deeply the more angsty, mediocre, & middle aged I get! I fucking love both these albums, I’ve cried to these songs more than a few times, and The National b2b nights at Mission Ballroom two days after my birthday in the heart of last Summer, was one of my most special memories from last year. The general consensus across critical reviews (and of course the reddit threads!) was that you could combine both albums, trim some excess, and make one absolutely great National album! The funny thing was however, everyone’s “one great new National album” looked completely different! I of course made my own 13 song favorites album mix called Demolished & Laughing, named after my favorite new National couplet from “New Order T-Shirt.” My longtime best online music friend Adam made his mix 50% different from mine! One of my favorite music writers (and National diehard) Steven Hyden cleverly called his album mix Frankenstein Laughs, but somehow left off “Once Upon A Poolside” (the Sufjan assisted all timer) and “New Order T-Shirt” which was my MOST LISTENED TO SONG OF 2023! I’m mostly joking here of course, but it did show me that while we all agree there’s some duds between the two albums, we differ vastly on which songs are “duds” and maybe sometimes more actually is better! 

My National album opens exactly how Frankenstein opened (and how they opened both nights at Mission Ballroom) with the ultimate, middle-age scene setter “Once Upon A Poolside.” An austere, Sufjan assisted piano ballad with everybody watching. A more direct sister to their cult favorite, live staple “About Today.” Where that song finds a couple in bed late at night, one asking the other “hey, are you awake? How close am I to losing you?” I can imagine the answer coming 19 years later, from across the million miles of a queen size bed “What was the worried thing you said to me?” Track two is my song of the year, the song I listened to more than any other “New Order T-Shirt.” When this song was released as the second single off Frankenstein, I thought of it as a sad, end-of-the relationship song, and (knowing The National) it probably is! But something turned in me when I began to think of “I keep what I can of you…” as something good. Something worth treasuring. Whether those “split second glimpses & snapshots & sounds” are the exciting beginnings of a new crush or the heartbreaking endings of when someone really good is actually gone, they’re still worth holding onto. Carry them with you & flicker through. From there Laugh Track’s “Deep End” is a song I first heard live this Summer, a Trouble-level National jam, Bryan Devendorf’s drums sound SO GOOD, and when was the last time they started a song as strong as “I’m going off the deep end, barely sleeping”?! Perfect. You have to go back to Fall 2022 for when I heard The National debut “Grease In Your Hair” at Red Rocks and that song has stuck with me since. I think of it as a cousin to “Don’t Swallow The Cap” and the liftoff that happens when the song hits “Down we go on the grass!” is one of my favorite musical moments across both albums, an epic indie rock jam. The thing most everyone did agree on is that “Space Invader” and especially “Smoke Detector” were a return to the old (and I mean like Alligator/Boxer old) National. “Space Invader” is the first 6+ minute song The National has ever released, and the build that starts at about 3:20 and carries the last half of the song is the noisiest The National have ever sounded. Walls upon walls of screeching guitars, drums crashing like waves and Matt Berninger almost unintelligible, muttering “quarter after four in the morning. Why’d I leave it like that?” Absolutely epic. “Smoke Detector” is an almost 8 minute fever dream, increasingly hazy & disorienting, Berninger muttering, sometimes almost out of breath, restlessly repeating lines over the Dessner brothers' chaotic guitar squeals & squalls. This is the closest The National have ever come to capturing their live sound on tape. 

Two of my favorite nights of 2023 were spent with The National at Mission Ballroom on August 11th & 12th. I want to close with the wandering, Summer haze writing I typed out on my Instagram after the shows. This is how most of my music writing has sounded the last few years.

It felt so SO good to dance & sweat & sing and mark some time & space with a band I’ve grown up with since college. Singing about decisions & choices & aging, about how to face your future and the future of a world that's burning. As always, it’s all about how the show made me FEEL. Sometimes it’s seeing someone else lose their shit. Dancing like they’re the only person alive on the giant, extravagant mission floor, running their fingers through their hair, claiming the song as theirs. Sharing the song as ours. A communal experience, energy exchanged. To feel all humming live wires. Tired & wired. Summer like a wasp nest. Summer like a drug. Sometimes it takes sobbing to the songs live to know they’re yours. To hear what they’re trying to teach you, whispering in your brain what you’re feeling before you even know yourself. What was the worried thing you said to me? Songs about brutally specific things & places & memories. About how endings & beginnings sometimes feel the same. About how it’s good to say all the painful parts out loud. Maybe we’re in the middle of some kind of cosmic rearrangement. I keep what I can of you. Split second glimpses & snapshots & sounds. Snapshots of running around r(h)ino for hours, chasing food trucks & feelings. Deep in conversation about trauma & generations, about growing older, about finding out what you want. Like what do you REALLY WANT out of your one wild & precious life. Meteor showers over dark hot springs. Joy & pain, sadness, grief, and ecstatic elation stabbing your ribs like a mystic, fantastic narwhal tusk. Silly till you cry from laughing. Or laugh from crying. Sneaking into fancy hotels, demolished & laughing. Memorize the air, there will come a time I’ll wanna know I was here. In the end, when the waters are rising, string yourself up for love again and sing… “Leave your home / Change your name / Live alone / Eat your cake…” The National are one of my all time favorite bands and 2023 was their year. 

“What if I’d never written the letter / I slipped in the sleeve of the record I gave you? / what if I stayed on the C Train until Lafayette? / what if we’d never met? / what if I’d only just done what you told me and never looked back? / what if I’d only ducked away down the hallway and faded to black? / it’ll come to me later / like a space invader / & I won’t be able to get it out of my head…”

*

NO-NO BOY   /   Empire Electric

Julian Saporiti’s archival songwriting project No-No Boy is absolutely everything I want in great folk songwriting. His sophomore album Empire Electric is full of rich & lush songs, filled with ambient & found sounds, tropical & magical, bird chirps, ocean waves, & ancient sunshine.. His history textbook lyrics tell real stories and demand not only liner notes reading over coffee, but googling countries & years, or even visiting your local library to check out actual books! His songs are sweet & familiar, his voice gentle & friendly, like a storyteller lulling you into a trance, filling his stories with generations of history both personal & communal, a twinkle in his eye, a true folk songwriter, always a little bittersweet chuckle in the heartache of the folks he’s singing about. 

For any history or music scholar, Julian Saporiti definitely has the chops. Many of the stories on Empire Electric come from his PhD in Asian American history. The history in these songs is meticulously researched, but imbued with the kind of fantasy starlight that makes the songs truly come alive. From Japanese internment camps to the onion farms in Oregon on the ethereal opener “The Onion Kings of Ontario!” to the coast of California in the 17th century on the blooming “1603.” When indie-rock anthem “Sayonara” explodes out of a rolling rhythm, it sounds for all the world like the kind of earth-shattering, hipster-indie-cool, love song I would’ve put on an actual mix CD for a pretty girl in the early 2000s! All Vampire Weekend-y, the kind of song you dance to in the teen-movie prom! Personal favorite “Nashville” (Saporiti’s current hometown!) tells a familiar story of immigration & gentrification, painted into an all-time classic country song. Woven in with stories of actual people from Saporiti’s past & present, he explores his own intergenerational trauma, another story in the endless line of personal stories, to listen & learn is the greatest gift we have.

This sort of writing shows me what I love most about storytelling in music. How these simple song structures seem to be my most accessible medium for learning about people. Not just the real, individual people who write biographical songs (although believe me I feel like I can call every artist on this list a friend!) but the people in these songs, the characters the songs reveal to me, the ideas in characters’ heads that push me to explore more. Lines that make me do my own research, brain digging & gardening to unearth my own weaknesses, my flaws, my little prejudices that keep me from being the best version of myself. Ever since around 2015, when I fully committed to music, I made a point to seek out artists & songwriters, telling stories different from mine. Of course, I still connect with the stories that mirror mine, the ones that make me feel seen & heard in my own personal struggles, but in committing to diving into a deeper, diverse pool of artists (hint -not just white men in their 30-40s singing about religious trauma & heartbreak hahaha) I unwittingly opened the doors for a better version of myself to begin to bloom. This version might be mostly unrecognizable to 21 year old Matty, playing Division 2 baseball for a private Christian College, trying to please Jesus and find his way in life, but it’s the version I’m most proud of now. Although I admittedly still have a long long way to go and lots of things to work on in this journey, I know I’m on the right path. The songs & stories in Empire Electric remind me of why I love music & songwriting & history & places & people & stories. This album is special. 

“She had played a million shows like this / but she had never heard no songs like his / he told her ‘baby I’m a Dylan kid… but my favorite song is “Maaf Cintaku” (look it up!) / He loaded out just before her set / wrapped in a cloud of cigarettes / he heard a voice that you don’t forget / she sang, “Meet Me in the Morning” / not 56th & Wabasha / just the donut den over by the mall / she said ‘brother sometimes I miss it all’ ”

*

PARIS TEXAS   /   MID AIR

I got really into Paris Texas last Summer when I was digging around for artists that sounded like Jean Dawson. Paris Texas is the cool kid, slacker rock, underground rap, critically acclaimed, deadly serious, hilariously carefree, don’t-give-a-fuck, make the best music you can and fuck the rest, best friends duo of Louie Pastel & Felix. MID AIR is their sophomore album and it goes hard. Manic, urgent, rap-rock energy. Soul-baring lyricism grating up against swaggering, sky shooting songs, money, cars & women. Late night, hardcore, steady, dirty beats. I knew that MID AIR was going to be on this list about 30 seconds into burning opener “tenTHIRTYseven” when Louie Pastel jumps in with a “Yeah!” over a huge beat asking “Who wanna rock?! Who wanna roll?! Who wanna die?! I’m throwing a fit! Let’s get in the pit! Not leaving alive!” I read a lot of interviews, reviews, blogs, reddit threads and discords to try and decide what I wanted to write about MID AIR, but I’m gonna keep it short & sweet. Louie & Felix are pretty direct when asked about genre comparisons, expectations, career goals, creative process etc… They make what they think sounds cool, they’re trying to be the best at it, their creative vision is expansive, think movie-plot music videos, billboards, huge features, blah blah blah. Bottom line, their caffeinated, creative energy makes MID AIR bounce off walls, sprint down alleys at breakneck speed, and change the direction of underground music going forward.

  Founded in 2018 when they were in community college, Louie Pastel makes most of the beats & Felix raps. They built soundcloud cred & a sick live show before releasing their critically acclaimed debut album Boy Anonymous in 2021 (which by the way you can still download for name-your-price on bandcamp)! They blend breakneck, indie rock guitar riffs, ominous, skittering DIY beats, and bombastic, humorous, vulnerable emo raps. Personal fav “DnD” rides an instantly infectious Kurt Cobain guitar riff, a SoCal Vince Staples beat and guest star Kenny Mason rapping what could a mission statement for MID AIR (or even a mission statement for Paris Texas if they weren’t too self aware to claim anything other than brilliant aloofness) “Too hood for the art shit / too smart for the hard shit / too depressed to be a narcissist / I just know my shit better than yall shit.” Secret weapon dilip co-produces, he’s worked with Denzel Curry, Juice WRLD, & ZelooperZ. Kenny & Teezo Touchdown feature, but mostly this is the Paris Texas show. If you read this list every year, you know that this is not my most knowledgeable genre but MID AIR recalls some of my favorite work from Death Grips, Jean Dawson, Ho99o9, The Injury Reserve, TV On The Radio, Nirvana, Das Racist, Kendrick Lamar, Ratatat, Odd Future & many more. Bottom line, MID AIR is exciting, energetic, and forward thinking, the kind of don’t-give-a-fuck attitude that makes me excited for what comes next. Not just for Paris Texas, but for music in general. Who wanna rock?!

“There’s love in the air so I will not breathe in / I made it alive I survived the deep end / I’m back on my bullshit, I’m back with revenge / I saw all of this behind my eyes dreaming… / I’m trying, trying, trying, trying… / one day I’ll be gone…”

*

PETER GABRIEL   /   i/o

Peter Gabriel was a music staple in our house as long as I can remember. Thanks to my baby boomer, music-loving parents, I grew up with Gabriel, Paul Simon, James Taylor & Neil Diamond. Of course we mostly listened to Contemporary Christian radio & Sunday morning worship, but Gabriel was one of the white men who shaped my earliest music listening habits. Not just “Sledgehammer” and “Solsbury Hill” (although both of those songs are lifetime favs) but the absolute epic live version of "Come Talk To Me," the breathtaking Kate Bush duet “Don’t Give Up,” and of course dancing to “In Your Eyes'' at every family wedding & dance party that I can remember. Gabriel always struck me as something of a heartfelt misfit. A little emo, a little too sincere, not cool, not hip, but creatively, he was able to sneak deep, heart wrenching songwriting into his sometimes cheesy 80s songs. For all the years of work & tinkering Gabriel has put into i/o (there are two different mixes of each song on the album, and this is his first album of new material in 21 years, and second in 31 years!!) the songs here are clear, direct, & powerful. I’ve always been a fringe fan (I even got the chance to see him with Sting back in 2015!) but it wasn’t until last Summer, in my little brother & sister Willie & Mad’s sunkissed Portland, Oregon kitchen, when he reminded me to check out the new Peter Gabriel single “i/o.” I was instantly hooked. A simple, catchy piano tinkling under Gabriel’s timeless voice “I’m just a part of everything” he opens deeply & cheerfully “I stand on two legs and I learn to sing. I walk with my dog and I whistle with the birds.” When he drops the huge “Solsbury Hill” worthy chorus, it’s hard not to sing along “I-O, I-O! I’m coming out, I’m going in! I-O, I-O! I’m just a part of everything!” 

This year my family time (aka my favorite time!) has been full of new life. Two new babies (!) new love, weddings, new jobs, new tattoos & new homes! That birth & new life is echoed all over i/o, truly this is a magically warm & wet Springtime record; full of plants and life on earth! Gabriel sings about green grass & soft soil, tubers, fungi & seeds, rivers & lakes, old oak trees & olive trees, tentacles & octopus suckers, buzzard wings, elephant trunks, buzzing bees, dogs, birds, snakes, sharks, horses, mist & haze, smoke & flames, mountains, lightning bolts, asteroids & rainbows! His writing has aged beautifully and his voice sounds more poignant & genuine now than ever. You can hear his energy in the infectious blooming Spring anthem “Olive Tree” (seriously-YOU try not dancing around your kitchen to that chorus!) belting “The change is coming fast & it’s… Oh oh I’ve got the water falling on me! It’s all waking up now! I’ve got the sunlight warming my back! Warming up all my bones! I’ve got the cool breeze right on my skin! bringing every cell to life…” The funky (mayyyybe slightly Sledgehammer-y?!) “Road to Joy” finds him making the kind of dancing song he needs to wake up his body “Wake up every part of me / get the blood to flow in every nook & cranny / get the blood to flow from my head to my toes / put the life in my soul back in the world / we’re walking down the road to joy!” 

