| 100 - 81 || 80 - 61 || 60 - 41 || 40 - 21 || 20 - 1 |
| All 100 Songs |
Hey, we're back. We didn't expect to have time to finish this before the summer, but now here we are. Great to be here, trapped just like everyone reading this with all the time in the world. We couldn't imagine a better way to spend what would have been SXSW week - the 8-day span when everyday is a holiday that only exists on Twitter and Instagram, ie Mar10 Day, 311 Day, Pi Day, Austin 3:16 Day, and of course Irish Carbomb Day. We forgot the others.
On that note, we'd like to proudly present the biggest of the big chungus of 2019, aka the 20 best songs from 2019 to wash your hands to.
20. Otoboke Beaver “Datsu. Hikage No Onna”
This is the one that goes "I hate a-youuuu". Some people need to hear that they're hated. The Japan Times Q&A quoted in their Pitchfork review outs the band as non-feminists with apolitical lyrical intentions, a revelation that only accentuates the authenticity saturating their proudly feminine, working class lyrical and musical themes. Their motivation is the art itself without adherence to a calculated Western-marketing strategy. Nonchalantly: "I just wrote about how I’m pissed off at my boyfriend; nothing bigger." That scream tho. Nothing bigger? Really?
19. The Chats “Identity Theft”
Is the world prepared for technological armageddon? The digital dark age? Literal #breaktheinternet? One day we'll wake up, and it's all gone. Where's my Spotify? Where's my tweets? Where's my HelloFresh? The stock market commits suicide on live TV. The fires begin. Nuclear explosions in the distance. Watch yourself melt. Watch your friends melt. Watch your family melt. Watch net neutrality melt. Watch Bitcoin melt. Watch Google melt. Watch reddit melt. Watch clickbait melt. Watch paywalls melt. Watch your follower count melt. Watch the blue checkmarks melt. Watch ad revenue melt. Sorry we forgot to follow back. If it makes any difference, it's all been merely a blip in the history of time as we await the sun's engulfing of all we'll ever know.18. Curse Word “Big Fingers”
17. Maneka “Never Nowhere”
We'd like to dedicate this entry to the "leanback" dude and his seriously big fingers. // Two jams of pure fire arriving via "homies of the blog;" in the past, we've blurbed of musical acquaintances in a similar manner who may or may not have Googled themselves (or their band name), discovered this blog, figured out who we are, and rightfully placed us into the "garbage asshole" category for tapping into our strangest ambien-induced auditory responses, most of which we don't remember writing due to light amnesia. // "Big Fingers" tends to loop in our heads for days; this was especially true last Fall thanks in no small part to its intense fiery combustion, straightforward uncryptic lyrics, and creepingly earwormy angular riffs. // The growing pensive energy in "Never Nowhere" downshifts into 3rd gear, climbing and brewing. Meeting an unexpected wild acceleration, the halfway checkpoint goes full throttle. Vin Diesel howls in excitement; The Rock just smirks in preparation for layin' the smackdown. // This is why it's probably uncomfortable when getting into the "conflict of interest" portions of the big chungus of 2019. Why did Maneka's jam initiate this big budget visual? In a similar brainwave, we're certain the music licensing for the Marvel cinematic universe botched what could have been their only perfect sync by neglecting Pinback's "From Nothing To Nowhere." Maybe we should pivot to vlogging YouTube montages instead of giving away our music video concepts for free. 16. Glitterer “Destiny”
We would like to dedicate #16 to Crispin Glover whose birthday is April 20th which means that his birthday will be happening for a whole month in 2020 since this will be the only year when 4/20 is a month-long celebration. In an interview in 2011, Back to the Future co-star Michael J. Fox said, "Crispin isn't crazy, just excitable." Crispin is your density; "Destiny" represents a confluence of production references, namely (Sandy) Alex G and Arthur Rizk, affiliate of Red Death, Power Trip, and Code Orange. This might help explain how Glitterer gets a free pass as one of those 8 or 9 non-hardcore bands lucky enough to join multiple hardcore touring packages (ie Young Guv, Tony Molina, Nudie Mag, Lil Ugly Mane, Wicca Phase Springs Eternal). Speaking of back-in-time, "Destiny" clocks in around 2:20-ish, placing it among the project's lengthiest and most realized jams.15. DaBaby f/ Offset “Baby Sitter”
When Baby Yoda catches DaBaby fucking DaBabysitter.
