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Review

Top 10 Movies of 2023

I probably say this every year but 2023 was an all-timer year for movie-going. From wholly original blockbusters to stunningly intimate indie hits, there was truly something for ever film fan. I could just as easily do a top 20 list – after all, how can I not talk about May December, Priscilla, OR Across the Spider-Verse?! But I’ve decided to spare you all the extra entries and distill this down to my favourite ten films of the year. Hope you enjoy and, if you haven’t seen them, check out some of these incredible works!

10. Barbie (dir. Greta Gerwig)

Photo taken from People

A cultural phenomenon that has been talked about to death (so why not add a few more words?). More than just femininity in pink, Gerwig’s Barbie uses its Mattel-backed budget and not so subtle toy (and car?) advertising capabilities to interrogate the silly building blocks we use to form our identities to avoid confronting the truth about the human condition. It’s a concept that shouldn’t work on any level – a huge ad and PR-spin with heart; a toy who teaches us all how to be human and “think about dying” without letting our heels touch the ground for too long. But miraculously, Gerwig does it again.

9. Passages (dir. Ira Sachs)

Photo taken from IMDb

Passages blew me away with its stunning simplicity. It’s a bit like the chaotic evil version of the Past Lives “love triangle” if they were all trying to undermine one another continually. And, yet, there’s something so delectable about watching it all happen, specifically the use of crop tops as a power move. Fashion and sex in general seem to take on gladiatorial qualities, replacing the expression and intimacy that typically accompany such things. But then there are also moments of genuine love, remorse, and humanity. It’s strange how such a terrible portrait of romantic love can still feel so real and compelling in a way I can’t stop thinking about.

8. John Wick: Chapter 4 (dir. Chad Stahelski)

Photo taken from The Hollywood Reporter

Among the awards season contenders and overlooked indies is this action juggernaut (at least in my list)! The John Wick series has consistently been some of the most exciting action filmmaking of the last decade and somehow Stahelski found a way to level up this concluding chapter in every possible way. The cinematography stuns, the stunts are some of the grittiest in the history of the action genre, and John… well he’s still a man of few words. Perhaps it’s fitting just to leave this at an emphatic “yeah”.

7. Past Lives (dir. Celine Song)

Photo taken from IMDb

A quiet and gorgeously rendered debut. Celine Song is a filmmaker to watch, beginning first as an award-winning poet before embarking on the creation of this semi-autobiographical love story. Although, calling it a “romance” may be quite a stretch. Greta Lee’s down-to-earth Nora isn’t necessarily in love with the childhood crush (Teo Yoo) she reunites with after several years. Still, in a stunningly gracious turn, Nora’s husband (John Magaro) encourages her to begin to make peace with the possibility of what could’ve happened if she had never immigrated. Together, the three dive into an unexpected and beautifully poetic ode to love and loss that may just leave you in tears in its final moments.

6. Poor Things (dir. Yorgos Lanthimos)

Photo taken from IMDb

After its knockout premiere at Venice, Poor Things quickly became one of my most anticipated films of the year – and it didn’t disappoint. It’s hard to recommend for a variety of reasons but if you’re willing to bear witness to the utter mess of obtaining personhood for two and a half hours you might just find some unexpected grace in the midst of it. It may even just be worth it for Emma Stone’s legendary performance alone, nevermind the gorgeous and surreal production design from Shona Heath and James Price.

5. The Boy and the Heron (dir. Hayao Miyazaki)

Photo taken from Variety

The Boy and the Heron is Miyazaki’s most complex film to date, finally finding a way to match his fantastical outer sprawl to his protagonist’s inner world. In a year when Across the Spider-Verse seemed to revolutionize the possibilities of the art of animation, Heron one-ups the action flick by doubling down on the storytelling capabilities that truly capture the hearts of film fans. The titular “Boy” – Mahito – often stands rather unfazed as the world around him literally tears apart at the seams, but there’s a sense that his journey (as well as that of his family) are refracted parts of Miyazaki’s own psyche, propelled by his own imagination as he brutally wrestles with what to make in the face of unexpected grief and the terror of mortality.

4. Oppenheimer (dir. Christopher Nolan)

Photo taken from World of Reel

The second half of the Barbenheimer cinematic phenomenon that invigorated the hope of filmgoers and theatre owners alike is still making waves as it continues to sweep awards season. Although it doesn’t top my list, it’s hard to deny the power of Nolan’s in-your-face filmmaking, especially when confronting the weight of what we’ll justify in order to maintain our perceived sense of freedom. Is science alone responsible for some of our greatest feats and most devastating creations? It’s hard to say, although I suspect Nolan believes it’s not the theory alone but those involved in its discovery who bear the weight of our own self-destruction. And yet, the hypocrisy of our larger systems seems equally as nefarious in the much-overlooked third act of the film.