Personally, 2023 was the year where I started to feel my age. Mentally, emotionally & physically, turning 37 seemed to make me think about age more. In those feelings i/o was a friend & a comfort that “feeling old” and thinking about life from an older perspective is ok. Gabriel embraces his age, while pushing against time; madly creating and doing as much as possible. He touches on time across i/o, most notably on the sweeping “Playing For Time” where he searches galaxies & distant planets before zeroing on the thing everybody is desperate for… Time. But the somber standout “So Much” hit home to me the hardest. “So much unfinished business” Gabriel sings bleakly as he contemplates the end. “All of it comes & goes, there’s only so much can be done.” He is watching time slip by in the mirror and it gets pretty dark. “The body stiffens, tires & aches / in its wrinkled, blotchy skin / with each decade, more camouflage / for the wild eyed child within…” He calls all of us, old AND young, to close our eyes for a moment and meditate on time. Then, with his warm, aging voice soft enough to be standing beside you, he encourages “Look down & look above / all the warmth inside of you comes from those you love / oh, there’s so much to live for / so much left to give…” No other album on this list spans the emotions of feeling young & new, old & hopeful as well as i/o, thank you Peter for reminding me what a gift it is to grow older. 

“Just how much does it have to hurt / before you let go the pain? / and just how deep does it have to be / before you yearn to be free again? / every wound can lock you away / you can walk or you can choose to remain / but every day can pass you by / while you were holding the key / this is how it turns… / this is what we do… / this is who we are… / when we forgive we can move on… / we belong to the burden til it’s gone…”

*

PLASMA CANVAS   /   Dusk

“All the parts of me are in constant motion” sings Plasma Canvas frontwoman Ren Ash over Evalyn Flowers’ relentless drumming, before exploding in screams, belting “I wanna kill this part of me that I despise.” Motion & change have defined much of Plasma Canvas’ career as one of the front range’s most inspiring hardcore bands. Their songs & albums & especially their fiery live show are a constant reminder of the power of growing & changing into the person that you were meant to become. The person that you most desperately want to be. The best version of yourself. Sometimes it takes screaming to songs that sound as intense as these to really push yourself to the idea of “killing the parts of you that you despise.” There is a place for meditation & gentleness (and both can be found even on Dusk!) but make no mistake, this album screams about life struggles like no other album on this list. So as Plasma Canvas enters another chapter of motion, growth & change in their life as a band, inspiring each of us individually to do the same; I want to recognize their masterpiece of a farewell statement, their burning sophomore album Dusk. As Ren writes in the liner notes of “You’re enough. Go get what you want out of this one life that you have.” 

Plasma Canvas has been a mainstay in the Colorado hardcore scene for seven plus years, and Dusk is a punk, pop-punk, emo & hardcore masterpiece. If you’ve followed my music writing, you know that hardcore is one of the genres I’m least knowledgeable in (especially as I get older) but I’ve always loved Plasma Canvas for reminding me of the great pop-punk & emo bands I grew up loving. It’s impossible for me to listen to Dusk and not hear My Chemical Romance, Jimmy Eat World, Green Day, The Ataris, Vendetta Red, Coheed & Cambria, Br*nd N*w, & even The Cure. Dusk is a huge shot from Plasma Canvas at an epic album (their first full length since 2016!) and if you paid attention to both of their magnificent & obliterating EPs, you might be surprised to hear the scene-setting, opening track “Hymn.” Guided by a gentle, slowly swelling piano line, frontwoman Ren Ash tells a story of death & memories on a cold Texas day “as the snow falls in Midland.” The song rises with choir vocals and then finally explodes at its close with crashing guitars searing into huge single “Blistered World.” Three Cheers-era My Chem guitars wail behind Ash, with one of my favorite vocal takes of the year yelling “I swear to anybody listening, this ain’t the end!” Ash’s vocals are a highlight throughout Dusk, the perfect hardcore mix of singing & screaming; melodic, aggressive, every word believable & incredibly emotive. From true screamo lung rippers, to huge singalong choruses (I dare you not to sing “My head is heavy with suicide! My heart is soaring with love”!) the songs on Dusk never sacrifice melody or meaningfulness. I’ve seen Plasma Canvas all over Denver over the last 5 years, from the Hi-Dive & Seventh Circle, to UMS & the Marquis, and their shows are always uplifting. A chance to scream, a chance to dance, a chance to be yourself. I guess when I call them Punk, it’s that ethos that I’m talking about. A ”fuck the world-be yourself” persona, full of love & acceptance, but ran through with rage against everything that is fucked up in our world. Ren & Evalyn have been outspoken activists for trans rights and their shows are a testament to being yourself. So as they grow & move on, motioning & changing into whatever form Plasma Canvas ends up being somewhere down the road, I’m glad they’re leaving us with this record. A massive, firework, pipe bomb testimony of how to go down swinging. Being yourself, being true, and not being afraid to scream about it. Press play and turn it up to 11. This is the hugest album on this list and I’m so happy that Plasma Canvas exists. 

“I remember the stain / the dirty tint to everything in our house / I remember the cold… / I’m in a new place / I want my things / I want my space / I don’t like it… / I wanna go home / where is my home?... / home is togetherness / everything we lost / all that we still have / we can still heal / we can move past it / i can heal / i can heal… / i will heal…”

*

ROSELIT BONE   /   Ofrenda

There are a lot of incredible songwriters on this list, but as far as bands go, Roselit Bone may be the greatest living American band and Ofrenda may be the greatest American album of the last couple years! A messy mix of everything that makes America great & terrible, Roselit Bone is blood & sweat & tears & shit & piss, music as rooted in the deserts & canyons & mountains & plains & cities & towns of America, as any album I’ve heard. Like a sun-bleached strip mall, everything on Ofrenda is splattered in chaos & corrosion. Guitars & brass & strings blast classic country, punk, psychobilly, rockabilly, mexican ranchera, lonely gothic folk & jazzy, bluesy, garage-y, stomping rock & roll. Roselit Bone is a band’s band, a Portland Oregon 8-piece, cutting their chops on the road for over a decade. I’ve been lucky enough to catch them twice at the Hi-Dive on South Broadway here in Denver, and this is one of my favorite live bands I”ve ever seen. Frontwoman Charlotte McCaslin is not only an incredible writer (these songs are bleeding stories of her divorce, gender transition, and inner turmoil) but a once-in-a-lifetime stage presence. She brings the kind of energy that makes me glad bands like this still play venues like Hi-Dive. Don’t miss Roselit Bone next time they’re in your town. And if you live in Denver, come with me next time they’re here!

Ofrenda was written in the midst of the global pandemic and the black lives matter protests in McCaslin’s native Portland. These songs growl with unrest, anger & frustration, and tell stories of trauma & violence, despair & love. From the opening notes, Ofrenda reads like an apocalyptic nightmare. To listen deep to McCaslin is to feel dread around every corner. Most of her dread is just our basic, everyday American horror. Murder, rape, capitalism, sexism, racism, evil, climate change etc… and her darkness always feels like it’s chasing, relentless & evil. From the agonized yowling of kick-down-the-door opener “Your Gun” (“the bedroom smells like spray paint & cum”) to the swelling delta blues of the haunting “The Tower” (“we ran for our lives as the angels took power and I could feel the wires uncoil / we’ll make love one day on more fertile ground”) to the finality & despair of “Ain’t No Right Way To Feel” sung passionately over an 80’s power pop beat. It makes sense that I finally fell in love with Ofrenda driving through the remote deserts of the great Southwest; somewhere between Colorado, New Mexico (Truth of Consequences FTW!) and Arizona, somewhere between 2023 & 2024, somewhere between death & life. Living like Roselit Bone. Always on the run & always on the road. Always holding on… Always letting go… If you’ve ever stayed at a shitty motel in a shitty American town, grab a six pack of beer and a pack of smokes and let Ofrenda wash you away. Long live Roselit Bone, the greatest fucking American band!

“I don’t even mind it / the lightning or the wind / I thought that I would find it when the roses bloom again / but I came to my senses / out in Truth or Consequences…”

*

SHALOM   /   Sublimation

The first thing you hear on Shalom’s instantly arresting debut album is Shalom’s voice, bluntly opening the aptly named “Narcissist” with the line “Oh god I think about myself so much.” In a way, that line not only explains what I love so much about Shalom’s writing, but also what I personally am trying to work on in what has been a hard, sometimes selfish year. For the record, “Narcissist” kicks off Sublimation with an explosive, late 90s, grungy fire, singing like an angry Alanis over Third Eye Blind “wooooos”! Shalom’s writing goes deep on her feelings, the good, the bad, the stuff that needs to be worked out internally (or in this case, externally! For our -the listeners- benefit) before she/we/me can turn our focus outward to changing the world. All this work can happen simultaneously of course, but self introspection, self challenge, and self growth, are essential to making the world a better place, in whatever field you are in. 

Musically, Sublimation is my favorite kind of album. Glowing with color & light, ranging from ragged, modern indie rock, aforementioned 90’s grunge and radio rock, to upbeat fun pop. Shalom Obisie-Orlu is an indie kids’ indie kid, Baltimore born, South African raised, living in Brooklyn; writing honest, scathing bedroom rock & roll. As with most of the albums on this list, the writing is what sets Sublimation apart. Shalom is a fascinating writer, her Instagram is a must-follow, she writes bluntly & honestly about her life, the good & the bad, her writing style is equal parts laugh out loud funny and hippie inspiring. She refuses to dull down or sanitize any of her feelings. She rages, she rambles, she sings about the important things, she wholeheartedly looks at the world and asks what she can do to make it better, to make herself better. 

On Sublimation release day she wrote this on instagram:

“Most importantly, this album is for my 12 year old yellow loving self who knew she was different and didn’t know what to do about it. Little me, we figured it out! And it’s so good. I’m so so thankful & grateful to all the past versions of me that didn’t give up and allowed us to be here now. I’ve been crying my eyes out all morning.”

Some of my favorite writing, and a lot of my favorite albums contain songs written for past versions of yourself. On my 2020 Favs list, Joy Oladokun referenced writing the songs that 12 year old christian & queer Joy needed to hear. Shalom thanks past versions of herself for not giving up, for pushing her to get where she is now. In a year where I have struggled and have felt little dashes of that same kind of “giving up” in a way I haven’t felt before, I can also feel myself pushing through,  surviving, and moving forward. It’s nice to have an album full of songs celebrating that survival to sing along to. 

“I wanna be older for the first time in my life… / I wanna be yours, but I have to be mine first…”

*

SOFIA KOURTESIS   /   Madres

I discovered Sofia Kourtesis’ glowing, dancing debut album Madres in the dark of November, when I was struggling mentally, emotionally & physically. The Solstice was still over a month out, I was trapped in some cycles of things that weren’t healthy and I wasn’t treating myself well. Something about Sofia’s bright, uplifting rhythms & melodies, her gossamer vocals and airy soundscapes, started chipping away at my soul, and although it may be (like a lot of my writing about music tends to be!) a slight exaggeration, saved me and kept me going through another dark, dark winter. Indeed there is a Spring-like warmth in Madres that I haven’t really felt in a lot of music that sounds like this. Kourtesis is a world renowned DJ, curating and performing at Berlin’s famous Funkhaus, but her philosophy is simple “At the end, you make music for the people” she says “so the people have to be in the music as well” I feel like my favorites list is always so full of inward facing albums, important writing about self reflection & self love, but the community that you can feel in Kourtesis’ writing, the outward facing, “dancing together” vibe, is palpable & welcome, celebratory & joyful. 

I’m the first to say that I don’t listen to a ton of “EDM” but there is something magical in Kourtesis’ writing style, and the more I listened and read and watched her interviews, I became entranced with the juxtaposition (maybe collaging is a better word) inherent in her work. She floats a line between the technical (“nerdy” she calls it) structure of the high class DJ world, but forgoes rules and imbues her work with found sounds, delightful dance breaks, and the carefree approach of a true artist. Born in Lima, Peru, Kourtesis moved to Berlin in her late teens, and that duality is at the core of what makes Madres so inspiring. She talks about the romanticism of her Peruvian heart, the silliness, the yearning, the sea, the airy nonsense, floating away. When those feelings meet the all-business practicality of her new German home, the work ethic, the structure, the magic of Madres is born. Long ago, I made my best friend Stephen a mixtape inspired by a line in the movie “Interstellar” about a similar juxtaposition between “The Dirt & The Stars.” The idea is simple, our work is here on earth, in the dirt, hands always filthy, digging away at finding our place in the rocks & trees, grass & sea. But to let our eyes drift to the stars, to float, like Kourtesis’ airborne acrobatics, to dream about another life beyond this one, is at the root of what makes us human. To dream about what’s out there. To wonder what it must be like to fly like Peter Pan through a night sky full of stars, these things can, and (to people like me and my friend Stephen - and my friend Sofia!) MUST coexist. We must hold both at the same time. We must try to be the best person we can, both at digging in the dirt… AND sailing in the stars! 

Madres is dedicated to Sofia’s mother, a Peruvian activist in a long line of activists, who taught her to take to the streets, to protest, to rebel, to be yourself, to want more. Somehow I know that Sofia and her mom are the kind of people I want to surround myself with, to look up to, to emulate, to take motivation from. Before her father passed away, he encouraged her to travel, to collage her adventures into the kind of inspirational house music that makes Madres so special. To listen to these songs, you can hear the people. You can hear Sofia’s familial bonds, but also, cultures, rhythms, explorations, adventure. This is the sound of wanting to do better. To be the best version of yourself. When things were dark in November, this album helped with my survival, helped with my sanity, and proved, as track 4 says “How Music Makes You Feel Better.” Go listen to Madres till Spring! Thank you Sofia for being yourself. 

“Vamos vamos para adelante / dime qué está en tu mente / vas a querer hablarme…

Come on, let’s move forward / tell me what’s on your mind / you’re going to want to talk to me…”

*

TRÉ BURT   /   Traffic Fiction

Tré Burt’s magical third album Traffic Fiction opens with one of my favorite lyrics of the year. “In the mind of the wind is where I come from” Burt purrs over the grooviest beat. You can point to a few different “mission statement” lyrics across Traffic (in the reckless “KIDS IN THA YARD” he growls “I do what I want when I’m paying the rent / I’ll never be free, but I can pretend” and in the bittersweet “PIECE OF ME” he confides “Who said it ain’t a love song mama? / More than one thing can be true”) but “TRAFFIC FICTION” is the title track for a reason. Burt has described the idea of “Traffic Fiction” as “the fake problems us humans create for ourselves and subjugate each other to, out of spite, greed, boredom, pain, confusion & ignorance or worse…” How do we ride through those atrocities (as small as traffic and as monstrous as genocide) and do right in the world? How do we eat breakfast when everything is on fire? Personally, I’ve struggled with this all year, but sometimes I need artists like Burt to help explain it to me. When the end comes, we’re gonna need our artists, our creatives, to tell the stories. Legendary author Ursula Le Guin said “We live in capitalism. Its power seems inescapable. So did the divine right of kings. Any human power can be resisted & changed by human beings. Resistance & change often begin in art, and very often in our art, the art of words.” This is why we need artists like Burt to be true to themselves. Everybody has to attack the shit from their deepest, most personal angle. Burt calls Traffic a “romance at the start of the apocalypse” album, and despite the waves of darkness, it’s hard not to hear Burt physically grabbing back his joy in every song. His attack, his writing style, is not of this world. His mind is different. “In the mind of the wind is where I come from.” Burt is a one-of-a-kind generational talent, and when the aliens come, I think I’ll just throw them a burned CD copy of Traffic Fiction, a six pack of mexican beer, and a cigarette. When that alien spaceship speaker sound system blinks on and roars to life, Traffic Fiction sounds for all the world like the grooviest, most monstrous American album I’ve ever heard.