14. Three Knee Deep “Devil’s Playground”
"Time to break the law / In the name of gettin' paid." Can't argue with that.
13. Tyler The Creator “What’s Good”
Igor >>> Flower Boy. Don't @.
12. Nilufer Yanya “In Your Head”
An immediate infectious summer jam, "In Your Head" also arrived equipped with a titular reminder of the exact spot where it got firmly stuck for six entire weeks. Whoever said it sounds like young Sade fronting Pavement was half-correct. Again, we're nearly a decade since Yuck, and poptimists simply can't get it through their thick fucking heads that electric guitars existed before or after the '90s. It's like they refuse to accept that any halfway-loud guitar-based verse-chorus rock music has any identity within the 2010s, that it all must be derivative of a bygone era. Seriously, listen to that snare drum tone, and find us the '90s band that sounds like this. They don't exist. We'll accept "young Sade fronting some moderately rockin' Sub Pop band from 2012-2015." Sure, that works fine.11. Nudie Mag “She’s A Star”
A colossal wave of Weezer-worship bands felt unavoidable in the wake of Nada Surf's "Popular" and Nerf Herder's "Van Halen." Sure enough, 1998 marked a post-Pinkerton explosion highlighted by Ozma's classic Songs of Audible Trucks and Cars CDR release. Whether we like it or not, each passing year adds another 99 records to this pile, typically ranging from bland to lackluster and shipped to college radio from promoters with an apparently unlimited supply of "RIYL Weezer" stickers. And each year, the debris of bland unjustly buries one or two genuinely great and often unheard releases. One of these was Supermilk's crushing Rare Delusions EP, reimagining the path Matt Sharp & Damon Albarn might have forged had Rentals and Blur continued collaborating.And then there was Nudie Mag's stellar 3-song demo tape, a preview for their 2020 LP. Their approach differs from most we've encountered in the past 20 years since it might be the first to correctly match and frequently surpass Pat Wilson's intensely ferocious snare-drum attack between Return Of The Rentals and Pinkerton, pounding a heightened sense of urgency into their sugary hooks. "I think astrology is bullshit / Nothing ever aligns / For some goddamn reason I’m stuck here still reading the signs in the sky." This lyric stood out, initially implying a helpless surrender against the birth-chart and Zodiac-shaming fads of the late-2010s.
10. Holy Serpent “Marijuana Trench”
Full disclosure: This is a lie. The actual #10 is "For No One," the "penultimate" track appearing before "Marijuana Trench" on Holy Serpent's Endless LP. We decided to put "Marijuana Trench" instead because it's a truly outstanding song title, but the jam to hear is "For No One," a much better song about bloodshot dragons ripping mad gravs of bong and exhaling the smoke of the gods. No need to light the flame with a lighter because dragons literally breathe fire and don't really require one aside "for kicks" aka the novelty of the human lighter. Don't believe that Hollywood bullshit; Dragons only know how to fly in slow motion, and they do participate in ganja. "You son of a bitch; I'm in." Also "penultimate" is one of those words that inarticulate people overuse to sound smart.09. Hatchie “Obsessed”
There might be some lyrical tricks that went over our heads, but we hear "Obsessed" as a decorative shrine. Inherently innocent by design, childhood obsessions are more fun than we realize until decades later, after confronted with weightier concerns. "Obsessed" marks yet another great example of an unheralded album highlight thanks to the same clueless poptimist music writers who preferred the singles without a guitar track. Between her earlier, frostier Soundcloud singles and the subsequent bloom springing from 2019's Keepsake LP, one might say "I gotta give it to Hatchie; yaknow, she really represented; she stepped it up" in a manner not dissimilar from the judges of the great Iron Mic freestyle battle of 2003. After we incorrectly assumed Keepsake and "Obsessed" would dominate most of 2019's big name end-of-year lists, Paste curiously chose it for their 10 Best Shoegaze Records of the year despite its decidedly heavier dreampop influences, fusing a patchwork of earwormy hooks, dance grooves, and delicate '80s nostalgia. 08. Danny Brown “Combat”