3. Asteroid City (dir. Wes Anderson)

Photo taken from Deadline

For me, Asteroid City demonstrates the real difficulty TikTokers found in trying to emulate Wes’ style. Sure, his aesthetic sensibilities are unmistakable but it’s often his writing that makes the whole thing work. His wonderfully fantastic and, here specifically, meta-storytelling work to probe deeper, darker truths that his pastel wonderlands would never originally suggest. In much the same way as the next film, Anderson seems to be trying to figure out what the purpose of his art really is in the grand scheme of human existence, providing one of the most life-affirming finales of the year. Sometimes, when we don’t understand how the pieces fit together, all we have to do is just keep telling the story.

2. The Holdovers (dir. Alexander Payne)

Photo taken from Vanity Fair

A warm sweater of a film. Payne and his undeniably loveable cast embody the cinematic equivalent of a bear hug. For its nostalgic aesthetic (that appears in both the sound and picture), there’s a beautiful, modern heartbeat within the gorgeously crafted screenplay. Payne has such sympathy for his characters and seems to argue we ought to have the same for one another as well. It’s not just an old-fashioned, John Hughes notion after all!

1. The Zone of Interest (dir. Jonathan Glazer)

Photo taken from WBUR

A legendary feat in the modern filmmaking canon. Jonathan Glazer has created an unshakeable rebuke to our culture of comfort and our notions of “the good life”. By situating us alongside the Commandant of Auschwitz and his family as they seek an idyllic life while bordering the camp wall, he asks us to consider “how could something so twisted be entwined with the mundane?” Screams and gunshots echo throughout the film while the family sit down for meals, going about their days as if nothing is happening. Pretty soon they lose all effect, even for the audience. It’s why in the film’s opening moments (and a few others for good measure), Glazer takes the visual away, leaving us to focus only on the sound and consider what other horrors we may be drowning out in our own lives. A challenging and vital film that unfortunately seems as if it may also be timeless.

Thanks for reading!

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Review

Top 10 Movies of 2022

Save the best for last, right? In this case, I saved the hardest. I saw A LOT of movies in 2022 and, thus, my top ten compilation was nearly impossible to make. While it’s sure to change in the future, these are my top 10 favourite movies of 2022. Hope you enjoy!

Runner-Up: TÁR (dir. Todd Field)

Photo taken from The Guardian

Full disclosure: I originally had this at number 10 before seeing Argentina, 1985 but I already had a review written for it and it is most definitely worthy of a mention so I decided to include this little section!

TÁR is a tough film to review. Todd Field’s work here is over a decade in the making and has the intricacies to prove it. Each one of TÁR’s darkened alleyways and rooms evade an entirely complete interpretation. But, then again, how else could it lay claim to commentary on cancel culture, abuse of power, the corruption of fame, and the reverence (or lack thereof) we owe to the past. At the centre of it all, though, is Cate Blanchett giving a performance so incredible that she looms as large in the entertainment industry as her titular figure.

10. The Banshees of Inisherin (dir. Martin McDonagh)

Photo taken from Vanity Fair

Somehow, McDonagh strikes a perfect balance between existentialism and comedy in his latest (and greatest) film. The Banshees of Inisherin is a thoroughly entertaining watch on its own and, yet, also packs enough subtext and wildly original ideas to benefit several rounds of rewatches. With performances sure to dominate awards ceremonies for the rest of the season and an astounding screenplay, Banshees is a crowd-pleasing, can’t miss cinematic experience that rightfully earns all of its praise.

9. Babylon (dir. Damien Chazelle)

Photo taken from IMDb

Damien Chazelle’s latest lives up to its name on all fronts. Every scene is vivacious and utterly bonkers, somehow magically capturing the depravity and remarkable nature of stardom and its products. Chazelle’s direction is flashy and his long-time collaborator Justin Hurwitz’s score is perfectly punchy and bold. After a brief detour into space with First Man, Babylon marks Chazelle’s return to form in the best way possible. La La Land is still his crowning achievement, don’t get me wrong, but Babylon exposes the seedy underbelly that exists alongside, and is often fuelled by, the land of dreams.

8. Triangle of Sadness (dir. Ruben Östlund)

Photo taken from Dazed

An “explosive” film to say the very least; Triangle of Sadness uses its three-act structure to its maximum potential. Each segment gorges itself in prodding the super-rich and all the imitators and wishful thinkers who thirst for the power that comes with wealth. By the time this turns into a standard survivor’s tale, the metaphor is well-established and it doesn’t let anyone off the hook. Östlund’s direction is extremely precise (a theme for this year, apparently) and his script is also equally as strong. His achievement here is only exacerbated by the fact that two similar films were released this very year and neither struck as fine a balance while still being as wickedly entertaining as Triangle of Sadness.