I won’t go deep on genres here, Traffic Fiction mostly just sounds like Tré Burt. He calls it “future doo-wop.” Groovy synths & keys abound, guitars squeal & crash, ripple & stream, and the rhythm section ABSOLUTELY FUCKS. Musically, Fiction sounds exactly like what I want out of a “romance at the start of the apocalypse” record. We’re fucked, let’s dance. Burt steers everything with his detailed, time-traveling songwriting & classic voice. He has a way of making his trademark melancholy melodies feel haunting & bright, like a breezy, early spring afternoon. Originally from northern California and currently based in Nashville, Traffic has an otherworldly vibe that’s hard to pin down. What started as a poem written on a napkin in a Calgary bar, was recorded at a remote lake in Ontario, with Burt referring to the songwriting process as “going down to the caves” and whipping himself into a state of hypnosis to “get to the goo.” These songs ask all-time questions like “If everything’s already been said, then why do I feel so much coming out?” and “What’s in heaven that aint buried in the ground?” In the driving “TOLD YA THEN” Burt laughs “I like a desperate situation, but only the kind where ya win.” and then again on personal fav “SANTIAGO” “I’ve been meaning to forget about all the pain in my heart.” For all the deep, existential, future-alien-doo-wop ideas, Traffic Fiction is rooted in real places & with real people. Santiago in 2022, Decatur, Savannah, Times Square, Wyoming, LA, Ohio, Lillian, Emily, and of course Burt’s grandfather. Fiction is interspersed with recordings of their conversations, before he passed away while Burt was making the album. Musically & lyrically, I can hear Burt’s “pops” all over this record. A future generation being born as another generation dies. The passing of time. 

When the title track (and third single) dropped ON my 37th birthday last Summer, I knew Tré & I were gonna be bonded forever. Bonded by the Summer heat, sweat & Modelos, the river & the romance at the start of the apocalypse. It began when I saw him live for the first time ON my 35th birthday in rugged northern Colorado back in 2021. Then, on the eve of my 36th bday, I saw his afternoon set at Hinterlands Festival in Iowa. For my 37th bday, all I could do was spin “TRAFFIC FICTION” on repeat, sitting in the creek at my secret spot, drinking Tecate and feeling young & old. Turns out Traffic Fiction is the album that I think I’m gonna need most in 2024. I’m working hard on taking some of Tre’s teachings to heart, trying to take a little joy into this next year, knowing that I’ll be a stronger person for it. Better able to fight those atrocities, better able to handle the “traffic.” You gotta be yourself first and love yourself. If you’ve read this far, you know that 2023 was sad & hard and I often felt helpless & selfish, unable to fight to change the world. Unable or unwilling to make a difference to the people & causes that I claim to care about. Traffic Fiction gives me the energy to work against those feelings. Ammunition to fight darkness with dancing. To embrace the apocalypse with romance. To commit to changing myself. It catches me with the car windows down, warm breeze in January, belting “I found a lighter in my coat!” It catches me dancing in my kitchen at dusk. It catches me starting to believe. Thanks Tré, I’m never letting this one go. 

“Put the fine for the bridge on the dash for the judge / let it burn like a witch in the rhinestone sun / every mile every mile I’mma get reborn / but I’m dying by the minute good lord / move move moving, never going back / silver moon is looming, sky is black / I’m a soul on parole in a desert land / thrown back into prison and damned by the damned…”

*

TYPHOON   /   White Lighter (10th Anniversary Edition)

“In the beginning there was one source of light” So begins Typhoon’s masterpiece 2013 album White Lighter. A grand stage that finds this album traversing galaxies & centuries. The orchestral, mini-epic opener “Artificial Light” is one of my favorite songs of all time. Frontman Kyle Morton skips through eons of time, touching on particle physics and prehistoric cave drawings, before finding himself as a kid, standing in the yard, pointing up at the stars. We’ll revisit that kid a few times across these 14 songs, White Lighter is still singing us stories about youth & aging, time & place, death… and survival. Over the past 10 years, I have lived what feels like a lifetime. I have changed more than I would have thought possible. But I have also remained the same. From the first time I heard Typhoon, I have been hooked. This band & this album represent so much of who I am… and who I was… and I guess who I’m going to be. Although this list is usually about the new, it’s impossible for me not to pay homage to one of my favorite albums of all time. If you’ve asked me the impossible question in the last 7 years “who’s your favorite band” I probably gave you a cutesy spiel about finding new & upcoming songwriters whose writing style made me feel understood, emo hippie lyrics over sad-ish, complex indie rock, but always about the lyrics. But if I had to relent and pick one band, I probably said Typhoon. If you asked me what my favorite album of all time is, I probably said White LIghter. The older I get and the deeper I fall in love with music; the more this collection of songs means to me, and the more I cling to Typhoon’s ragged declaration of youth & survival. 

If you’re unfamiliar, Typhoon started as the greatest of rag-tag, underdog indie folk-rock bands. 13 kids packed on a stage, from Portland Oregon to Larimer Lounge & Hi-Dive, to Bluebird & Gothic, making a ruckus, singing their hearts out for us. You can find me extolling my love for White Lighter 10 years ago, and making myself insanely detailed handmade mixtapes celebrating their discography! Typhoon lyrics are tattooed on my heart & brain, always helping me through challenges, always making me feel young again. When they announced the deluxe 10 year anniversary edition of White Lighter (and a couple reunion shows, see ya in Portland in a month and a half!) the only “unreleased” song I really needed was “Reed Rd.” When I saw them at the sold out Hi-DIve show in 2013 (one of my favorite live experiences of all time) they closed with a new song I had never heard. I was eventually able to rip a live version from youtube, and for years, my personal burned copy of White Lighter tacked on a bonus hidden track after “Post Script.” The shitty yet raging “Reed Rd” made this the definitive version of the album. The song that closes White Lighter’s memory loop. A stoic, horn blast, a swelling elegy, death & life & the end of the world. “You were born in a hospital bed” begins Morton gently “you will return to a hospital bed my friend.” This is a song about dying. “Life’s a beast that shits & eats from the same end.” But there is so much more than death “Get the keys, we’re gonna go for a ride!” From there the song rattles along through a lifetime of memories. Maybe my last 10 years, maybe my whole life. Like a film strip Morton lists them off as they pass. Places: the house you were raised in, the yard where you played (and pointed out the stars remember?), the school that taught you to talk, and people: your friends & your lovers, people you hate, mothers & fathers, brothers & sisters. In the end, “Reed Rd” drives through the night, covering miles in the darkness, before rising in a cacophony, a horror movie ending full of fire & light, moths & death & madness, a scene so terrifying you almost can’t watch. The band fever pitches, wailing behind him as Morton stumbles on, finally ripping himself away, begging & pleading & making a stand for himself. “I walked away from the fire” he declares “I found myself in the orchard.” And then, after all the years, decades, centuries, eons of failure & frustration, he stands “I came to take up your offer… to no longer be tortured!”

As the insane energy of “Reed Rd” slowly fades, the chaos of growing up & growing old has often found me in a parked car after dark, blasting White Lighter into the night. As quickly as the last track ends, you can start the CD again. Typhoon wakes up. “In the beginning…” Is this youth? Or are we old? The years flow in decade cycles. The older I get, the younger I feel. “I woke up in the morning to a pale light tangled in your hair” Morton whispers. Holding onto memories & moments (a favorite pastime of mine) Morton confides “I would try to hold it. I would try to keep the moment. Like a photograph of the sunset. Like a little kid with a bug net. Like a dying man I swear.” and then, as Typhoon’s orchestra swells & crashes behind him “Light goes off… Comes back on… I’ll be here, In my familiar haunts. Empty jars & stolen songs, wait for the light to come back on…” So here I am. Listening to the same 10 year old songs. Trying to keep the moment. Waiting for the light to come back on. I look forward to 10 years from now. Who I am.. Who I’m gonna be… Growing up & growing old. Remembering those nights when I took up your offer. To no longer be tortured. Songs to hold & keep me. Songs to lead & guide me. My eyes are on the flame. It’s just a little white lighter. 

“Oh what am I waiting for? / a spell to be cast or for it to be broken? / at the very last / some wild ghost from my past comes to split me wide open… / I’ve been trying to make myself better…”

*

Y LA BAMBA   /   Lucha

Y La Bamba’s seventh full length record Lucha is a magical collection of songs; lush & full of life, swirling Mexican folk-rock, mesmerizing & memorable. Y La Bamba is the long time project of Luz Elena Mendoza Ramos, based between the Pacific Northwest & Mexico City, gradually growing, always expansive, and one of my long-time favorite bands! It’s hard to remember exactly when or where I first heard about Y La Bamba, but I have a hunch it was through boutique record label and music store Tender Loving Empire in Portland. But more on that later!. 

Lucha finds Luz coming into their own, writing powerful lyrics over delightfully dreamy melodies, lyrics gently unpacking ideas of identity & trauma, misogyny & racism. As with many artists on this list, it is always eye opening and educational to read lyrics & interviews, to actually listen, and to learn about struggles that I personally will never have to face. Mendoza Ramos is open about those struggles and their trauma, and Lucha is an open invitation to work on those conversations. It also reminds me that I really want to learn Spanish! The heart-aching Hank Williams cover “I’m So Lonesome I Could Cry” is one of the few songs sung in English. “Lucha” is Spanish for “fight,” but it is also an endearing nickname that Mendoza Ramos has claimed over the years. Luz has also taken over production duties on Lucha, and their fingerprints are all over the album, filling it with life, love & care. This is the fullest Y La Bamba has ever sounded; deep & complex, songs bursting with rhythms & sound, tropical bird chirps, rainstorms, summer wind & waves. The songs blend silkily into each other, warm spring mornings awash in sunlight, streaming creek beds full of snowmelt, late night red wine & mezcal, cascading thoughts & memories, black & white photos and vivid color palettes. 

As we reach the end of my annual favorite albums list, it’s cool to see the similarities in so many of these albums. Lucha’s ambient, tropical found sounds echo No-No Boy, Angie McMahon, Sofia Kourtesis, & King Tuff. Their songwriting AND production prowess echoes Becca Mancari & Black Belt Eagle Scout. The connections through over a decade of my music loving & searching, are deep. In the Winter of 2012, my dear friend Malachi had just moved to Portland and he gave me TLE’s Friends & Friends of Friends mixtape Vol 4. It opened with Typhoon’s “The Honest Truth” and track 3 was Y La Bamba’s “Abducted” off their 2010 album Lupon. SInce then, every time I visit Portland (and it’s in the double digits, see ya in march PDX!) I would go into TLE, buy postcards, weird art, patches, christmas presents, and ALWAYS… music! I now own Y La Bamba’s entire discography on CD simply from buying them one at a time, years apart, from TLE. I listened mostly as background music, dreamy & warm when it’s cold outside, moodsetters on my little portable boombox as I moved apartments from 32nd & Lowell, to Colfax & Logan, then into the heart of Cap Hill at 12th & Marion, and finally to now, 11th & Clarkson. In 2015, in the midst of a career & life crisis, I applied for a job at TLE, scared to get it, scared to move forward, scared to move at all. Fortunately or unfortunately, I didn’t get that job, but when I finally FINALLY quit my corporate job in 2021 to start from the ground up working in music, I was asked to work my first shift in music at Larimer Lounge immediately after I got hired. The show was sold out and magical, the band was Y La Bamba.

"Estaba muy confundida por los recuerdos / de un triste ayer / todo de color azul / de color amarillo..."

"I was very confused by the memories / from a sad yesterday / all blue & all yellow..."

EP BONUS

DUNUMS & MANAS   /   DUNUMS & MANAS

Blown out live noise, only available on bandcamp. Dunums is a wild, majestic band I was lucky enough to see at Hopscotch last year. 

HEMLOCKE SPRINGS   /   going…going…GONE!

80’s Tears For Fears magic meets TikTok, heart on sleeve silly songwriting. So catchy!

ICE SPICE   /   Like..?

Catchy trap beats and Ice Spice bringing some much needed feral, laugh out loud, sexy energy to this list.

MEDIUM BUILD   /   Health EP

Songs about your hometown & your lifelong best friends. One of my most favorite Globe Hall shows of 2023.

NABIHAH IQBAL   /   Far Out (Audiotree Sessions)

Her album Dreamer should’ve been on my full list, but I discovered this too late so oh well, these two songs are magic. Her Lost Lake show a week ago was special.

SYLVAN ESSO   /   Live At Electric Lady

What I wouldn’t give for a full band Sylvan Esso album. “Coming Back To You” at Red Rocks with my sisters in the rain made my year.

*

       Wow. Here I am in 2023. Moving on to a new year and a fresh start, but pausing momentarily to recognize my 22 favorite albums (plus three bonus EPs) of 2022! A year of extreme change for me personally, and a rollercoaster of highs & lows. The highs: I am now working in music, chasing my lifelong passion, and happier in a career than I ever thought I could be! I work in marketing & operations for three small venues in Denver (Larimer Lounge, Globe Hall & Lost Lake Lounge) and it has honestly, deeply been a dream come true! I saw 87 shows this year (not counting the about 50 different sets I saw across three music festivals!) and I also worked at roughly 100 more. I saw 15 of the 25 artists on this list live this year! Music has been everywhere around me all of the time! When I started this music blog in late 2011, I looked at this annual end of the year favorites list as just a part of what I wanted to do in writing about music. Then there were years, where it felt like it was the only thing I wrote. These last couple years, it feels like just a small part of explaining my love for music. I write excessively on my social media after my favorite shows, spilling my heart out. I have been able to lean into what makes my favorite music actually my favorite, and appreciating the magic of songwriting. The lows of my year led me to fall for songs that can make me cry. Like sob cry while they play on loop for hours & days at a time. Songs that teach me more about myself. Songs that feel like they were written for me. Songs that feel like growing old & growing up. Songs that (as I found myself saying often this year) felt like friends. Songs that I turned to when I needed them most. Songs that helped me survive and helped me get out of bed in the morning. Songs that I will keep with me forever. I’ll talk about them all in more detail below of course, but here it is! In no particular order (unless you know & love our english alphabet) My 22 Favorite Albums of 2022! Long Live Music!

*

ADEEM THE ARTIST   /   White Trash Revelry

      2022 was a year of extreme change for me personally; full of unsettled-ness & uncertainty, so it feels good to start this year’s list in a familiar spot… In the exact same place we started last year! With an artist, Adeem the Artist! whose songs have become so familiar & comforting to me. Like we grew up together. Like we were friends in a past life, or back in high school. I guess with that being the case, I can start by giving you a brief history of this music writer’s background, in hopes it’ll make you better understand this list and better understand why I love Adeem’s heart wrenching, life questioning, classic country songs so much. Well… here we go. The first time I remember being excited about music was KLOVE & KMTS. Local christian & country radio stations. I was raised a baptist preachers’ kid, in private christian grade school, high school & college. I fell in love with some of the “good” christian bands (Switchfoot, Relient K, The Newsboys, Delirious?, MXPX, Bleach, Sanctus Real, Pillar, Michael W. Smith, ok we’re getting off track), but in my later high school days I met my public school, baseball playing, redneck friends and with them, it was all classic country. Now I’m not talking Willie, Waylon, & Johnny Cash, this is early 2000’s classic country. That means Brooks & Dunn, Travis Tritt, Garth, Toby Keith, Aldean, Luke Bryan, Lonestar, Billy Currington, the list goes on. Maybe not a foundation of essential artists, but if you’ve ever sung “It’s A Great Day To Be Alive” at the top of your lungs in the bed of a pickup truck to a mountain sunset, I think you might understand.