Maybe it's just us and the other gen-x/millennial cusps, but perception through the space time continuum grew exponentially more fucked since right around the release of We Got It From Here... Thank You 4 Your Service, not-so-coincidentally the first major album release within the 48 hours following the 2016 election of Doctor Professor -- an eternity ago, yet also uncomfortably recent. Three years later, "Combat" highlights uknowhatimsayin¿ -- arguably the LP under Q-Tip's direction that most closely resembles Tribe's imaginary 2019 follow-up, complete with Danny Brown's best uncanny impressions of Phife flowing into a few key insertions of Q-Tip and Consequence. DB's arguably more relevant now than ever, and his lol-bombs never quit: "I die for this shit like Elvis," "Got more pills than the Olsen twins." https://www.youtube.com/watch?v=Br6JqvHGn3g
07. Young Guv “Every Flower I See”
Name one flower in this picture.
06. Denzel Curry “Ricky”
Ricky was a young boy. He had a heart of stone. He walked the streets a soldier. "I have two things to carry, one is the recycles bag and other is the little trash bag. We basically go around and people have their recycles out and they freak out, 'Hey, what are you doing, taking my recycles?' and it's like 'Hey, it's at the curb. We own it, not you.' Apparently there's a bit of a smell because of the recycles and there's fucking bees and hornets and wasps and shit everywhere." Ricky is covered in garbage juice because of the recycles. Fuckin way she goes. 05. Big Thief “UFOF”
Speaking of redundancy, here comes Big Thief again rounding out their unprecedented 4-for-4: "Masterpiece" was our #17 in 2016, "Mythological Beauty" was our #7 in 2017, solo jam "Symbol" placed #9 in 2018, and now "UFOF" at #5 is their highest placement, arguably the hottest jam throughout their 4 LPs. As far as late decade dopeness is concerned, no one else in the light-indie/SiriusXMU/NPR spectrum can match or surpass the consistency of Big Thief's lead singles. The only real downside is that we no longer have anything noteworthy to say about this band that hasn't already been said on this blog or elsewhere. 04. Sedona “More Love”
In 2008, literally every album review of M83's Saturdays = Youth compared "Kim and Jessie" to Molly Ringwald movies. Each subsequent year, a handful of acclaimed artists made equally bland attempts to raise the '80s nostalgia bar. The poptimist boners peaked in the wake of 1989's superficial resemblance of the actual summer '89, stealing thunder from E•MO•TION's botched promo campaign. As the decade progressed, it felt like indie-filmmakers understood the nuances of '80s aesthetic with more clarity than pop producers; take Turbo Kid for example, premiering at Sundance just a few months after 1989. It's a type of nostalgic art that's so painfully detailed that it's almost difficult to tell whether it's a genuine artifact of the era. This is also the case with "More Love," a song that Paula Abdul should probably cover for her unwarrented 2020s comeback. As Sedona's prior Soundcloud tracks stride towards the present, "More Love" marks her current apex of correctly nuanced vocal inflections and structural mastery, leaving us in heated anticipation of her foreshadowed follow-up EP.03. Kevin Krauter “Pretty Boy”
Our #3 entry is dedicated to the great Slavoj Žižek, our official 2019 "Hunk Of The Year" and probably of the decade.May God bless whoever was responsible for sneaking Kevin Krauter's soulful and pensive earworm "Pretty Boy" smack in the center of VICE's "Top 100 Tracks of 2019" at #50. We wish we could say this playlist was anything but infuriatingly tedious, but at least the immediate dopeness of "Pretty Boy" made the journey more than worth the effort. We're considering "Pretty Boy" for a coveted entry near the top of our 2010s Rubber Soul-core canon alongside Homeshake's "Heat," Good Morning's "Warned You," and probably something by Mac Demarco.