7. Argentina, 1985 (dir. Santiago Mitre)

Photo taken from Loud and Clear Reviews

I’ll start off by saying that I knew literally nothing about any of the cultural or historical touch points this focused on. With any movement from real life to screen, there are things lost in translation. But, for me, this was no concern. I found the way the story was told compelling on its own; the actual visual storytelling was actually given the space to do much of the heavy lifting without the script. The dazzling cinematography and lighting accentuate the mix of darkness and beauty of the story on display. The camera often glides behind figures as they move and frames them in dynamic ways. It’s superbly directed and composed on every level, making it a stunning feat destined for a Best International Film nomination at the Oscars. To be perfectly honest, I just saw this yesterday and was so moved by it that I had to make room on this list for it (sorry TÁR). In an all-time great year for film, this is a must-see.

6. The Batman (dir. Matt Reeves)

Photo taken from Batman News

In a year where Marvel released three films, two “Special Presentations” (whatever that means), and three Disney+ shows, not one of them managed to come anywhere near The Batman. Maybe there’s just something about the character, as Nolan’s The Dark Knight was previously my other favourite live action superhero film. Reeve’s Batman is gritty and drenched in gorgeous cinematography. Each of its performances are also strong, which helps to emphasize the believability of the mystery at its center. It’s at once a detective tale in the vein of Se7en while still adhering to its heroic (or perhaps, anti-heroic) roots. For once, it’s nice to be treated as an adult when viewing this kind of film, where things don’t magically resolve within a standard runtime and characters have actual motivations, flaws, and relationships. With James Gunn at DC’s helm, we can only hope more of this kind of film are greenlit. 

5. Women Talking (dir. Sarah Polley)

Photo taken from Los Angeles Times

I’ve written about this extensively on my Letterboxd (please don’t recoil in disgust) as I’ve been privileged enough to see Sarah Polley discuss this twice. Her choice to create a model for a collaborative and person-focused directorial experience is incredible and a demonstration that she isn’t avoiding engagement with the themes of the film herself. The ensemble cast is the best of the year and, hopefully, will rake in a few awards as such. Still, it’s Polley’s script ultimately that emerges as the highest achievement. There is such a fine art to adapting and, although I am unfamiliar with the source material, the choices she discussed in her Q&As only grew my appreciation for her masterwork. There’s an empathy to this film that has completely blown me away both times. While the women are rightfully forefronted to tell their story and discuss, there is a specified place for the men as well, the effects on their lives and mentalities also highlighted. Listening is an important role and humility, though it may appear weak to some, is essential. Polley’s aversion to shying away from the real faith of these women and their culture is also another trump in an already stacked hand. Needless to say, it was worth the wait.

4. Nope (dir. Jordan Peele)

Photo taken from IMDb

My most watched movie of the year should come as no surprise. Jordan Peele is back in the rare form that birthed Get Out, demonstrating such strong directorial control that he has cemented his place among the greats of our age. The buzzword of the film is, unsurprisingly, its central idea – that of the spectacle and, more importantly, our obsession with it. It’s a brave topic on its own, but where Peele succeeds is in turning the lens back on himself as he creates a spectacle of his own. Both Keke Palmer and Daniel Kaluuya nail their roles as ranchers trying to get “The Shot” of the object they hunt Jaws-style. But the most unforgettable scene in the film takes place without them, as Peele guides his camera through a disheveled film set to reveal the dastardly consequences that can come when profit and fame is prioritized over personhood.

3. Decision to Leave (dir. Park Chan-wook)

Photo taken from South China Morning Post

Park Chan-wook has contributed to this century’s film canon in a way that many would have already deemed legendary. But it’s with Decision to Leave that I personally believe he’s unveiled his greatest triumph. The two leading performances from Tang Wei and Hae il Park are completely absorbing. The story, in his usual manner, twists between a forbidden romance and a windy police procedural. The homages to Hitchcock’s Vertigo are also well-deserved, which come as quite a shock given how legendary that film is. And yet, Park Chan-wook shows that he is a one-of-a-kind filmmaker, adding a swelling emotional resonance to an already deeply intriguing and visually stunning thriller.

2. Everything Everywhere All At Once (dir. The Daniels)

Photo taken from Everything Everywhere All At Once

It was hard to pick my favourite from this year as I’ve alluded to – and this particular film being here may come as a bit of a shock given that my first experience with Everything Everywhere All At Once frustrated me. Don’t get me wrong, I was still blown away, but the nihilism of the second act left my head spinning in a way that I found hard to reconcile in order to whiplash back to the sentimentality of the end. But man, if it didn’t entirely win me over the second time (and the third). Michelle Yeoh and Ke Huy Quan deserve every award that gets thrown their way for giving their characters so much heart and depth. It’s the only way that the final emotional needle gets threaded. There is certainly no other film on this list that is more original or outrageous than this one and the fact that it was made by such a bare-bones crew is a testament to the strength of the Daniels in the director’s chair (or chairs?). In a year where films like Women Talking exhibited an unparalleled empathy and Nope an introspection often lacking in Hollywood, Everything Everywhere All At Once combined both to make a grand statement that, even in the chaos of the multiverse with giant floating everything bagels and questionably-shaped company awards, there is a need for love because every life has value. And that’s something I can get behind.