      The familiarity I found on Adeem the Artist’s second proper album goes deeper than simply the country songwriting. Opening track “Carolina'' has been a favorite of mine since it was faster & finger-picked and called “A Light in Carolina'' back on Adeem’s self released Forgotten Songs & American Dreams back in 2019. I spent a couple of glorious spring drives around rural North Carolina backroads belting “You’ve got a lot of skins to wear as you try to figure out who you are.” Now slowed with glowing acoustic strums and holy pedal steel, “Carolina” stands as a marker. Adeem is still Adeem. They’re still trying to figure out who they are. And it still doesn’t matter what people say. The fact that this song has grown with Adeem (and with me!) shedding skins & names & other outward, physical, insignificant things, just proves its power. I quoted Adeem in my review last year, saying that they hoped their songs helped you “drift with the water’s pace toward wholeness” and well… Here we are, still drifting. From there White Trash Revelry simply lifts off. “For Judas” is a gorgeous piano ballad, a songwriter’s masterclass, that imagines Jesus & Judas, young lovers kissing in the rain, falling for each other… in the Northeast Minneapolis arts district. When this song first hit me, Saturday evening, December 3rd at 5pm, I slow danced myself around my old kitchen, cracked another beer, and texted my old friend Stephen (the one who most appreciates good songwriting!) and said  “LOVE SONG OF THE FUCKING YEAR.” The classic country sound of “Heritage of Arrogance,” “Run This Town” and “Going To Hell” recall all those country songs I grew up listening to on country radio, but the lyrics couldn’t be further from the racism, sexism & homophobia that have defined country music for me in the last 15 years. In fact, Adeem has made a point to stand up against those things. To make music that sounds so much like classic country, but is made for everyone. Songs that address that very racism, sexism & homophobia head on. In this way, by being explicitly accepting, Adeem is creating a safe space for everyone to enjoy these songs, to tap your boots, to belt along when they sing “Do you wanna go to hell children, with Adeem the Artist? They play Country songs in heaven, but in hell we play them loud!” Heart of the album gut punch “Middle of a Heart” tackles what is unfortunately a familiar American songwriters’ tale of late. Over hushed finger-picked guitar Adeem tells a tale of a boy with a gun, a freezer full of fresh deer meat, and of course, the ensuing American tale of recruitment & money, love & war. And then the aftermath of mental health and the  suicide rates of veterans here in the good ol, gun lovin’ US of A. Through the entirety of White Trash Revelry, Adeem is cementing themselves as an essential voice in the folk/country singer-songwriter scene. A queer, non-binary Country Musician, singing about the world as they see it. Telling me stories, asking the questions I want to see asked. And as they build a career, I can follow along. Like a friend. A friend who deep, deep down, just really loves Country Music.

      “I gave my body & blood for the power of love / and hoped that I would conquer sin / but I never even rose again… / He had short, neat curls that were shadowed black / and I was fumbling around with the weather app / wondering if he could ever love me back / sometimes these things are hit or miss / with the perfume trails lingering behind / I caught an urge and the nerve to take his hand in mine / and if didn’t rain at the perfect time / it’s probable we wouldn’t have kissed / in the Northeast Minneapolis arts district… Oh I write this down for Judas… Oh all of this was for Judas…”

*

BARTEES STRANGE   /   Farm to Table

       When I wrote about Bartees Strange’s debut album Live Forever for my favorite albums list back in 2020, I referred to it as nostalgic. I referenced The National, Bon Iver, Fall Out Boy, mid 2000′s emo, pop-rock, & hip-hop as touchstones for his blossoming sound. I wrote how those influences made his songs feel familiar, like old friends. Well, when I press play on his sophomore record Farm to Table, and the sweet, melancholic riff of “Heavy Heart” drifts in, I get that exact same feeling! A song about allowing yourself to recognize the heartbreak of the past year, tenderly specific lyrics setting it in time & place “You look so nice in a cherry scarf, we should go to Toronto more often” and then a rolling build to an epic, exploding, unexpectedly monster riff! Bartees is back! With Farm to Table, Bartees has cemented himself as a superstar, an artist I will see every time he comes to Denver, and someone at the forefront of his sound. From the midwest emo of “Mulholland Dr.” to the pulsing, droning, hip hop influenced, name dropping “Cosigns,” to the gorgeous, swelling sadness of “Black Gold,” Strange is staking out his own place in indie-rock. One of my favorite musical moments of the year can be found about three minutes into the menacing, driving “Wretched.” A song that has basically already taken off (the first chorus literally lifts the song off the ground) before dropping into a dark, acoustic guitar-led second verse. As it builds again, you can feel what’s coming, the band syncs in together, smiling at each other from across the room, ready to cut loose. Right before the second big drop, Bartees lets out a pure, unadulterated “Wooooo!” and the song just GOES! Bartees talked a lot about the family aspect of his band behind Farm to Table saying “I had so much pressure to work with fancy people after Live Forever - I’m so glad Chris (producer Chris Connors) & I decided to do it ourselves in our spaces, with our world of friends. It’s so easy & beautiful to grow with friends, to become a family, and to create something new.” The family nature of Farm to Table can be felt through the radio waves and it is a joy to listen to. This is complex & heartfelt indie-rock, with mathematical midwest movements and a hip-hop ethos. Bartees Strange brings a larger-than-life, DC meets Oklahoma, lighthearted, heartbreak, colorful vibe to his writing. Like he says on the mid-tempo (but stick around for the outro!)  “Escape This Circus “There’s a fault in our stars, there’s a rock in my shoe!” It’s not too late to jump on the bandwagon and find your new favorite indie-rock star. Bartees is blowing up!

       “I took the keys to the lake / I said to God what I said / I know the folk on the road / I know they don’t wanna move today / I wish I could die in the morn / Sometimes it’s hard but you know I’m thankful…”

*

BLUEBOOK   /   Optimistic Voices

      Sometimes songs & albums find you right when you need them. I had heard about Bluebook for years, knew they were Denver legends, knew about their seriously broody-Angel Olsen meets Sharon Van Etten apocalyptic lounge music. I also knew that Bluebook has grown into a supergroup behind primary songwriter & bassist Julie Davis, featuring Hayley Helmericks (Monofog & Snake Rattle Rattle Snake) on drums, Jess Parsons (old linernotes&seasons fav Glowing House) on keys and Anna Morsett (The Still Tide) on guitar. But it wasn’t until this year, in anticipation of their headlining Globe Hall show in December, when I sat down and gave Optimistic Voices my full attention. It started when I read Julie Davis’ writing on social media to promote their Globe show.  “I’ve got seeds on my mind” Davis’ Solstice-tinged post began. She talked about Winter themes. About

       “the growing darkness as the days get shorter, and a gradual withdrawal & burrowing inside, both into my home & into myself-”

       then she paused, in this moment, you can feel her thumping bassline pick up, willing her song to life, pulsing through “--but the seeds!” she remembered!

       “They keep coming to mind, like coded messages to the future, they contain a plan for new growth, and they are here with us, all around, right now, waiting. They will wait through the wind & the snow until the ground receives their communication, and, at some future date yet unknown, they will grow.”

       In the immortal words of midwest author Michael Perry at my all time favorite music festival Eaux Claires in Wisconsin “The metaphors almost write themselves!” There is a magic in the way Davis writes, but the coded message I needed to hear is one that holds a more practical, everyday kind of magic. It is contained in the words Plan & Communication. Magic is great and all, but it doesn’t just happen. These seeds have a plan. They work towards that plan. They have goals, schedules, mile markers on their move towards magic. They communicate. With the ground, with the elements, with each other. They communicate their plan. They work their plan. Then, and only then, does magic happen.        

       Bluebook turns their plans & communication to magic on this deeply moving, darkly impressive album. Full of driving basslines, swelling & stabbing synths & guitars, and stately lyrics about religion, ketamine therapy, ear infections, flowers & mental health. Optimistic Voices pulses with energy and moves slowly but with intention. When Bluebook finally closed their Globe Hall set long after midnight with a cover, it was one Davis referred to as a “true Solstice song.” At that point we were mere days before the shortest day of the year, and less than a week from Denver’s coldest day in 30 years. The closing song and title track of Optimistic Voices is from Wizard of Oz. If you’re familiar, you may know it as a bouncing, ecstatic number full of joy & expectation. Although they keep the original lyrics, in typical Bluebook fashion, their version broods with sadness, mystery (is that a Brad Cook synth I hear?!) and a deep, deep winter magic. “You’re out of the woods, you’re out of the dark, you’re out of the night” Davis encourages us in her best somber Florence Welch tones “Step into the sun, step into the light. Keep straight ahead for the most glorious place on the face of the earth or the sky. Hold onto your breath, hold onto your heart, hold onto your hope…” With those words on that night I felt the light returning. Felt the days getting longer. The solstice has passed. The nights are dark & long, but not forever. There is a light in the eastern sky. I repeat the refrain again with Davis and the night is over. Like the rest of my most favorite albums from this year, Optimistic Voices was there for me when I needed it. It helped me get through some of the shortest days and hardest weeks of my year. Like always, I turned to songs for comfort & survival. “March up to the gate and bid it open.”

       “Shifting in the dark / lifting toward the spark / there’s a rope that pulls you up from the dark / in the box you found / a reason for reaching up around…”

*

CLEMENTINE WAS RIGHT   /   Can’t Get Right With the Darkness

       Clementine Was Right makes the kind of songs that remind me why I love music so much. Songs that reference places & seasons & people. Songs that want to jump back in the river. Songs that want to ride shotgun with you all Summer, drinking Dr. Pepper and singing out the open window with the hot wind in your hair and between your fingers. These are far bigger than just songs. These songs have families & friends & other lives to live somewhere down the road. To hear songwriter, poet, & frontperson Mike Young tell it, Clementine Was Right is a family affair. Not so much a band as an idea. A community building & changing, morphing & rolling along with songs to sing and places to go. The lyrics are his work; he is a poet, fiction writer & songwriter originally from Northern California and then all over. Currently based out of Denver, so we get to claim Clementine as a local band. He talks about moving & relocation saying “I hate change and I keep doing it! Movement, upheaval, crumbling, transit-trying forever to go home, calling each new stop another home.” In the songs on Clementine’s magnificent second record Can’t Get RIght With the Darkness, I too have found some kind of new home. 

       Can’t Get Right With the Darkness was recorded in Memphis, TN, straight to a 1969 Ampex tape machine. There are a whole host of musicians on it (people that Mike calls “talented & rowdy & tender & golden hearted”). The songs explode out of the radio with life & love, regret & loss, a postcard of American rock & roll, with silly drawings on the back in gel pen from all your queer friends. Musically, Clementine Was Right sounds like everything & everyone I grew up listening to. This is cosmic scoot bootgaze sweeping western emo tonk classic American rock&roll country music. Springsteen, Petty, etc… Lyrically Clementine’s songs are the kind that stick with me. Mike writes with his heart on his sleeve about all the things I love about life. These songs make me want to do better, dance bigger, swing harder & run faster. I spent most of fall & winter 2022 in a pretty dark place. I was facing my own fears. Admitting that maybe I've spent most of my adult life running away. That I was afraid to make decisions, afraid to take charge of my life. I don’t feel like I’ve escaped that period of my life, that time in my thoughts yet, and maybe I never will. But I’m working on things and trying to get better. When I fell for Clementine, I immediately clung to the writing & poetry and the overarching idea that everything is gonna be ok. That even if you make the wrong choice, take the wrong road. You will come out alive. When I listen to Clementine, I have an unexplainable, rock solid feeling that I haven’t lived my best days yet. For all the nostalgia and saudade present in Young’s writing, at their core, these songs fill me with hope. Like when I wake up in the morning I will have new friends to make, new songs to sing, new places to see, new careers to chase, new windows to open or roll down, new lyrics to sing or scream or mumble out into the bright, wide open air, a new life starting over every day. I want to close with some of the ramble lyrics/poetry that Clementine uses for their social media videos. Young’s partner is the incredible poet Gion Davis (go find his poetry book “TOO MUCH”) and I absolutely love the way the poems & the songs & the music weave together in a nonsense jumble of joy & sorrow & happiness & heartbreak & curiosity & adventure! Long Live Clementine Was Right!

       “I am not going to live for a thousand years. I am not a redwood tree or a deep sea sponge. You are running away from your own death that has brushed past you like many tall ferns in the dark. Your life has no witness but you and occasionally your friends who love you. It is devastating. It is the best day you’ve ever had… You can take a year, you can try a year, you can try a lot, you can try two oceans. You can try to say your friend’s name until it’s a face. Was it loud enough?... It doesn’t matter who sang the first line. I need to see people-sized people in the sun. I would like to make something that when you open it, makes a quiet shift. It doesn’t matter if we’re not friends yet. I am calling from the exact center of my fear. Here we are as the sighs get less & less fake. 1% is whispering something about fireflies and the last 1% is wondering if silence is the best wondering you’ll ever reach. I used to live in the desert, but now I live anywhere. So the band gets bigger, confusing, bigger, to include everyone I’ll miss. The desire for rescue is the wrong map to intimacy. I used to live anywhere, but now I just keep visiting. How do you know if the songs work? You ask strangers what they do with their ghosts. You don’t want faces to be numbered, you want them to answer your stories with theirs. You don’t need to harmonize with anything but all the secret windows you’ve been waiting to open in your chest. Singing along is a light under the door of longing. Your new friends sing along with your old friends' daughter and the picture she drew of the band as guests of the lava. Love don’t know I’m coming, love won’t let me stay. It moves you, which is to say you keep going. You sing along…”

*

ETHEL CAIN   /   Preacher’s Daughter

       There is an undeniable darkness emanating from Ethel Cain’s official debut album Preacher’s Daughter. Many of the songs sound lifted from some 99 cent red box horror movie; palpable fear & self-hate crashing suddenly into jump scares and waves of wailing noise. Six plus minute songs of burning, brooding evil; reeking with violence, sex, motorcycles, drugs, guns, booze, incest, abusive relationships, and American red, white, & blue religious bullshit. To listen to these songs is like watching one of those horror movies, squinting between fingers covering your eyes; scared to see what comes next, but unable to peel your eyes & ears away. By far the darkest evil Cain uncovers in her writing, is the sin of the Christian church. The black heart at the center of her America’s evil. Ethel Cain grew up like me, but a million miles from me. Born in Florida, a preacher’s kid, indoctrinated in the church, questioning her upbringing, but filled with a deep nostalgia for her youth. When Ethel came out to her family (and consequently the community, cuz if you grew up in a small town you know that’s how it is) as a trans woman, it marked a turning point. In her words “It was war. We were a house divided. It was me versus my whole town.” She distanced herself from the church and started making music on garageband and trying to find collaborators and chosen family. In the midst of that searching, Ethel has created a musical world all her own. A sonic enveloping, a fashion career & a style where she can be herself. An album that runs an hour and 15 minutes and never lets up. She is telling stories, she is relating to old friends from small towns & similar upbrings, and most of all, she is 100% herself. An artist with a singular vision. Preacher’s Daughter is a challenging listen, but it makes me feel as viscerally real as any album on this list. 