02. DaBaby “Suge”
What a revelation: I just signed a deal at the mall. Young Baby Jesus CEO was just a regular at the local food court in uptown North Carolina when Interscope's A&R execs finally tracked him down. They ask, "Excuse me sir, are you DaBaby?" as they hand over a record label contract, a fancy ink pen, and one-million dollars in cash. This scenario might have seemed feasible if these were "Suge's" actual lyrics, which they are not. In recent interviews, his frequent shout outs to the late great Rick James did not seem especially suspect until the inevitable Nardwuar Q&A raised the possibility that they might be uncle and nephew. If that's the case, we're guessing DaBaby has an extended family network of a few hundred cousins (and he still won't follow them back on Instagram).01. Beak> “Life Goes On” / Beak> "We Can Go"
Congrats to Beak> on earning their distinction as the only artist who twice placed as our Album Of The Year who then would later also receive Track(s) of the year. Apologies for the tie, but the two jams feel so thematically and texturally unified with this specific moment in history. Back in 2012, the similarly eerie "Eggdog" felt like it was slowly panning over vast Martian landscapes. Today, these same sonic textures can be applied just as easily to our own Earthly globe. Where did our hope go? The eerie marchiness of "Life Goes On" and the bleak grooves of "We Can Go" might perfectly soundtrack the close of a decade that opened with so much optimism and closed two steps removed from a dystopian hellscape, vastly magnifying public awareness of the lack of possibilities inherent within our own existentialism.How many good summers do we have left? What is life after COVID-19? Does music go on? How many more "best tracks of the year" lists will ever happen in the history of the world? How much longer until the next pandemic? Forget making it through the decade; what's stopping another one of these from happening before the end of 2020? Even after COVID-19 is eventually controlled, life will then go on despite Brexit, despite the Syrian conflict, despite the stronghold of capitalism, despite Greenland melting away. We're "stuck indoors," but realistically, weren't we always stuck indoors? The mind's eye slowly pans towards our very own planet and this wonderous moment in history that we're experiencing. What a time to be "alive." See you in hell.
| 100 - 81 || 80 - 61 || 60 - 41 || 40 - 21 || 20 - 1 |
| All 100 Songs |
D'Angelo loves Red Dead Redemption 2 so much that he refused to leave RockStar's offices until 5AM each night, playing the game until very late for weeks straight. Eventually the game creators were just like, "you know, if you love the game so much, why don't you go get married to it, or go write a song for it or something." Figuring D'Angelo would be like "lol, good one," he instead responds "well, that's quite a fine idea you got there, and I think I might do just that!" And the game creators said back, "Which one, get married to the game or write a song for it?" And then D'Angelo responds, "Both ideas are quite sharp. I'll get back to you on that." This is all verbatim and true, by the way. There is a 2019 version of this song floating around on streaming services that is not the original version posted to Youtube back in November 2018. The song feels a lot less complete without the long intro, similar to what usually would happen when radio stations would butcher the intro of "Really Love" (on the few R&B stations that bothered to play it early in 2015). Speaking of that, we have not forgotten D'Angelo saying Black Messiah was intended as a double-album, and that there's another LP of unreleased jams ready to drop at any given moment. Perhaps more videogame creators should give D'Angelo free shit in exchange for new songs since this is now officially the only thing left that motivates him. S.O.S. Plz halp. We need you D. 