1. Aftersun (dir. Charlotte Wells)

Photo taken from The Globe and Mail

An absolutely incredible breakout film from Charlotte Wells. Her slow and subtle trip down memory lane has yet to leave my brain after seeing it a few months ago. Paul Mescal is electric in this, enough to even potentially upset Austin Butler for my pick as Best Actor. Wells’ heartfelt story is one with the film itself, shifting between adapted events, crackly handheld footage, and strobing mental dance floors. There’s a beating heart on the sleeve of this one which makes me excited to see what’s to come in the future from Wells.

Thanks for reading!

Categories
Review

Top 10 Albums of 2023

After obsessively listening to any notable 2023 release, it’s always difficult to put together a list of my favourites. It feels so wrong that Sufjan and Lana don’t appear here, although they are my honourable mentions. Still, it should be a testament to the quality of music in this list that albums I love still didn’t make the cut. Hope you enjoy and throw on some of your blind spots while reading 🙂

10. Crying, Laughing, Waving, Smiling – Slaughter Beach, Dog

Photo taken from Genius

I had never listened to Slaughter Beach, Dog(?) before this record but I can’t deny how gorgeous this record is front to back. It sounds as if pure sunlight was distilled into music, every melody humming with a magnetic warmth. But their songwriting never becomes sweltering, simply catching a groove and playfully entertaining it until the sun goes down.

9. Gold – Cleo Sol

Photo taken from Genius

Cleo Sol is back again with another gorgeous gospel-infused R&B record that I just can’t get enough of. 2021’s Mother was the last time Sol made an appearance before dropping two records this year, Self and, you guessed it, Gold. There’s something so simple and peaceful about the way she writes. She almost has a stream-of-consciousness quality where life affirmations will randomly give way to a choral break. It’s swept me off my feet several times.

8. Quest for Fire – Skrillex

Photo taken from Genius

Skrillex used to rule my world when he released his Bangarang – EP in 2012. Although I look back now and cringe at what dominated my iPod playlists, Quest For Fire is a genuine dance odyssey that I can get behind. It’s as if he’s spent the last decade watching dance music become prominent once more with DJs like Fred again… ushering in a sleek, new, personal take on the subgenre, learning all he can. As a result, Quest lives up to its title, finding feverish new rhythms in collaboration and observation.

7. SCARING THE H*** – JPEGMAFIA & Danny Brown

Photo taken from Genius

Judging by its title, you can most likely guess that JPEGMAFIA and Danny Brown’s collab album is the anarchic, in-your-face record of the year. Embracing his punk sensibilities in the mix, Peggy alongside Danny trade outrageous bars in a project that seeks to give the people who don’t know which songs to gatekeep from the aux a new arsenal of dangerous material. Similar to its blaxploitation aesthetic, its glaringly harsh and sacrilegious. But at its heart, if you can call it that, there’s a refreshing disregard that gives way to something astounding new that dwarfs much of modern hip-hop in the meantime. Perhaps a Marshall Mathers LP comparison is in order…

6. Kings Kaleidoscope – Kings Kaleidoscope

Photo taken from Genius

Kings’ sixth album is rightfully self-titled as it seems to be a, albeit short, reflection of their values as a band. Their statement of faith lies beyond their struggles with anxiety (“Alright Kid”), their past (“Story”), even their “reasons why” or why not (“Infinity”). It’s a beautiful portrait of a group of people gracefully working this whole faith this out with fear and trembling, granting us a window into the process to ease our own stress. And, maybe, we too can find rest.

5. 3D Country – Geese

Photo taken from Genius

A distinctly American rock odyssey about a hallucinating cowboy lost in the desert. 3D Country doesn’t seem to tell the most linear or compelling story but the way Geese delivers their AM radio rock journey is always fascinating and constantly surprising, as the best journeys should be. Plus, they have an absolutely killer cover of Justin Bieber’s “Baby” (that sadly doesn’t appear here) but that alone demands some serious commendation.

4. GUTS – Olivia Rodrigo

Photo taken from Genius

GUTS in many ways is SOUR‘s older and more mature sister. Rodrigo never forsakes the melodrama and silliness of the original but has the know-how to crank it up further in all the right places while throwing a few world-shattering ballads in the mix. To her, the personal is worthy of taking centre stage, mining her struggles even more for their universality and finding new ways to both love and loathe her human tendencies. If there was any mystery as to why SOUR resonates with so many outside of Rodrigo’s teen demographic, it’s because what we deal with in high school was never just a high school thing but more foundational. It’s a well-kept secret that Rodrigo knows how to spoon out with ease while still flawlessly incorporating its fun, punky Y2K aesthetic.

3. The Land Is Inhospitable and So Are We – Mitski

Photo taken from Genius

There’s something about Mistki’s previous records that never really clicked with me outside of a few songs. On The Land Is Inhospitable…, I finally caught up to speed. This gorgeously written and heartbreaking record flies by but casts a large shadow. Nearly every line could compete against most songwriters’ best lyrics and her examination of the inner loneliness of loss maps so well onto our world at large its hard to call it a concept album. It’s a statement of both the cruelty of our days and the resilience it takes to keep going in the midst of it.