       There are songs on Preacher’s Daughter that I can’t listen to without thinking about my own high school years. Amidst all the darkness, there is an 80’s love story in the twinkling pop of “American Teenager” an anti-war anthem that prays to Jesus & daddy & Dale. An empowerment anthem at the end when Cain belts “I’m doing what I want and damn I’m doing it well” This is the only roll-down-the-windows song (and maybe a glimpse at the magic Cain could make if she sold out of her darkness for a lighter side?!) and it immediately takes me back to small town back roads in western Colorado. I remember my lifelong best friend Stephen would play a piano melody for me at his house. Something he wrote that sounded like growing up. Like the end of everything and the beginning of everything. We would be at his house in Silt at midnight. Still time to walk to the train tracks and the Gofer foods or Kum & Go and get chips or corn nuts or a gas station hot dog and a 64oz Dr. Pepper and maybe some cigarettes or later a 6-pack of beer. We would take whatever we bought out under the overpass, where the train tracks ran through, and we would talk about whatever shit. About what we wanted to do with our lives. About the same shit I’m still talking about now. We would rent one of Ethel’s crappy horror movies from the redbox and go back to his house to waste the rest of the night. We’d talk about how we missed our girlfriends, about how we didn’t know what we wanted to do with our lives. About how I still don’t know now. I write all this because this is what I like to remember and this is what Ethel’s songs remind me of. I want her to know that I understand. When the guitar crashes into “A House In Nebraska” and sweeps the whole song away into the madness of growing up & letting go, I feel what it means to her. I feel the pain she feels. When I feel so alone, these are the kinds of songs and albums I look for. When the second half of “Televangelism” finds a light and the piano strikes a match and begins to sing, I hear my friend Stephen’s piano. I’m back home in my childhood bedroom. Somehow, Ethel Cain has conjured up a world that I can live in. In the darkest corners of her world, there is light and there is friendship. These songs are masterpieces and they tell stories of darkness & evil. But maybe, when we turn the lights off and sit in the dark after midnight, telling these stories; we can hold hands and feel a little less alone. Because there is someone out there who feels just like me. 

       “You & me against the world / you were my man and I your girl / we had nothing except each other / you were my whole world / then the day came and you were up & gone / and I still call home that house in Nebraska / where we found each other / on a dirty mattress on the second floor / where the world was empty save you & I / where you came and I laughed  / and you left and I cried / where you told me even if we die tonight / that I’d die yours / these dirt roads are empty / the ones we paved ourselves / your mama calls me sometimes / to see if I’m doing well / and I lie to her and say that I’m doing fine / when really I’d kill myself to hold you one more time… / you know I still wait at the edge of town / praying straight to God that maybe you’ll come back around / I cry every day and the bottles make it worse / cuz you were the only one I was never scared to tell I hurt / and I found photographs of our school on the day we met / I thought you were so beautiful / it was love I guess / and you might never come back home / and I may never sleep at night / but God I just hope you’re doing fine out there / I just pray that you’re alright / and I feel so alone, and I feel so alone out here / I’m so alone out here without you baby…”

*

FKA TWIGS   /   CAPRISONGS

      “Hey, I made you a mixtape” begins FKA twigs phenomenal third album CAPRISONGS. If you know me, you know how happy it makes me for FKA twigs to make me a mixtape! Tahliah Debrett Barnett is an English singer, songwriter & dancer who goes by FKA twigs. She lets that mixtape start slow (honestly the way most good mixtapes do!) and opener “ride the dragon” (all of CAPRISONGS song titles are styled in all lowercase) sets the stage for personal fav “honda.” From here, the album dives in. “So yeah one morning… I don’t know, Monday or somethin’' begins track two. A man’s voice recounts “Summertime, you know, all tired and shit, sleep under my eyes, lookin’ at myself in the mirror… who’s that? Anyways, I’m one of a kind. Well… people like me are one of a kind. When life gives us lemons, we just take in the essence… Anyway, don’t look back, don’t look back, keep drivin’, know what I’m saying? Leave the sourness behind… Leave it to the streets. That’s it. O-T-S-S. Only the strongest survive. Honda, baby!” From there, it’s easy to get lost in the entrancing beats that make up the rest of CAPRISONGS. Rumbling waves of late night afro rhythms, hip-hop, r&b & soul, chanted choral backgrounds, auto tuned wails dancing intertwined with frail falsetto, Twigs shapeshifts her way through beats & breaks, interlacing bangers with spoken word interludes, cassette tape clicks & hisses, transporting you to HER world, a capricorn sun, an artist in charge.

       I fell in love with this album way back in snowy January, the kind of tropical transportation I needed to escape my winter unemployment reality. My littlest sister had texted me a long, sweet text about life & growing up and then she followed it up with “and maybe more importantly, FKA twigs new album is mindblowing.” These are the kind of connections I look for in music, sharing songs & albums with friends & family & loved ones, bonding over “THIS SONG” or “I can’t wait for the new album” or “Let’s definitely go see her next time she comes to Denver!” CAPRISONGS is a slithery masterpiece, rewarding on multiple listens, equally strong as wintry background heaters or summer party bangers. FKA twigs is building a monster discography (I hear “Cellophane” is killing it on tik tok right now?!) and CAPRISONGS is as much fun as you’ll have dancing in the kitchen late at night this year. If you missed it when it came out a year ago, go get it now!

       “This is for the hard dreamers / been sad for a while / All the indigo & lightbeamers / been sad for a while…" 

*

FLORENCE + THE MACHINE   /   Dance Fever

       Of all the inevitably titled “covid albums” written or made during lockdown during the global pandemic, Florence Welch’s Dance Fever has my favorite origin story and most direct & literal writing about what it was like for those of us who lost live music. I relate 100% to the opening of “Choreomania'' where Welch deadpans “I am freaking out in the middle of the street, with the complete conviction of someone who’s never had anything actually really bad happen to them.” Before covid, live music was my outlet, my drug, the one place where I felt like myself. During covid, I felt so lucky in my situation (an introvert who actually enjoyed lockdown haha, I kept my job, didn’t lose anyone, lived my life completely unscathed by the pandemic) but I would bemoan to close friends my “loss” of live music. I felt a hole in my life, an essential part of my life, my joy, was ripped away. Florence addresses this idea directly on Dance Fever as she struggles with herself, questioning her career, her “addiction” to performing, and the kind of deep, deep questions I dealt with this last year. The kind of questions that have potential to rip your life apart and destroy everything you love, but open up your future to unfathomable, life fulfilling possibilities. If that sounds a tad over dramatic… well, it’s Florence + The Machine! She’s built her career, cult fanbase & self-mythology on the melodramatic overdramatic… So let's dive in!

       Dance Fever is a loose concept record about the dancing plague (or Choreomania, derived from Greek “Choros” meaning dance and “Mania” meaning madness) that struck Europe in the 1300-1500’s where hundreds or thousands of people, would take to the streets and dance erratically, sometimes to exhaustion and even death. It is one of the fascinating, horrifying google history rabbit-hole kinda things that keeps you up at night, but Florence is no stranger to cult-like dance events. Her brooding opener “King” starts exactly where any important pandemic record should start “We argue in the kitchen about whether to have children, about the world ending and the scale of my ambition, and how much is art really worth?” Welch states bluntly. Dance Fever gives us a sometimes unsettling glimpse into Florence’s private turmoil through the most personal, autobiographical writing of her nearly 15 year career. Florence feels vulnerable here “I was never as good as I always thought I was” and “what strange claws are these scratching at my skin, I never knew my killer would be coming from within” but she needs to work these feelings out in songs, she “needs to go to war to find material to sing” and by the end of the first five minutes “King” explodes with defiant self confidence. Make no mistake, with all her inner struggles, Florence is still a force; a woman finding herself, a changeling, a shapeshifter, a superstar artist belting “I am no mother, I am no bride, I am KING.” Sooo… I guess she’s not having kids then. I shiver every time I hear her sing that line so matter-of-factly, like your friend telling you she’s figured out the secret to herself.  In case there was any doubt about the inner turmoil and where it would leave her, Welch whispers out the ending over soft harp strums “I was never satisfied, it never let me go… Just dragged me by my hair and back on with the show…” Was this her cold hearted decision, or some demon or angel inside her, something that great artists have that forces them to create? From there, her choice to sing & dance & perform gets easier. “Free” is the most Antonoff-y of the bunch, with a huge, bubbling chorus and the simple refrain of “I hear the music, I feel the beat, and for a moment when I’m dancing, I am free!” The quiet centerpiece of the record “Girls Against God” is a masterclass in writing that makes me cry & laugh in equal amounts. The funny (“I listen to music from 2006 and feel kinda sick” and “in my darkest fantasies, I am the picture of passivity. Waiting for you side of stage, suppressing all my private rage, but as my sister said… I’D PROBABLY LAST SIX DAYS”) are seriously laugh out loud funny, but the depth of “I know I may not look like much, just another screaming speck of dust” and “I met the devil, you know he gave me a choice… A golden heart or a golden voice” gives the listener a completely explicit glimpse into Florence’s brain & heart. Deadly. Florence sacrifices herself for these songs (perhaps overdramatically, but like I said, It’s Florence + The Machine!) many times over, like in “Heaven is Here” (which made an absolutely fantastic concert/cult ritual opener) where she confides “every song I wrote became an escape rope, tied around my neck to pull me up to heaven” and gorgeous closer “Morning Elvis'' (which she sang with Ethel Cain in Denver, a true favorite live music moment of 2022!) where she bemoans “after every tour I swear I’ll quit, it’s over boys now this is it, but the songs like children beggin’ to be born…” So let’s close by talking about the cult-ritu-errr, live show!

       On October 1, I walked the Platte River bike path in a gorgeously warm, t-shirt autumn sunset, to Ball Arena, to the choreomania dance party, ren faire magnificence that is a Florence + The Machine show. The setlist was perfect, Florence is the one of the most physically impressive live performers I’ve ever seen (she ran the length of the arena floor, sprinting barefoot, whipping the crowd into a frenzy of sweat & love. Six songs in they played “Dog Days” and half way through the song Florence took time to talk saying 

       “Hello to anyone who is joining us for the first time! It’s quite an intense experience. And then, to anyone out there who may have been brought along. Or who is chaperoning someone, and you’re wondering… ‘what the fuck is this?!’ Is it a cult?! Is it some kind of massive, haunted house experience?! Is it some kind of British, pagan dance ritual?! Am I safe?! Well all I can say to anyone who has been brought along is… It’s really so much better if you just give in to it! Like really give in. And I promise that if you just do every single thing that I say… You’ll be absolutely fine! So the first thing I’m going to do Denver, is I’m going to need every single person in this arena to put their phones AWAY! And if you all can help me out, take a look to your left and right and if you see anyone with their phone out I want you to very politely -and you can use a british accent I won’t be offended- say, excuse me please would you mind putting your phone away so that we can have a collective experience! Now that they’re all gone.. IS EVERYBODY FREE?! We all spend so much time on screens and separated from each other, so now I want you to tell each other that YOU LOVE EACH OTHER! TELL EACH OTHER THAT YOU MISS EACH OTHER! You do not need to share or post this moment, BE HERE NOW WITH THE PEOPLE THAT YOU CAME WITH, WITH THE PEOPLE THAT YOU LOVE!” 

       I cried, I laughed, I hugged new friends, I told strangers I loved them, and then we all danced together. Choreomania? Dance Fever? It may be slightly overdramatic, but that’s pretty much all I want.

       “What a thing to admit / that when someone looks at me with real love / I don’t like it very much / kinda makes me feel like I’m being crushed / is this something that you would like to discuss? / and it’s good to be alive / crying into cereal at midnight / if they ever let me out / I’m gonna really let it out…”

*

JEAN DAWSON   /   CHAOS NOW*

       I honestly don’t remember where, when or who I heard about Jean Dawson from (or why the hell I hadn’t heard of him until this year?!), but once I heard his lilting, lonesome single “PIRATE RADIO*” (all the songs on CHAOS NOW* are stylized “CAPS LOCKasterisk”) in late September, I was 100% hooked. Especially when contrasted with the ballistic, ferocious, singalong rage of “SICK OF IT*” which was released two weeks later, Jean Dawson’s third album CHAOS NOW* is the sound of an artist about to take over the world. If you read all the reviews, interviews and think pieces about Jean Dawson, they all talk about the way he smashes and melds genres, sometimes in the same song, in the same verse. He pulls from punk, hardcore, hip hop, rap, grunge, emo, goth, pop, etc… But instead of talking about who or what he sounds like, I want to talk about what makes Jean Dawson so special. A true student of music, Dawson grew up on thrift store CDs, limewire and youtube ripped mp3s on his ipod, listening to everything on long bus rides between Sinaloa, MX (where his mother is from and where he grew up) and San Diego, CA (where his father is from and where he went to school). He practiced piano at Guitar Center as a teen because he didn’t own one. Now he makes the most gigantic, out-sized bedroom rock & roll you’ve ever heard. You can feel his youthful energy exploding out the speakers on nearly every song on CHAOS NOW*. Whether he’s channeling early 2000’s acoustic pop-punk on the bouncy “GLORY*” teaming with Earl Sweatshirt on the sweet, string symphony, stomp folk of “BAD FRUIT*” (which could honestly pass for Viva La Vida era Coldplay, remember Jay-Z had a verse on “Lost+”?!) or channeling the glory days of rap-rock on the thrashing “0-HEROES*.”

       When I tell people about the music that I love (like really, truly, deeply, lifetime love) it’s sometimes hard to pinpoint exactly what it is about it that makes me love it so much. Most often, it has to do with lyrics. When a writer is able to put into words exactly what I’m feeling. The feeling of being understood, like the writer is seeing the world exactly like me. Like we both “get it.” But there is also an energy to the music. The final piece of the puzzle fits when we get the chance to celebrate the songs and the feelings together. In the same space (a sacred space) with like minded people who “get it” too. A release, a drug. For me, it’s the most important thing worth chasing. It’s why I quit my job a year and a half ago and tried to find my way in music. Well, I got that chance with Jean at Cervantes in October, and it was absolute magic. Lost in a crowd that pulsed & lifted, sweated & shifted; moving as one, screaming as one, echoing Jean… Being together… This album, like so many of the albums on this list, needs to be experienced live. When Jean released CHAOS NOW* he wrote this about his masterpiece: “I’ve been trying to put this album into simple terms and sentences but the more I try the harder it becomes because it’s simply not simple. It is a love letter to all the children that will grow up to change fractions of the world for the result of a greater whole. I hold no lofty ideals on music making rather I wish to serve as a proverbial sludge hammer to doors that have been left locked for kids that not only look like me but feel like me. Music making has been the greatest gift I’ve been given so far that I give you all of me / every emotion every splinter in my step / feel free to use me as a mirror to see you if you wish. I hope to share moments with you / to be a minor theme for your laughs / yells / cries and everything in between. I’m growing up in your eyes, ears and arms. With this little time we have on this big blue green rock I hope that it is well spent with those you love and no fear under your chest !GO FOR IT! CHAOS NOW*”

       “I’m sick of it / on the cliff / nosedive / I’m the new black oblivion / off the shit / over it / live & die with my motherfucking happines…”

*

MUNA   /   MUNA

       I can still picture the exact date, time & place that I really fell in love with Muna’s absolute banger-filled, self-titled, third album. It was a gloriously golden midwest morning, August 4, 2022. I was driving an hour into St. Charles, Iowa to volunteer on set-up crew at the Hinterland Music Festival. Driving past endless corn fields and sweating out a hangover from the night before. I picked an album from one of the artists I had kinda forgotten was playing HInterland. Muna’s huge singalong, dance-along pop songs hit me like a jump into a ice cold Summer lake and I was hooked. 