Most artists stick to the same lane when considering guest attributions, although Kanye is not most artists. His name appears alone throughout his very collaborative Yeezus LP. A few years earlier, MBDTF's metadata wisely omitted 
Despite its designation as a frustratingly unexciting era for music and pop culture, August 2008 retroactively revealed some buried hints suggesting a desire to move young people away from the mid-2000s' sickening obsession with extravagant materialism. It's the month Kim Petras turned 16. It's also when MTV aired its last four episodes of My Super Sweet 16 in a block that included birthday celebrations for teen millionaires like Bow Wow and Sean Kingston. The stock market crashed just a few short weeks later. "I Kissed A Girl" was the biggest hit of the moment and marked a then-pinnacle of chart success for Dr. Luke, the song's ultimately despised writer and producer. We were reluctant to include "I Don't Want It At All" in our list due to Luke's involvement, but plainly stated: We really care about Kim Petras. We want Kim to blow up. She got what she needed out of that era and realizes she's ready to move onto bigger and better things. Looking back, the song structure itself is fascinatingly flawed, exposing elements that went into the process hit-creators relied upon throughout the "party like a rockstar" era. Everything about this is tongue-in-cheek. Fuck capitalism. 
After an abbreviated version of "Landing Safely" appeared on the 
As Iggy Pop and Josh Homme pump "Smoko" on the reg, its "huge hit" status also earned The Chats a daunting grind: Their giant world tour now extends through the end of November, selling out medium-sized US venues in NYC and elsewhere. Seeming barely 21 in their no-budget viral videos, we would wager they'll never become self-aware before splitting up. They have another 2-3 years of youthful dgaf stored up, alleviating concerns for any future blandness traps. (Have they released any full length LPs yet? Will they ever?) We'd expect nothing less from a Bandcamp handle like 
Lizzo's busy thinkin' 'bout boys boys boys. So many kinds. Where do we start? We like them dumb and we like them smart. We like the ones with the pretty eyes. Well we like all kinds of guys. Two of those boys just might be Pharrell and Prince, who once upon a time slid suspiciously similar grooves under Kelis and Vanity 6 respectively. Wikipedia reveals Wallpaper handled production; 2012 was the last time we wrote about Wallpaper, when he appeared somewhere around #6 on our worst songs of 2012, mostly thanks to its lyrics. In "Boys," Lizzo's energy and charisma wipe away the vomit-flavored chuckle gummy and mixes in a tightly secret recipe for batches and cookies. TikTok trending status = Currently very strong.
Many of our favorite bands put out their 2nd best albums in 2018, and we're pretty sure all of these were the best since the breakthroughs that won us over in the first place. We knew No Age had to release at least one more classic record before the end of the decade, and Snares Like a Haircut delivered on our hopes. "Send Me" exemplifies a send-off for the decade, capping an era of indie-punk that feels ready to move forward.
One early take from "Muddy Waters" derived from its mysteriously unattributed 2nd vocalist. Why is the promo video's guest singer different from the live videos? Was she unable to get time-off for tour? After some digging and discussion, we learned that the band might locate one or two volunteer on-stage participants to fill-in this crucial guest verse and chorus, originally sung by someone who is not a full time band member. Jocko has toured on-and-off since this album's digital release (about a year ago), and we are jealous of anyone who gets to see them. Physical release came out in 2019, so we will likely use this as loophole for "Albums of the year" come January. The music video prominently features hockey and hackeysack, and (again) we will figure out a way to include it in "Best Videos of 2019" even though it came out in December 2017 because we no longer care about accurate chronology.
The greatest disco-country song of the decade from an album that literally won the Grammy for "Album Of The Year" has yet to receive any spins from iHeart's CHR format. Pop is burning down from the inside out and no one with any substantial power to generate a shift is doing anything to stop it. "High Horse" never charted, and it's capitalism's fault. Pop exposure and promotion has never experienced a more devistatingly flawed era, and it will be a VERY long time before we recover. "Things are different now" is not a good enough reason to repeatedly point the finger at those who don't give a fuck about Imagine Dragons. "If you don't like it, then you're too old." Sorry, but that's not how it works.