2. the record – boygenius

Photo taken from Genius

the record turned out to be exactly what you’d expect from a supergroup containing some of the best indie singer-songwriters of the decade. Not every artist is a great collaborator but, in typical boygenius fashion, they excel with ease. Dedicated conceptually to the fear and excitement of truly knowing the depths of one another, the record boasts the strengths of each of its contributors in equal measure and unleashes the sum of its incredible parts masterfully in its best moments. A can’t miss record of the year for sure.

1. Desire, I Want To Turn Into You – Caroline Polachek

Photo taken from Genius

Caroline Polachek came through with an otherworldy pop epic in Desire, I Want To Turn Into You and the recently released deluxe has only reinforced what an astounding experience this album is. Her offbeat tendancies and love for industrial textures somehow mesh perfectly with her stadium-ready pop songwriting. Polachek shifts gears from experimental cuts like “Crude Drawing of An Angel” and “Hopedrunk Everasking” into utter bangers like “I Believe” and the delirious opener like a skilled master. It’s a record that is as transformative as its album title suggests. There’s never a moment where it doesn’t feel controlled and curated in the most impeccable way.

Thanks for reading!

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Review

Top 10 Albums of 2022

Naturally, I have a few albums from 2022 that I could talk about at nauseam, despite trying to keep things concise here. These are my favourite ten which was extremely hard to narrow down with so many good records released this year. Hope you enjoy!

DISCLAIMER: Since this is a blog on my professional portfolio, I have utilized a few modified covers to ensure the content on this page is appropriate for all and doesn’t violate any content regulations. Please be aware that some of these artists’ visual expressions may be more graphic than what is shown here.

10. AMERICAN GURL – Kilo Kish

Photo taken from Genius

I grew up on pop music and, naturally, still enjoy it a great deal. While still a somewhat below-the-radar pick, AMERICAN GURL sounds radio ready while presenting musings about the dystopian nature of our increasingly tech-oriented society. This 8-bit arcade-themed concept album packs a huge punch and showcases Kish’s undeniable pop sensibilities which signals a promising future for her. I can’t wait to see what she does next!

9. Motomami – Rosalia

Modified photo taken from Music Mundial

The in-your-face experimentalism of Motomami made it Metacritic’s highest rated album of the year, and for good measure. The record projects a futurism that is rarely heard in the music, never mind by an artist as big as Rosalia. When listening to Motomami, you feel privy to an audience with the music of tomorrow, each seismic shift in tone and direction opening a sonic world of vast possibilities. This was such a huge snub for Album of the Year at the Grammys.

8. Baptized Imagination – Kings Kaleidoscope

Photo taken from Genius

This is definitely more of a personal pick. Kings Kaleidoscope’s music has soundtracked a lot of my adolescence and it always feels like they know how to articulate where I’m at better than I can. When Baptized Imagination was first released, I was thankful to feel out of step with a record that was full of so much pain and doubt. Perhaps it was inevitable then that the words began to feel prophetic for me in the months to come and have now occupied such a constant place in my mind throughout the Fall. Its organization is simple and beautiful, the euphoric bridge of Joy being the hinge moment of the entire album which, up until that moment has been solely occupied by negative emotion. It’s what makes Kings such an important band right now, especially in CCM. 

7. Dawn FM – The Weeknd

Photo taken from Genius

I’m not exactly sure when The Weeknd decided he would focus his efforts into high-premise concept albums but I’m completely here for it. And there is no sacrifice (haha get it??) on the music side itself either. Abel’s dance odyssey is brimming with groovy production and earworm hooks. The transitions alone are a work of art as well, making for an immersive sonic experience. There is perhaps no artist at Abel’s level that is competing with him. Hopefully the third entry in this afterlife-centric trilogy continues in the same vein of After Hours and Dawn FM.

6. CRASH – Charli XCX

Photo taken from Genius

CRASH is completely misunderstood. The album promo marked with violent, horror imagery, the title referring to the novel Cronenberg adapted into his well-known film, Charli’s desire to escape from her label and still be a “main pop girl”, each of these things lay the groundwork for her own analysis of celebrity and consumption. Perhaps the best example of this is the song “Baby” which starts out as a basic retropop song about desire before Charli gives way to psychopathic notes in her phrasing. Or the album’s closer “Twice” where Charli reckons she’s going “off the deep end” but still advises the listener to not “think twice about it”. She’s relishing in her own self-destruction and commercialization, not unlike the characters in the work she draws on. Through it all, Charli still refuses to compromise her sound in the favour of concept, delivering her biggest and slickest set of bangers yet.