       Of course I’d been blasting the Phoebe Bridgers-assisted, late 90’s/early 2000’s feel good gay rom-com first single “Silk Chiffon” since late 2021, but the rest of the album matches the opener’s energy. These are mega-huge pop-songs, club ready, sung confidently, and played with a hella good full band. Fast forward three days and I’m dancing, singing & sweating it out in the pit to my first Muna set at Hinterlands. It was everything. Phoebe came bouncing out to sing her “Silk Chiffon” verse of course, they covered “Mr. Brightside,” they were perfect. Fast forward two weeks and I made this Muna playlist and basically learned all the lyrics.

       Fast forward-forward two months and I’m back in the pit with Muna at the Gothic Theatre here in Denver, screaming & dancing & sweating & crying & laughing with the teenagers & the queer kids. So, what’s so special about this album you ask? Maybe part of it has to do with me needing a “break up” album for the first time in a long time. From the positive, work-hard-make-myself-better pulse of leaving/running anthem “Runner’s High,” to the regret vs. growth ache and deep thinking of “Home By Now” (bonus, it’s really, really fun to scream “why is it so hot in LA in late October?!”) It seemed like this album is full of lyrics that hit home, sung to melodies that really stick. When I looked at my spotify wrapped in December, it wasn’t really a surprise that the song I played and sang the most in 2022 is the emotional, power ballad “Kind Of Girl.” The Sheryl Crow-meets-Oasis, acoustic steamroller “Kind Of Girl.” is essentially a self-care manifesto. A morning wake up challenge and maybe my favorite vocal performance of any song this year. I talk about lyrics a lot in these reviews, and “Kind Of Girl” (and really this whole album) felt like the lyrics I needed, right when I needed them. Writing about being yourself, owning your choices and life direction, being proud of who you are, and working to change what you wanna change. It’s powerful, powerful stuff. For girls (and anybody!) who’s been told they’re “too much” or “scary” or ‘you’re taking things too far and pressing too hard” join me in rolling my window down on Downing St., in the late Summer morning air and sing with Katie “I could get up tomorrow, talk to myself real gentle, work in the garden.” then the ending that matters most, “Yeah I like telling stories, but I don’t have to write them in ink… I could still change the end…” An ellipsis that leads to a future life. Go make your own decisions. Take charge of your life. Don’t be afraid to change the end. 

       “Have you ever heard about how when a person’s in a maze? / they will tend to walk in circles thinking they are going straight / they can’t see the bigger picture, so they get stuck in a loop / in the end, I was afraid that that’s what you & I would do / but I still have my moments / where every reason feels a lot like an excuse / I wanna ask you / would we have turned a corner if I had waited? / do I need to lower my expectations / if we’d kept heading the same direction / would we be home by now?...”

*

OPEN MIKE EAGLE   /   Component System with the Auto Reverse

       Back in October, when Larimer Lounge booked Los Angeles by way of Chicago rapper Open Mike Eagle for January 8, 2023, my closest co-worker and #1 music recommender told me I really needed to listen to Michael W. Eagle II. Conveniently, he had a new album dropping the same day we announced the show titled Component System with the Auto Reverse. Two songs in and I knew this album would end up on my end of the year favorites list. This is thoughtful, “elegant-rap” a masterclass from an emcee at the top of his game. Open MIke coined the genre-term (you know I love genre-terms!) “art-rap” at the start of his career in 2010 and it fits, although he bemoans it on the career questioning “I Retired Then I changed My Mind” laughing “I conjured up a gremlin, how do I get rid of you? / ‘what the fuck is art-rap?’ in every damn interview.” To me, it is the humor Open Mike infuses with the deep, life questioning queries, that makes Component System special. He makes me laugh out loud, like in the intro to the woozy “Circuit City” when he drawls “I’m a brand new man doing the same dance / it only seems confusing because I changed pants.” or the banging closer when he raps “I play the wall like a special titan, I ain’t a wizard but I wrestle like him / The only wand I know detects metal items.” The pop culture references (both popular & obscure) are everywhere on these songs. Bill Cartwright, The Pharcyde, Quelle Chris, The Bushwhackers, Big Bird, Golden Girls, Among Us, Scott Rogowsky, Biz Markie, the list goes on. Most notable is Open Mike’s tribute to the late great MF DOOM simply titled “For DOOM.” An inspired, two minute glimpse into how heroes can mold you into who you are. 

       Like Open MIke, I grew up making my own mixtapes. Not the fancy kind, I didn’t have the tape system with the auto reverse, but I made myself mixtapes of my favorite christian rock songs for the tape player in my 1993 Subaru Outback. When I got a laptop in college I graduated to mix cds (I kept calling them mixtapes though!) and would make them meticulously for friends and family (and myself!), for special occasions, seasons, & secrets. I would rip youtube mp3s of clips from our favorite TV shows, funny vines, or quotes that were important. Finding any of those mixtapes now is like a window into who I was, who I was growing up to be. In the same way, this mixtape from Open Mike feels like a portal into his world. Who he is, what he worries about, what makes him laugh, who he is growing up to be. A brand new man doing the same dance. 

       “I still got the same worldview / a brain full of old school rules / and memories like flesh wounds / the cure isn’t in a test tube / it’s the sound of my son belly laughing in the next room…”

*

ORVILLE PECK   /   Bronco

       To be honest, I did not expect to love Orville Peck’s sophomore album Bronco as much as I do. I had his debut album Pony (get it?) on my 2019 favorite albums list and I said I loved it for its “shoegaze, tumbleweed rumble and sweeping western imagery.” I saw Orville a few times over the last couple years at Mission Ballroom and then Red Rocks, as his legend grew and I had been absolutely blown away by his stage presence. Orville’s origin story is the stuff of legends by now. Gay drummer for Canadian punk band dreams up an even gayer cowboy alter ego and conceals his identity with a fancy fringed mask! Suits get fancier, friends get famous-er, stages get bigger, Las Vegas, Los Angeles, Hollywood, Miami, Orville Peck is now a superstar. The thing about all the fringe & feathers & glitter & rhinestones is, none of it would work if the songs weren’t good. On Bronco, Orville has doubled down on his classic songwriting, attention demanding voice, and storyteller’s heart. He ditches a few of the tumbleweeds and some of the lonely cowboy vibes on Bronco in favor of more polished, big stage, big lights, big city performances. But the melodies, the lyrics, the way the songs pick up and just go, is pure country songwriting. I fell in love with Bronco thanks to my ex-partner Lila’s love of his songs & his persona. When I hear these songs, all I hear is her; working from home, headphones in, belting lyrics in an exaggerated Orville delivery, happy & oblivious to anyone who may be listening. We fell in love with Bronco together and wore it out during a couple days of long drives in the midwest in the Summer of 2022. No matter what, I hold those moments close and think of them and her everytime I listen to these songs. That’s what music does and I couldn’t fight it even if I wanted to. Music marks time & space. 

       Bronco starts as far from where Pony started as possible. It’s been three years and a lot of stages, and where Pony started as slow and dark as Orville gets (“the sun goes down, another dreamless night”) Bronco kicks in with rhythmic guitar, fast rolling drums, and hot, blond surfer boys on the beach in Daytona. By the time the swoon-worthy croon of  “The Curse of the Blackened Eye” hits its stride, it’s clear that Orville is crafting songs his way. His choruses are bigger & catchier, his instrumentation is simple & direct, these melodies & lyrics are strong enough to stand on their own. They ride on Orville’s commanding voice and storytelling theatrics. He sneaks in a Tanya Tucker reference in the uptempo “Lafayette'' and his geographical mile markers journey this album from the West (Malibu, Mendocino, The PCH, The Hexie Mountains, Mulholland, Denver, Reno, the Badlands) to the South (Mississippi, the bayou, Daytona) to the northeast sun and all the way across the sea (Bez Valley, Sofiatown, the Kalahari, Johannesburg, The Thames & Waterloo). As with many country artists, the thing that has always set Orville Peck apart, is his golden voice. Instantly recognizable, his melodies sung in a way only he can sing them. The real magic in the story of Orville Peck, is his ability to simply be himself. Our country & culture is currently waging an all-out war on queer kids (from attempting to ban all things trans-affirming to don’t-say-gay laws etc…) and as always happens in dark times, we turn to artists to rebel and to speak truth. Orville shines a light, a larger than life queer cowboy. Queer country has been a theme on this list (from Adeem to Clementine to Orville to keep reading cuz you’re gonna love Willi Carlisle!) and I think about how much that would’ve meant to some of the kids I grew up with in rural western Colorado. Now more than ever we need our Orvilles. I think about the people I love to sing songs with. I think about the people who make you feel like yourself and how valuable that is. Find those people, hold onto those people, be yourself around them and never change. Finally, I think about singing these songs with Lila. I imagine years from now, walking into some dark, dusty dive bar on the outskirts of Denver. It’s karaoke night, or a drag show, or a wednesday. The singer is tall & strong; commanding your attention. The jukebox is blaring Orville, pedal steel whining, drums rolling. The singer is dressed like Orville (well, maybe the South Broadway Goodwill version of Orville) but they look good. They step to the mic and look around and then the music pauses before kicking in “Hurry over and cry Lafayette!” They command the bar, they demand your attention. Maybe it is Orville. He played last night in Salt Lake after all. You try to look at the eyes behind the mask, but it doesn’t really matter cuz the songs sound so good. You order a Tecate and a shot of Jamo. You move across the floor and start to sing along. The music fills you up and you feel like yourself. The sun goes down. The show goes on. The songs will always be there. 

       “I don’t want you to be afraid / let me see you cry / oh I, I got an hour or so / take my hand and let it go / call me up anytime / c’mon baby cry / I can tell you’re a sad boy just like me…”

*

OTOBOKE BEAVER   /   Super Champon

       Another 2022 live music highlight for me, was the opportunity to work side-stage security for Otoboke Beaver at their sold out show at Globe Hall back in October. I knew they were a big deal, but I hadn’t really been able to give their album a full listen, mostly due to it being… a little fast-paced and abrasive vs. my normal listening habits haha. When I finally dug in a couple of days before the show, I knew I was in for a treat. This is blisteringly, breakneck fast, Japanese punk; with a fun, tongue in cheek approach. Otoboke Beaver formed in Kyoto way back in 2009, and Super Champon is their third album. “Champon” is a Japanese noun that translates to a hodgepodge or a jumble. Indeed, these 18 songs (lasting just over 21 minutes!) bounce around and change direction so fast, that it’s almost easier to listen to the album as one whole “super jumble” song! The women of Otoboke Beaver (Accorinrin, Yoyoyoshie, Hirochan & Kahokiss) challenge gender norms in classic Punk fashion with “I am not maternal,” “I won’t dish out salads” & “You’re no hero shut up f*ck you man-whore.” The former is the opening track and finds Accorinrin challenging her maternal instincts, a rough translation of the lyrics is “I love dogs! I’ll deliver a puppy but not a baby!” Second track “Yakitori” (perhaps the catchiest, bounciest riff & melody on the album) abruptly cascades into a wall of sound & fury with Accorinrin screaming “Destroy!” Otoboke maximizes the entirety of Super Champon (only two songs run over two minutes) with super tight, technical riffs, punishing drums, and a relentless energy that pinballs between anger & humor. There are no contradictions in the world of Super Champon (even when the song is called “Leave me alone! No, stay with me!”) Instead, Otoboke thrive in the chaos & calamity, letting contradicting feelings co-exist, laughing at pain, and good naturedly calling out those who need calling out. But it is very clear from both the album and their live show, that they take no shit. Finally, from the steps side-stage at Globe Hall (the place where I’ve grown with other linernotes&seasons favs Charley Crockett, Liza Anne, Lucy Dacus, Rainbow Kitten Surprise, Arlo Parks, the list goes on and on!) I got to see one of my favorite live shows I’ve ever seen. Otoboke are as deliriously fun on stage as they are on album, instigating the crowd, stirring up the pit, crowd surfing with guitars, posing with each other, and clearly having the time of their lives. Otoboke Beaver is already on their way to bigger stages here in the US (see y'all at the Bluebird!) but if you can’t make it to their live show, take 21 minutes and blast Super Champon for your next rage room session or dance party! 

       “A tenacious, sulky, troublesome ass / fallen in love with falling in love / i have no time to waste on you / looking for a one night stand / abso-fucking-lutely out of the question / you dirty old fart!”

*

PINKSHIFT   /   Love Me Forever

       Baltimore’s PInkshift has a charmingly unlikely origin story for a punk rock band. Three east coast kids with immigrant parents, meeting at Johns Hopkins University, bonding over a love of NIrvana, Soundgarden, Stone Temple Pilots, Foo FIghters & No Doubt. Singer Ashrita Kumar & guitarist Paul Vallejo recruited drummer Myron Houngbedji when they heard him practicing “Helena” by My Chemical Romance in the Johns Hopkins music practice rooms. They consequently dropped their STEM majors in favor of dismantling the patriarchy with punk rock. Their debut album Love Me Forever reminds me of everything I loved about punk growing up. The drums are fast & hard, the riffs are huge, spiraling & diving, exploding into chugging rhythms and firework solos. Then there are Kumar’s vocals; attention demanding screams & shrieks, powerful yells, and throaty melodies delivered with the kind of sneer that drives home the anger, angst & uncertainty found in the lyrics. This isn’t your sugary Simple Plan, Good Charlotte pop-punk, this is modern punk, with heavy hints of grunge & alt-rock. Most of the reviews I read about Love Me Forever used words like “muscular” and “burly.” I had the privilege of working lead on PInkshft’s show here in Denver at Lost Lake in October, and it was, to put it emo-ly, a highlight of my year. I watched Kumar sit quietly, almost unnoticed at the corner of the bar, writing in their journal (maybe the beginnings of Pinkshift LP #2?!...) heard the rest of the touring party, polite and hardworking; load in, sound check, and as most touring bands who play Lost Lake do, run out for food. When PInkshift finally took the stage, it was like something unleashed. Vallejo & Houngbedji come out of their shells on stage, laughing & wild, clearly having the time of their lives. Kumar on the other hand is almost unrecognizable; a frenzy of energy, screaming & whirling, commanding the room. Punctuated by moments of meditation & calm. This is a band destined for bigger stages and wilder crowds. It’s also impossible to ignore the diversity on stage, a band led by kids of color, in genres that have, in my lifetime, been unfairly dominated by white males. At their show at Lost Lake, it was evident by the kids I saw in the crowd; diversity that can be hard to find at shows in Denver. A safe space, and one that Kumar referenced when they spoke from stage. They talked about a crowd that looked like them, about the band’s desire to create spaces like the sacred one at Lost Lake. I want to close with the last paragraph I wrote on instagram. It’s where I directed most of my creative writing this year, and it encapsulates the feelings I felt after one of my favorite shows of the year. Walking out onto Colfax after hanging with Pinkshift. “This is it. This is the future. The world is ending. We’re all dying. Soon. Scream about it. Feel it rise from your gut to your lungs, in your chest, in your mouth. Scream it out. Together. Throw yourself into the pit. Smile & laugh & bruise your body. Wake up sore. Sing along if you know the words. Thank you PInkshift. This one was special.”