We remember a few dumbasses on Twitter circa November 2016 trying their best to find a silver lining by predicting a 4-year punk rock renaissance. We're not sure if this is what those people meant, but our lives have not been quite the same since crossing paths with the year's most ignorant jam. "Hackin' Of Da Mindz" was our introduction to Boston's 
In these sad times, bad music bloggers tend to avoid actual descriptions of sound in favor of lyrical analysis and irrelevant narratives. With under 48 hours to process "Thank U, Next," initial takes barely scratched the surface, unsurprisingly incapable of divorcing the song from Ariana's public life, thereby perpetuating even more poptimist celebrations of the ephemeral. 
Now that TikTok is the only true remaining hit-maker of the moment, "Womp Womp," also known as "Wamp Wamp" and "Sad Trombone," could live beyond its onomatopoeic definition, typically mimicked from a human mouth to indicate failures ranging from small to not-so-small. The Price Is Right might be the home of the all time classic Womp Womp, best exemplified by instances when both contestants overbid during the final showcase showdown, indicating an enormous trombone-flavored fail. In "Womp Womp," Valee sings about watching one such episode of The Price Is Right at home during a snow day. Radio should stop avoiding the true hits. Millions of kids sang this extremely fun song that still isn't getting any radio airplay. What does this tell us? Oh wait, we know. It means that iHeartRadio is racist. 
On a personal note, this is the first time in over half-a-decade that our #1 comes from any act marginally resembling a rock band. The last time this happened was our embarrassing 2012 blunder awarding the honor to Japandroids' "The Nights Of Wine and Roses" (beating many of our future 
"Hip Hop" descends from simpler times. If you're an artist in a genre that lets you get away with repeating the genre name and settling on that as a song's entire chorus, then you have every right to let that happen. "Wasup Jojo" exposes Lil B's perplexing dichotomy; he is at once introspective and philosophical but also a fun-loving and horny rock star. This all helps Black Ken (apparently his first "official" mixtape) gracefully build upon Lil B's prolific and out-of-step discography. He's never marched in time with modern trends, nor walked away from what made him special. He never needed to. Black Ken throws back, but it's very of the moment; it's not forward-thinking, but it sounds like it's from a different timeline. It's his shiniest and most sparkling sounding album to date, but its human imperfections are its most alluring assets.
In 1973, a college student named Patrick Cowley recorded several albums of slinky, mysterious and almost noir-sounding instrumental electronic music. A gay porn company called Fox Studio bought all of this music not long afterwards, and 
Earlier this year, 
As an album title, DAMN. (all caps, plus punctuation) expresses observation, reflection, and a strong, possibly overwhelming reaction. Sadly, it might be the opposite of "Alright." The record feels appropriately cluttered and claustrophobic. Impressive as a whole, only a few of its tracks felt as strong as standalone singles. While the spacey "FEAR." might be its only song that could have appeared on either good kid maad city or To Pimp A Butterfly, it's the deep breath of sonic representation DAMN. required - still as dense as its album's sister jams, but arguably the most musically satisfying on its own. If "DUCKWORTH." and "XXX." display the clutter itself, "FEAR." is up-at-4AM stuck between a youthful memory and trying to make sense of it all. "If I could smoke fear away, I'd roll that motherfucker up."
She was losing her religion, cursing on Sundays and indulging in debauchery. But now Maren Morris has found her church in the FM dial - a claim that clashes with our experience, since we haven't been able to enjoy corporate radio since at least 2012. But we're happy Maren digs it. We checked out some pop-country stations a couple weeks ago, and nothing seemed especially egregious compared to how it sounded in the '90s. There's a lot less Brooks & Dunn and Leann Rimes. There's a lot more of the awkward #wokeness in songs like "I Believe Most People Are Good" (a far drive from the days of "Tequila Makes Her Clothes Fall Off") and they play the shit out of that Florida Georgia Line song that doesn't seem to wanna go away anytime soon. Maren gets the "home" feeling from faith placed into iHeartRadio's program directors. And the "My Church" chorus spun on the FM dial in our brains for 3 or 4 nights in a row. P.S. The word "God" is not mentioned once in this entire song.