5. Blue Rev – Alvvays

Photo taken from Genius

Five years after the release of their stellar 2017 album Antisocialites, Alvvays returned with a record that is truly “all killer, no filler”. They’ve harnessed the glitzy, sun-bleached sound in a way that can only be defined as nostalgic. “Velveteen”, “Easy On Your Own?”, “After the Earthquake”, and, of course, “Belinda Says” will be stuck in your head for weeks after listening (from personal experience) Not until the very end do the blistering guitars and stadium-size melodies cease, and even then its only to bid farewell until what I’m sure will be another fantastic entry in their catalogue.

4. SOS – SZA

Photo taken from Genius

A very late entry in the year and, therefore, hard to tell if this is just recency bias or if the album really is this good (I tend to lean towards the latter). After stunning us all on her breakout album CTRL, SZA returns with a vengeance on the fierce opener and the equally as ferocious and surprisingly violent “Kill Bill”. She’s letting it be known that no one is doing it like her and no one will go to the lengths she’ll go to for anything. And yet, as the record proceeds, there’s a sense that SOS truly is a cry for help as Solana strips back all the false pretences (“Nobody Gets Me”) and unpacks just how detrimental having one’s heartbroken is (“Special”). She resolves grimly to forgive and not forget (“Forgiveless”) but it’s not all downtrodden as she still finds ways to have fun amidst her own personal struggle (“F2F”). It’s album that one-ups her former work in every way imaginable and proves, even at her lowest, there is no one turning tragedy into triumph quite like SZA these days.

3. Dragon New Warm Mountain I Believe In You – Big Thief

Photo taken from Genius

There are very few artists that can release an album of this size and have it be continually engaging throughout. In 2022, Big Thief proved themselves right at home in that slim bunch. Not only that, but it’s their best record thus far. Each song feels entirely lived in, as if they were written and rewritten until they fit just right. After seeing them live, I’m convinced that Adrienne Lenker is one of the few true “rock stars” of this era. No one commands a stage like her and her talent is undeniable. The beauty that each of these songs possesses is enough to soundtrack a lifetime. And this is Big Thief’s fifth album in six years (an even bigger achievement given how long some artists take to release albums of this caliber). Continually, they’ve made the impossible seem not just possible but simple, releasing astonishing records without pausing to take a breath.

2. Being Funny in a Foreign Language – The 1975

Photo taken from Genius

The purest distillation of the 1975 sound. The choice to bring Jack Antonoff on board to focus the group’s usual mania was nothing short of genius. “Looking for Somebody (To Love)”, “Part of the Band”, “About You”, “Wintering”, and the gorgeous opener are immediately some of the best in their catalogue. Hopefully the band continue to work with a paired down approach moving forward. To think, I was and still am such a huge fan of A Brief Inquiry Into Online Relationships and, yet, it’s hard to deny that this is their best record. The sequencing of these tracks, while safely about personal heartbreak, grow much broader too on the beautiful “Human Too”. There’s a sense that the band themselves are looking for genuine connection, something that was a major theme on Online Relationships and of their promo circuit this year. And this being their most honest and optimistic record seems to indicate that they don’t believe it’s too late to reach out.

1. Ants From Up There – Black Country, New Road

Photo taken from Genius

It seems that once a decade there’s one album that affects me so deeply that I find it hard to articulate the exact reason(s) why. So far, that’s been my experience with Ants From Up There. It’s such a deeply affecting listen from front to back. It feels like an intimate drama told in the most epic way imaginable (the last three songs occupying thirty minutes alone). And, despite its length, it never seems to drag. From my first listen, I knew I was hearing a masterwork and I wouldn’t be surprised if this tops my decade end list (if I’m even still doing these and, in which case, I’m deeply sorry for that). The dissolution of this version of Black Country, New Road is definitely a huge loss but after delivering an album this raw, open, honest, and delectable, they don’t owe listeners anything.

Thanks for reading!

Categories
Review

Top 10 Singles of 2023

Maybe it’s clear by this point but I have no actual criteria for what counts as a “single”. It’s just the ten songs I’ve enjoyed most this year and I think are worthy of further reflection. I’ve limited this list to one per artist because… well… boygenius truly dominated my listening history this year. Hope you enjoy!

10. “adore u” – Fred again.. & Obongjayar

Photo taken from Spotify

An addicting dance pop banger. I am absolutely floored by Fred’s ability to mix electronic euphoria with interpersonal longings and “adore u”‘s soulful hook and gritty vocal loops demonstrate his best effort yet.

9. “bad idea right?”- Olivia Rodrigo

Photo taken from Genius

“bad idea right?” is perhaps the most unabashedly fun pop anthem of the year. Rodrigo plays up the camp in its melodramatic premise while still wholly committing to her performance in the vein of the best popstars.

8. “SCARING THE H***” – JPEGMAFIA & Danny Brown

Photo taken from Genius

Of course, this track is absolutely jarring, boasting a near-deafening sax beat that never relents. But it’s the centrepiece (and title track) of the record for a reason. Peggy and Danny are tired of creating art for the sake of sales alone and, in their opposition, are creating some of their most innovative music as a result.