       “Sometimes I dream a perfect dream / where I return back to a place / where I was born in the garden of a soul / in the garden I was born…”

*

QUINN CHRISTOPHERSON   /   Write Your Name In PInk

       It was nearly four years ago when Alaskan songwriter Quinn Christopherson took my music world by storm with his tear-jerking masterpiece “Erase Me.” Against an austere Anchorage Museum backdrop, Quinn screamed his heart out (at times delightfully irreverent) in a queer anthem. For the next few years, I wore out “Erase Me” and secret fav “Raedeen” (the sweetly dark family story full of details both cheerful & nauseating). After that, Quinn hunkered down in Alaska and disappeared for a few years. When “lead” single “Bubblegum” finally dropped in Fall 2021, I knew this collection of songs was gonna be special. Truthfully, I knew before that; when I started following little snippets of Quinn’s life via social media and felt the way I always feel finding a new artist to love. I love the way he writes about life, I love the way he includes all the mundane, seemingly meaningless details and I love the way Alaska permeates his writing. When I listen, I feel like I’m there. Most of all, I love the way he writes about family. Parents, siblings, spouses, cousins, nephews, they are all central characters in his songs. When he finally released Write Your Name In Pink (his official debut album) he wrote 

       “I’m insanely proud of this record. I put in pride for my family, empathy for our past, recognition of growth, and most of all Native & Queer joy & hope. God I hope you like it.”

       Since then, it has been a delight to sink into Quinn’s writing. His voice matches his lyrics so well, soft & purposeful, cheery at the edges, you can almost hear his smile sometimes. Musically, Write Your Name In Pink glows with synth washes, gentle drum pads and moody vocal swells that build the songs from whisper beginnings to sing along outros (see powerful opener “Thanks” that closes with Quinn wailing “I don’t know what I was looking for, but I knew when I found you!” over & over over stately strings and swirling vocals). Although most of the songs sit easily in an indie-pop groove, Quinn’s lyrics scream out with all the details of a life lived, an open door into the world of an artist who really, truly cares. Of course, there are all my favorite small details. Crushing spiders, fixing up a home, nephews in school, Jackets & bikes, carving your names into trees, rollerblades, tiramisu, puka shells, puffer vests, the list goes on. Some are Alaska specific, most are things that all of us recognize. Deeper than that, Write Your Name finds Christopherson digging into his own mind, trying to be better, trying to grow. In “Bubblegum” he grows up along with us (from 6 to 17 to 21 to 23 to 25 to 26…) facing his vices, his changes, all the while repeating “I don’t know who I am.” Later, in the pulsing pop of “Uptown” he indulges in drugs & alcohol, all the while repeating “I don’t like who I am.” Quinn writes in a way that matters to me. He tells his stories, deeply & lightly, in a way that makes me feel like I’m his friend. To listen to this album, to pay attention to his songs, is to share in that friendship. To understand someone and to feel understood. That if we were to meet and talk, Quinn would understand me. We’d already be friends after all. We would jump on the trampoline and eat oats and talk about Celine Dion. These are the kind of albums that I’ll hold onto. Friends in music forever. 

“I hope the kids we raise are ambitious, don’t play it safe / have a lot to say, live a long life and get paid / I hope they don’t grow up too fast / travel the world & come back / realize it’s who you’re with, not where you’re at / I hope they dye their hair & get tattoos / are a good sport with a good attitude / I hope they remind me of you…”

*

R.A.P. FERREIRA   /  5 to the Eye with Stars

       R.A.P. Ferreira was another co-worker recommendation, a Wisconsin rapper I was unfamiliar with till this year. Then we had the opportunity to see him live at my favorite small venue that I don’t work at (love you Hi-Dive!) and these songs cemented themselves as friends for life. Rory Alan Philip Ferreira has released a ton of music under multiple different names & projects (including milo & Scallops Hotel) over the last 13 years. Featuring on songs with Open Mike Eagle, Armand Hammer, Busdriver & Anderson Paak and creating his own record label, Ruby Yacht. Stylistically similar to Open MIke, Ferreira’s laid back, lackadaisical delivery is delightfully nimble, dancing between silly & melancholy, chuckling at himself, and dancing all over varied adjectives. His beats are more minimal than Open Mike, soft jazzy brushes & piano, lo-fi-diy noise, static synths squeaking to life, laying a babbling brook of calming sounds for Ferreira to rap over. Lyrically, Ferreira is an elegant wordsmith. He shows off his midwest magic (having lived in Wisconsin, Maine, Tennessee & LA) and blends seemingly random household objects (a meyer lemon, a tiny lamp, a tin of altoids, a Hydro flask, a spark plug) with cosmic ideas both thought provoking, challenging & comforting. LIttered with lines to hold onto, Ferreira is childlike in his innocence (“first fear was vanquished / first fortress was made of blankets”) and scholarly in his thought (“I wrote this rap to make the sunrise”). The emotional center of the record, the brooding “mythsysizer instinct” features Hemlock Ernst (the rap alter-ego of Future Islands frontman Samuel T. Herring who released a rap album on Ferreira’s Ruby Yacht label) crooning over warbly synths and Ferreira’s most direct mental health advice as he says “My sadness a hound dog and he creeps beside me.” This thread of songwriting is deep within me and I’ve touched on it a few times over the years. In Arlo Parks’ “Black Dog” (off of last years’ fav Collapsed in Sunbeams) or Josh Ritter’s The Beast in Its Tracks from way back in 2013, I’ve clung to the medicinal magic of these songs that acknowledge the hound dog of sadness creeping beside you, always there, an ache under the surface; how to befriend it, how to live with it, how to move on. This is powerful stuff from R.A.P. Ferreira and his poetry across 5 to the Eye with Stars is not to be missed. LIke he says on the horn assisted, late night AM radio jazz of opener “fighting back” “I know it’s epic poetry that keeps the cosmos orbiting…” Epic poetry indeed Rory. 

“I find myself a leaky faucet and get to wrenchin’ / the word’s henchman / bench pressin’ sunrises / sometimes it’s overwhelming to be helming the creation of everything / or so I imagine / true magic at my fingertips / down to the wingtips / down to the creases / down to the meat & potatoes / down to the beaten cables / down to the streets & fables / and deeper still, you gotta be for real…”

*

RAVEENA   /   Asha’s Awakening

       Picture if you will, the seeds of an epic idea. A late 20’s mega-talented pop musician has a wild idea for a concept album. She plans to blend her Punjab Indian heritage with her Queens, NY upbringing. She will recruit some of her all time favorite musicians (both Indian and otherwise!), she will use authentic Indian instruments, mixed with modern pop production, r&b, disco and early 2000’s hip hop. She will dive into her favorite influences like Bollywood soundtracks from the 70’s, Timbaland, Alice Coltrane, & M.I.A. Oh yeah, she also loves kitschy sci-fi so the lyrics will recount a story straight from her sci-fi novel about a Punjab space princess named Asha (translates to “desire”) exploring space & time, love & loss, discovering her sexuality, new ideas & new planets! It’s a lot of space to cover, but Raveena’s songwriting is intoxicating, sexual, and expressive, and Asha’s Awakening blooms with her singular style & vision. Raveena’s parents immigrated to the US in the 80’s from Punjab, India to escape anti-sikh riots, and her heritage is not only present but celebrated in the story of Asha. She blends all her influences so cohesively, that her album comes out sounding exactly like the mix that would be blasting on whatever futuristic music player Asha might be bumping in her spaceship!

       My favorite thing about Asha’s Awakening is how creatively it world builds, how openly Raveena invites you into her spaces and how gorgeously meditative & invigorating these songs are when you really give them your full attention. Raveena uses authentic Indian instruments like the tabla, bulbul turang, bansuri flute, swarmandal and sitar. She features some incredible Indian musicians like Rostam & Asha Puthli (oh and also Vince Staples and TWEAKS!) giving the album a modern/futuristic feel. Finally, she layers ambient sounds; bells, chimes & bird chirps that really make you feel like, as she describes “stepping into an Indian garden at 6am on a Summer day.” Some of my personal musical touch points for the first half of the album are the upbeat dance pop of Caroline Rose, or the less guitar-y, more glitch poppy side of Hippo Campus. I can’t hear “Time Flies” without thinking of the laid back pop, complex & intricate instrumentation, and aching vocals of Texas band Sun June (a real linernotes&seasons deep fav). After the spoken word interlude “The Internet Is Like Eating Plastic” the second half of the album is far more meditative and laid back. Yes, there are spoken word pieces, breathing exercises, and a meditative 13+ minute closer! Of all the albums on this list, Asha’s Awakening is the one I would most recommend getting lost in. Play it start-to-finish with good headphones. Let your mind wander space & time. Let it create visions of pink flowers as big as planets and spaceships with headlights like disco balls. Let your body sink into the sensual & relaxing rhythms. Let both your body & brain be expanded and give in to Asha’s world. When you get to the end of the album, Raveena will leave you with a reminder, “Remember that this space of unconditional love and this protective field of light is always here for you to return to…”

       “She wants to follow me to valleys in Kathmandu / She wants to fuck & trip & eat them flowers ‘til she ain’t blue…”

*

SADURN   /   Radiator

       The story behind the creation of Radiator; Philly bedroom-folk outfit Sadurn’s debut full length, is as sweet & magical as the songs on the album itself. With a batch of bandleader and primary songwriter Genevieve DeGroot’s songs to record, and covid making normal studio adventures challenging; the four friends that form Sadurn holed up in a cabin in the Poconos for the ultimate quarantine adventure! “It was kind of just a house” DeGroot admits  “We call it ‘the cabin’ but it was just an airbnb that had some wood paneling” With a backstory like Bon Iver’s For Emma (but with friends!), it’s like you can feel the warm camaraderie of the band spilling out all over the songs that make up Radiator. They tell stories of blanket forts in the loft, the control room set up in a bedroom (so they could listen to takes together, all four snuggled in bed) and drummer Amelia Swain says “When I listen to the album, I get this wash of memories of how it felt to be finally back together again with my friends. It makes me remember how good it felt to be together. To have a sense of belonging - I really can hear that in the music.” Stories like this, friendship like this, really can be heard in the music. From Typhoons’ magical recording-session-camp-out-fort-fest way back in 2013 (that produced one of my favorite albums of all time White Lighter) to Big Thief’s lightning-storm-creek-dip-forehead-to-forehead playing on their records, friendship & camaraderie can be felt through the radio waves. Radiator is not just an album made by friends, it’s inviting YOU to be a friend too!

       The songs on Radiator are soft & secret, unhurried & present. The kind of songs that can be passed over, like street art that someone in a rush doesn’t notice. Degroot spoke of their desire to keep the “lo-fi” aspect that the members of Sadurn had worked hard to create, and the recordings on Radiator are perfect. LIke you’re in a room with just the band, listening to them tell you their stories. Opener “snake” builds from Degroot’s whispered intro “Honey, I was wrong…” (could that be the greatest intro lyric to a break up album ever?!) to a measured garage-y rock. An inward-looking break-up song, with hope at the end (gulp, maybe what I needed this year?). Degroot masterfully tells us about what they’re working on in the aftermath, but closes with 

       “I want you to know that I’ll be holding that line and I believe in all your mercy / and in the weight of the tide as it is pulling you back towards me / you know that I am always yours if you’ll still have me / though you’re tired from that long walk over the chasm / but my idea of love is that it’s lasting…” 

       In fact, most of the songs on Radiator seem to take place in the months (or years) after a break up, as Degroot also plays with time a bit (“I watched a whole forest grow from seeds, before you got up…” on the magnetic & measured “golden arm”). Echoing my own inner turmoil, there are the everpresent, contradictory ideas of going back & moving forward, explained perfectly as “going our separate ways but just in the same direction” on the upbeat indie-rock of “special power.” Through it all, Degroot handles their heartbreak with a gentle, thoughtful ease. There are moments of crying in the shower, “carefully built boundaries,” and hard goodbyes (like on the gentle, fingerpicked “moses kill” that instantly recalls Adrianne Lenker of Big Thief’s solo work). Degroot is clearly doing the mental work to grow, and their friends are right alongside, imbuing what could be a cloudy gray collection of songs with sunlight & flowers, hugs & tears & kisses. These songs have been playing in my headphones a lot as I walked around Cap Hill & Cheesman Park in Denver since October, working through my own relationship ending; and the light they create has been building a little home for me. A home where swirling, opposing ideas can talk it out in my brain. As Degroot would put it “It’s ok what I’m feeling, it’s alright if I’m crying / and maybe there’s some good coming, although I cannot find it / and I know that light humming on the back of my eyelids…”

       “Your mind is like a like a fishnet and mine is like an icepick / sometimes it’s not enough and sometimes I think it’s perfect / and I get so messed up cause I don’t know if it’s working / I’m standing by the window, I can’t wait to let the light in / I can’t wait to let the light in…”

*

SAMPA THE GREAT   /   As Above, So Below

       The common thread running through the heart of Sampa the Great’s sophomore album As Above, So Below, is her native country of Zambia. She spoke of how important it was for her to record the album in Zambia and have it produced by a team of Zambian producers. Sampa Tembo is a 29 year old singer & rapper born in Zambia; based more recently out of Botswana, then California & Australia. If you play through the album at full volume, you’ll see pretty quickly why she goes by Sampa the Great. In the midst of heavy beats, swirling psychedelia, ethereal choirs & live drums, Sampa grounds & threads every song with her singular voice. A compelling mix of live musicianship, A-list features, and entrancing & invigorating songwriting, Sampa is staking her claim as a modern voice to be reckoned with. Sampa takes control for most of these songs, both singing sweetly and rapping fiercely over rhythms & vocal washes both ancient & modern. She skips & bounces brightly over a gentle melody in “Tilibobo” then practically growls her verses out on the monstrous “Can I Live?” A raging highlight of the album, “Can I Live?” is a collaboration with legendary Zamrock band W.I.T.C.H. (who I was lucky enough to see live last year at Treefor Music Fest!) and it climbs from driving, jungle beats, led spiraling upward by Sampa’s dazzling verse, then proceeds to leap off the edge into fiery guitar psychedelic pyrotechnics. Zamrock is a genre born in Zambia, a blending of traditional African music with psychedelic rock & roll, blues & funk, and hearing it blending in seamlessly on a modern hip-hop album is delightful. The choice to record this album in her homeland was one that means a lot to Sampa, who came to prominence while based in Australia; and the choice to work with Zambian musicians & producers imbues her songs with an authenticity & vibrancy that explodes through speakers and sounds like, as Sampa would say, “my freest record yet.” She raps & sings in both English and the Zambian language Bemba, she blends modern hip hop production with authentic African instrumentation and she blends features from African legends W.I.T.C.H. & Angelique Kidjo with hip-hop powerhouses like Joey Bada$$ & Denzel Curry. Through it all, this is Sampa the Great’s album. A singular vision, a portal into an artist’s world & home. A journey to Zambia with Sampa the Great. 