We were about to express surprise that a fresh new dope K-pop group has arrived that doesn't have 7 or 9 or 12 or 15 members. After a certain point, the abundance of large-numbered group members enters Polyphonic Spree levels of absurdity, removing any discernible way to connect. Brockhampton are packaged as a similarly daunting collective, whereas Odd Future took their time over the course of several years, slowly introducing more characters over a 3-4 year span to anyone willing to care or listen. 
Yo Charli, what the fuck? Your Soundcloud was definitely streaming "Boys" a few short days ago, but now it's just a 30-second preview. Say it ain't so, Charli. We're not switching this to a Youtube link. No. Not happening.
Blown out production and hardcore screams are exactly what Alex G's last album needed. "Brick" is yet another of his essential weirdo experiments, which maybe should be packaged far down the road into an immense weirdo comp. Nothing's off limits. This makes the "Alex G goes country" headline (accompanying the premiere of "Bobby") seem entirely laughable. We'd love to hear a live version of this song.
Our pitch for Netflix: Once a week, we'll premiere another 2 hour movie about the end of the world. It's a series titled Normalize Armageddon intended to lessen the fear of "we're all fucked." Each week, watch the sun get so hot that everything starts melting. People start melting and eventually burst into flames. Watch yourself melt. Watch your friends melt your family. Watch net neutrality melt. Watch Bitcoin melt. And that's just the title sequence.
"I think I'm in trouble," sang Lindsay Buckingham as the other members of Fleetwood Mac threw him down a flight of stairs. As of 2018, he's been very much fired from The Mack, and it should be pretty easy to figure out why since Steamy Nicks was the only band member who refused to participate in Buckingham/McVie's shockingly dope 2017 album. "In My World" sounds like a lost Tango In The Night deep cut, reprising the "love noises" from "Big Love" and sprinkled with Mick Fleetwood's signature snare tone (probably the #1 drummer in rock history who is recognized more for tone than prowess of rudiments or whatever). Kinda bullshit that this couldn't have been called a Fleetwood Mac album, but swap out Buckingham for Nicks (neither of whom are O.G.), and it's suddenly okay. But not so weirdly, the snare tone steals the show here.
Are you ready for some "Gigantic"/Yuck riffage? What's so funny? Why are you laughing? No seriously, what's so funny? What did we say? Did we say something weird? There's a talking-on-the-phone solo in this song which kind of reminds us of the break-down from the Hanson bonus track that was written by the 9-year-old kid (Zac). So anyway, you're still laughing. This is what modern rock radio should sound like right now. There are plenty of sick pop-grunge songs that should be charting, but instead iHeartRadio continues playing Imagine Dragons. Oh wait, it's 4:21. That's why you're cracking up. Now we get it.
The Lil Yachty LP Teenage Emotions actually does suck. It's a shitty album with 5 really good songs and 5 more kinda ok songs, which would have been enough for a decent 10 song trap-pop LP, but instead Yachty decided to bloat the album to 21 songs with music that is for the most part pretty fucking awful (such as the one where the chorus is an interpolation of Tegan and Sara's "Walking With The Ghost"). It seems like he's still experimenting with his brand and trying to discover who he is and how to be portrayed. The most interesting moments on Teenage Emotions - the parts that won us over and convinced us that he was worth our attention - were the strange outsider moments where he stepped very far out of the confines of trap. We were intrigued enough by "Lady In Yellow" that it inspired 
"Diver Dan" was Robert Pollard's best song of 2017, but we think the best GBV jam of the year was "Overloaded," written by their current drummer and former Shudder To Think member Kevin March (who coincidentally looks a lot like Craig Wedren). Kevin submitted his demo to The Guided for their planned double-album and was considering having the band re-record it, but instead Pollard gave one listen and said "it's done." This ended up being the final version included on August By Cake. Pollard was right; the tape warble and lo-fi elements compliment the song perfectly. No need to add anything else.