7. “My Love Mine All Mine” – Mitski

Photo taken from Genius

I guess this is the part where I say I found it before TikTok (booooo tomato tomato tomato). But seriously this deserves all the hype it’s received; it’s a gorgeous, dreamy cut that just oozes self-love in way that somehow manages to avoid feeling superficial.

6. “Got Me Started” – Troye Sivan

Photo taken from Genius

Troye Sivan’s latest record had some of the best pure pop music I’ve heard in quite some time and “Got Me Started” stayed on loop long after it dropped as a single. It’s flooring in an irresistible way that so many artists try to attain but never quite nail the execution.

5. “When Emma Falls In Love” – Taylor Swift

Photo taken from Genius

It would be an understatement to say Taylor had a big year. And although there are still some important ethical concerns surrounding the singer’s preferred method of transportation, “When Emma Falls In Love” and the entire Speak Now re-record reminded us all of what made her a star in the first place. At her core, she is a pop scientist, knowing exactly how to dispel a catchy rhythm and make the tried and true songwriting formula feel as if there’s still merit in turning the radio dial up another notch.

4. “Chosen to Deserve” – Wednesday

Photo taken from Genius

In a year that boasted fantastic mainstream country releases (which still feels like a shock to say), it was alt-rock group Wednesday who delivered the twangy banger of the year. “Chosen to Deserve” captures their record’s sense of evangelical suburban devastation. There’s a carelessness to the delivery that feels perfectly youthful but almost undercuts the severity of the statement. How could one be so cavalier about predestined love? It’s a brilliant contrast, illustrating the strange disparity that I can only assume Southern small towns hold for those who’ve grown up surrounded by a prosperity gospel and nothing to show for it.

3. “Born For Loving You” – Big Thief

Photo taken from Genius

Perhaps Big Thief’s most tender track and once more an ode to a predestined love. Many have claimed their reason for existence to be love but Adrienne stretches the sentiment to its very limits, connecting the very origins of life on earth to her desire. It’s purposefully loose and warm, mimicking the feeling its attempting to capture in its swoony, but never schmatlzy, little tune.

2. “Radiant Reason” – Kings Kaleidoscope

Photo taken from Genius

One of the highlights of Kings’ catalogue for sure. “Radiant Reason”‘s anthemic chorus evolves each time it arrives and, in doing so, hammers home the simplicity and evolution of one’s faith journey. And yet, it never forsakes the genre-hopping, mathematical precision that makes Kings the chameleonic force they are.

1. “Not Strong Enough” – boygenius

Photo taken from Genius

Much of the record floored me. “True Blue” or “Emily, I’m Sorry” could’ve easily taken this spot but boygenius’ “breakout” single seemed to encapsulate what made their debut album so special. They’re unapologetically paradoxical: both strong and weak, genius and self-loathing, boy and man, angel and never a god. One moment they feel caught in the false sense of confidence, the other they’re drag racing through the canyon. This shifting sense of self often feels scary and unpredictable but songs like this make it easier to admit sometimes we’re truly not strong enough, and others we’re just made to feel like it.

Thanks for reading!

Categories
Review

Top 10 Singles of 2022

It’s that time of the year again! This is honestly just a lot of fun for me so please take all this with a grain of salt. I would love to hear what some of your favourites were from the past year, however. Please feel free to leave a comment here or on one of my other social posts. 2022 had a lot of great music (and movies… but we’ll get to that later). Let’s explore some of my favourite songs from 2022!

10. “Diet Coke” – Pusha T

Photo taken from Genius

Harkening back to the “chipmunk soul” phenomenon largely popularized by one of his frequent collaborators, Pusha T’s “Diet Coke” is one of his most enticing songs yet. While his lyrical explorations remain the same, the passion and energy he brings to his music have only grown with each record. It’s Almost Dry featured some of his best production yet and “Diet Coke” was its crown jewel. Without a doubt, it was the most infectious hip-hop cut of the year.

9. “Worldwide Steppers”- Kendrick Lamar

Photo taken from Genius

Gestating with a manic energy, “Worldwide Steppers” is the closest I felt Kendrick got to the harmony of production, concept, and delivery that he displayed on DAMN and To Pimp A Butterfly. His invocation of Eckhart Tolle’s pain bodies marks a distinct shift away from his usual Christian framing, but its how Kendrick emphasizes how trauma can deform people into “killers”. And, he’s not one to shy away from his own pain, both given and received. It’s what makes him still one of the most exciting artists in hip-hop.

8. “Welcome To My Island” – Caroline Polachek

Photo taken from Genius

I had already set my top ten when Caroline Polachek decided to release this masterpiece. I guess I can’t complain too much; it’s one of the best pop songs of the whole year. When she writes a good hook, it hits, emphasized by the sparse production behind the chanted verses which gives way to an explosion of sonic colour when the chorus comes around. Very much looking forward to Desire, I Want To Turn Into You’s release next year.