       “All of this lineage, the journey / this spirit is funny / can’t replicate a shooting star / I can be hard / I can be soft / I can be everything uder the stars…”

*

TOMBERLIN   /   i don’t know who needs to hear this…

       I had a long and meaningful journey with the new Tomberlin record this year, and she ended up with 3 of my top 5 most played songs on the infamous spotify wrapped. I want to start by pointing out that this is the most perfectly sequenced record I can remember in the last few years. From the gorgeous soft brushes, juno synth, & jazzy touches of brooding opener “Easy,” to the peaceful rhythms of “Born Again Runner” & “Tap.” By the time we get to the heart of the record, the roaring guitar solo from Cass McCombs in the epic “Stoned” and the pulsing growl of “Happy Accident” it matches any album on this list for emotional heft. By the time the winter-morning-radiator-creak of “idkwntht” mumbles it’s way out gorgeously, this is a top five album of the year for me . Besides the sequencing and the gorgeous, understated musicality, Tomberlin’s writing here is stellar and she tackles all my favorite topics. She is 27, a Baptist preacher’s kid, so it’s no surprise that challenging religion is a theme (“Born Again Runner” is a masterpiece) but her move to New York has her writing about finding beauty in nature in the city (“I’m not a tree, I’m in a forest of buildings”) and magic & brain gardening (!) (just listen to all of “Sunstruck” and read the lyrics, it is an all-time classic for me). “Sunstruck” rides a quietly bubbly riff (like a small, indoor water feature) barely rising above a whisper, the kind of song I love, but one you could miss if you’re not paying attention. If you do listen closer you’ll be laid flat by the emotional weight, the deep truths about life decisions, and the simple metaphors about growing up, choosing to be alone, dealing with a breakup, and the work needed to discover who you really are. These have always been questions and struggles for me, but in 2023, it felt like there was nothing else. The entire record  has a calming simplicity to me (both musically & lyrically) and I really felt like growing with this record was like growing closer and getting to know a new friend. Who they are, what they like, what they’re afraid of, what deep questions they’re struggling with, what makes them truly happy, what makes them cry, what dumb things make them laugh, what little things they notice when they’re out walking, what they want out of life, what they want people to remember about them when they die...

       I was lucky enough to get to see my new “friend” in person twice this year, and both were wonderful & special. First, at Larimer Lounge back in June, while I was working, I was able to duck in and catch most of her set, when I hadn’t really listened to the record fully yet, and from that stage, I realized it was special. I wrote after that night 

       Tomberlin is hard at work building something magical. She’s “not tired / just wired for late nights staying up / reminding me I’m still alive.” She’s “looking for hope in a song or a run or a deep breath…” She “left behind some pain to get to the magic thing…” and this album & this live show is a magic thing. Special in ways that you have to listen & pay attention to. Like that warmth in the breeze. Like the smell of the rain. Like the change of the seasons…

       The second time I marked some time & space with this record was in Raleigh, North Carolina at Hopscotch Music Festival. A late night set at a packed Pour House. A sacred place I’ve wanted to visit for years. Sacred songs in sacred places. Safe against a sidewall, Tecate in hand, listening to Sarah Beth Tomberlin sing me stories of growing up. In moments like that, I’m lost & found and I honestly don’t think I’ll ever need anything more. Thank you for this record Tomberlin, I’ll keep this one close forever.

       "I went looking for myself by myself / and it wasn't close to easy, but it sure did help... / a year passes and some seeds take root / your garden is growing and mine's growing too / and the work's not always fun / but it's better than staring at the weeds & the mud / we left behind some pain / to get to the magic thing..."       

*

WALTER MARTIN   /   The Bear

       Perhaps no other album on this list spoke to me as deeply on the topic of growing older, as Walter Martin’s The Bear. In a year where I felt my age harder & realer than any year before, I think I was searching for writing just like this. The Bear was recommended to me by Will Sheff of long time fav Okkervil River, and after listening through (and probably crying and probably pouring myself a dark beer) I was blown away by Martin’s writing & musicianship. Musically, this is a true songwriter’s album, Martin recorded all the demos with just him and a guitar. He enlists some of my all-time favorite musicians Josh Kaufman (The National, Josh Ritter, The War on Drugs, Hiss Golden Messenger, a ton of other stuff!) Eric D, Johnson (Fruit Bats) and Sam Kassirer (Josh RItter) as well as Oscar-nominated composer Emile Mosseri. All this results in rich, jazzy flourishes enveloping Martin’s songs in fireplace wine & whiskey warmth. A lifer of a musician, Martin played in New York bands Jonathan Fire*Eater in the 90’s and The Walkmen in the 2000’s. He references that life a few times on the album (most notably on “The Bear” “I had a dream that I was in a mid-level rock&roll band, played every shithole night club across this entire land”) but it’s clear he lives a different, more rural life now. Wilderness abounds here; there are bears, crows, buffalo, foxes, evergreens, and ice & snow. But it is the wilderness in the recess of his aging mind that Martin chases so beautifully. There is the acknowledgement of growing older, of thinking about death (he talks about “trying to build a body of work that I’d be ok to be buried with”) and giving the listener a feeling of comfort & connection, 

       When Martin explains his writing on The Bear, he is direct, saying “These songs explain who I am and why I make this stuff.” I think most of us want to leave behind some sort of work or memory like this. To have people know you. Know who you really are and why you think like you do and why you make the stuff you do. Never is this more evident than on the achingly beautiful closer “The Song is Never Done” where Martin speaks deeply and honestly about his dreams & his family, about the morning sunlight and his life’s work. He talks of painters, his cousin, his children, eternity, the raging sea, the fallen tree, how he wants to be remembered, how he exists in circular time. He lets us in on a secret, he has been working for years on writing the perfect song (“No it’s not this one, it’s another one” he chuckles, making me chuckle and actually laugh out loud through my tears) and he encapsulates this feeling as “Cause then I will be fully known. And lonely won’t be so damn alone.” This is, to me, what I too am spending my own life working towards. It is what I spend my time & life in music for. There is a truth, there is a great happiness, there is a knowing of oneself. Underneath everything, there is recognition of a great sadness, a grand canyon of ache. But the right song, the morning light through the window, the way those drums and lap steel match up in a timeless rattle, can help us to celebrate that ache. To pull our pants on, brush our teeth, and face the day. To smile through our tears and not only face the world; but do good and pursue our life’s work. To get to know ourselves deeply and share that with others. To live another day. Because, like Martin points out, The song is never done…

       “Well there’s a big blind bear who roams this road late at night they say / you’ll see her in the shadows as she walks her lonely way… / so I sit here at my window where I dream someday she’ll pass / I see the rhododendrons I planted and I think how time moves so fast / like the moonlight & the electric light / projecting paisley patterns on the grass… / and I don’t know where my memories should go / good & bad I cherish them so… / I don’t know Lord, I don’t know / I don’t know how the story should end / and as I look up at that night sky, music begins / and stars are everywhere / come on, come on, come on, just take a look up there / they fill the darkest corners of the darkest air / and they go where satellites would never ever dare / and then suddenly over there I see the bear…”

*

WILLI CARLISLE   /   Peculiar, Missouri

       I want to open this review by quoting Willi Carlisle’s writing from the centerfold of the digipak cd version of Peculiar, Missouri. It serves as a mission statement, a scene setting, a mystical late night tale told around a campfire by a wild man named Willi, and it goes like this…

       “Amidst the great resignation & impending climate disaster, I hear the hundred-year-old echo of migrations recorded & forgotten, the old spiritus mundi in the Arkansas pines. I hear the words of forebears who lit the way for us, the great-great-grand-so-&-so’s who forged our misery & our delight in genetic code & microfilm. The yowling bastards who got us into this mess never shut up. And we’re different than them, yeah? Thank Dog! But we did come from them. They gave us songs & slogans to repeat and revise, and I wanna hear them… It’s like a miracle, this inchoate rushing, this river of history. It washes us towards the end, the big mystery. Are we bathed in its bloody backwaters? Todo pasa en este mundo? It rolls over us like a manic-episode & a makeout session, like the broad-shouldered lad at the square-dance. It crushes us like a covered wagon thrown from a skyscraper. But things ain’t hopeless, no, not yet! Not while we’re livin’...”

       And so it is that we meet Willi Carlisle. A sweet, mythical giant from the MIdwest & Arkansas. A historian & a folksinger; a poet & a storyteller. Traditional Folk music like the kind Carlisle is professing his love to on his sophomore album Peculiar, Missouri, always has its roots deep, deep in the past. Willi holds the music of that past holy; paying his respects with fiddle, accordion, banjo, mando, dobro & tambo, and some songs that sound like they could’ve soundtracked square dances on midwest summer nights 70+ years ago. Lyrically, Carlisle pushes past the past, staying true to himself with songs about queer love & acceptance, mental health, and fighting against homelessness, racism, & corporate America. In the genres Carlisle traffics in, those lyrical themes can be regrettably uncommon (although not as uncommon as you’d think, as alternative country & folk is full of young, progressive songwriters making waves and selling out shows, railing against corporate country’s racism, sexism &  homophobia). But these are also genres that revere talented players so Carlisle must pay his dues with some classic sounding songs. The upbeat numbers, like the countrified-zydeco-graceland-romp of all inclusive, singalong opening jam “Your Heart’s a Big Tent” or the breakneck, Bakersfield country slide of the Johnny Cash recalling, outwardly humorous, inwardly socially-conscious and politically challenging “Vanlife” practically burst with joy; spilling over with Carlisle’s welcoming smile & tongue-in-cheek lyrics. “The Down and Back” could be played at the square dances Carlisle loves to call (he talks about his and others’ roles in creating safe spaces in square dancing and how “queer futurism insists that these deeply rooted behaviors can create a future out of what feels like a near apocalyptic present.”) Then, there are the songs that really prove Carlisle’s worth as a songwriter. The crooner tremble of ‘I Won’t Be Afraid” belies Carlisle’s sneaky wit & irreverence when he sings “I’ve done some dumb shit and I’m gonna do some more” &  “I’ll wake up early and haul ass!” “LIfe on the Fence” is the most obviously queer song of the bunch, an aching country twanger about Memphis & Texas, crying in public, & bisexuality. 

       Truthfully, there are two songs on Peculiar that, to me, are lifers. Songs that only Willi Carlisle could write. Songs that to this day, I can’t listen to without crying. The title track “Peculiar, Missouri” is an outwardly humorous, spoken word tune about a panic attack in a midwest Wal-Mart (a “come-apart in the cosmetics aisle”) that references Carl Sandburg and takes a few magical twists & turns to contemplate life & death, love & the meaning of it all on the long drive home; looking out the window at the shooting stars. “I sure wish I knew what we were supposed to do with ourselves. If you get any good ideas, won’t you let me know?...” Maybe one of those good ideas can be found in “Tulsa’s Last Magician,” a seemingly simple folk tune about a seemingly simple life. As Carlisle says “There’s no good tricks but old ones” and his writing here magically weaves magician metaphors into memorable moments in a life that just might save us all. For those of us who think that no one quite gets quite what we are, this is our song. Space & time & stories & magic. 

"This record is in praise of those dead folkies whose honest seeking brought us this unsettling, awkward, fumbling epoch. I’m asking you, them, us: what is it that we can’t find? Who is there but us? Who else will make the world fair & just? We orphan ourselves, we drive sixteen hours, we break our bodies, we uproot whole continents in search of love, in search of our deepest human right. What foolishness! What violence! I foam & dance & sing, and look upwards for the shooting star. Stay weird, stay wild…”

*

ZETA   /   Todo Bailarlo

       So we have made it all the way to Z! One of my favorite music experiences in 2022 was my first trip to Boise, Idaho for Treefort Music Fest. One of my favorite new finds at Treefort was Zeta. Originally started as a punk band in Lecheria, Venezuela in 2003, Zeta is currently based out of Florida & North Carolina after moving to the US to chase their dreams of being touring musicians. They have toured relentlessly in the US since then, building little communities wherever they go, sharing food & music & progressive ideas from their hometown. I actually saw Zeta first at Lion’s Lair in Denver, the night before I left for Treefort and I then proceeded to see them multiple times over the course of my five days in Idaho and was repeatedly blown away by their energy, their positivity, their righteous anger, their rhythms and their NOISE! This is punk music at heart; loud & raucous, guitars wailing, drums cascading, music by the people, for the people. With their hearts planted firmly in their native Venezuela, Zeta imbues their brand of punk with afro-caribbean rhythms, cumbia, calypso, salsa, samba, bossa nova, latin jazz, a ragtag orchestra collective, swelling with electricity, a fire to be LOUD. “Todo Bailario” translates to “To Dance It All” and these are definitely songs made for dancing. Whether the sensual, swirling kind, engulfed in the rhythms from off the coast of the Caribbean Sea, or the sweat-soaked, mosh-pit, screaming kind, skin to skin with new punk friends, raging over injustices together. So many of the albums on this list were favorites of mine for their lyric writing. I’ve always loved songwriters who speak to me. The kind of lyrics that make me feel understood. Songwriters who write so openly, with such honesty, that to get to know their songs, makes me feel like their friend; Zeta’s songs do exactly that, but through the music alone. I may hardly understand any of the words they are singing, but in the way that they play and  the joy that they exude both on stage and on the album, I feel understood. The way that they let the energy of their music create a community, from Venezuela to Florida to Colorado to Idaho; I feel like an integral part of that community. Like I play a role in this lifeline of music.  I feel like their friend. I can’t wait to see my friends in Zeta again in Idaho at Treefort 2023!

       “Heal! Heal! Heal the earth with your hands…”

*

EP BONUS

IMMIGRANT’S CHILD   /   Papalotl

NIA ARCHIVES   /   Forbidden Feelingz

RITMO CASCABEL   /   Ritmo Cascabel

       Two local Denver bands with heavy Latin influences and one UK jungle/drum & bass DJ, producer & songwriter. The Papalotl EP from Immigrant’s Child is full of brooding indie rock that follows shredding guitar into heavier psych rock. RItmo Cascabel mixes similarly psychedelic rock and explosive rhythms with traditional Latin Cumbia. Finally, Nia Archives makes “future classic” music full of breakbeats & reggae samples, equal parts chill & danceable.

       “The song is never done…”

Guess who's writing their end of the year favorite albums list?! 👀

My favorite thing about this video is how it ends politely immediately when she asks everyone to put their phones away!