7. “Runner” – Alex G

Photo taken from Genius

The breezy folk of Alex G’s latest album is at its peak when it coalesces with his undeniable ear for a good melody. On “Runner”, he demonstrates that he also has the lyrical muscles to support up his mystical compositions. What he creates here is a perfect balance to the point where each moment feels both effortless and entirely calculated.

6. “BREAK MY SOUL” – Beyoncé

Photo taken from Genius

The closest Beyoncé came to dance as liberation on Renaissance. The Big Freedia sample is the best of the year and the house-inspired production with the gospel backing are all-consuming (and tailor-made to my tastes). The writing here is probably the best on the album (which… isn’t saying a whole lot but still). If the rest of the album competed at this level, it may have topped Lemonade for me.

5. “Belinda Says” – Alvvays

Photo taken from Genius

Pitchfork’s song of the year could’ve just as easily been mine. Each of these top five are basically interchangeable (and I’ll probably flip them in my head long after this is posted). “Belinda Says” is Alvvays at their best: a massive chorus, explosive guitar licks, and a nostalgic haze. Undoubtedly this year’s best “driving on the highway at night” song.

4. “Out of Time” – The Weeknd

Photo taken from Genius

Without a doubt, “Out of Time” is the catchiest song of the year. We’re lucky to have The Weeknd to put a new spin on a highly accessible sound while infusing it with thematic depth. With a soundscape ripped straight from Off The Wall, The Weeknd’s most Michael Jackson-y record since “In the Night” is a straight banger.

3. “Joy” – Kings Kaleidoscope

Photo taken from Genius

“You’re the joy of the joy that I’m living in.”

If I had to pick a song that defined the year for me, it would likely be the song before this on its respective album – “You and I Again”. The song, a confessional of being “caught in a circle, no surprise” with the realization that “maybe the mess of me only grips at your heart”, is a beautiful, heartfelt moment rooted in struggle. But it’s “Joy” where all of the pent up emotions on the album can truly be unleashed. It’s the definition of cathartic for me, the buildup to a glorious explosion that never feels to make me dance wildly around the room.

2. “About You” – The 1975

Photo taken from Genius

“Do you think I have forgotten about you?”

Given a shoe-gazey quality by Warren Ellis, “About You” sounds like something straight out of a dream. The elegant simplicity of the chorus is jarring, especially given The 1975’s reputation for grandiose hooks. The angelic background vocals from Carly Holt only cement the feeling of wistfulness that’s never truly clarified. Sure, in the context of the album, it’s most likely about a past romantic interest, but buried under the haze of guitars the refrain becomes a general statement about the potency of feelings and memory and that those who matter to you never truly disappear.

1. “Concorde” – Black Country, New Road

Photo taken from Genius

“I was made to love you – can’t you tell?”

The most moved I’ve been by a piece of music in quite some time. The instrumental arrangement here actually eclipses the sung verses for me in sheer beauty. Realistically, any of the songs from this record could’ve been in this spot, but I often find myself coming back to “Concorde” and feeling that same swell of emotion during the breakdown after the second chorus. It’s heartbreaking in virtually every way and is unparalleled in how it perfectly packages its wistful feelings. This may be my song of the decade, so far.

Thanks for reading!

Categories
Music Analysis

Album Cover As Art vs. Provocateur

Sometimes it’s weird to remember that in the history of music and the world, albums and singles are a relatively new phenomenon. In the past century there have been so many iconic albums and accompanying covers which is quite the achievement for such a short amount of time. 

The Dark Side of the Moon by Pink Floyd album cover / Source: Genius

But the notion of what makes an “album” is always in flux. At first, singles dominated the music market, based on the limitations of the records that were available at the time (Katz 35-36). As more variations of recording materials were introduced, namely the 33 RPM record, companies began recording longer songs or selling compilations of singles as a way to repurpose existing material (Boyd; Max). From there, artists began releasing “albums” but they were merely collections of songs arbitrarily thrown together and were often dismissed as a simple commercial product (Osborne 105-111). 

As early as the 1940s, some artists began experimenting with new ways to package music (Osborne 98). These early records, which were organized around a specific idea or narrative, were the origins of the concept album (Osborne 98). This, of course, became the dominant album format in the 1960s after the releases of The Beach Boys’ Pet Sounds and The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band

Pet Sounds by The Beach Boys album cover / Source: Genius

The next few decades were occupied largely by albums of this kind (e.g. What’s Going OnThe Rise and Fall of Ziggy Stardust and the Spiders From MarsTommyThe Dark Side of the Moon, etc.). Some of these albums also were released alongside accompanying films (e.g. Purple Rain). Eventually, music videos accelerated the use of peripheral media alongside album releases. 

Purple Rain by Prince and the Revolution album cover / Source: Genius

At the turn of the century, albums were released as “visual albums”, alongside customizable music videos, or, in the case of Childish Gambino’s Because the Internet, as entire transmedia storyworlds (Cuchna and Ostrander; Gaston). The advent of the internet allowed users to better tailor their listening experiences through playlists which additionally led to a revival of the singles market (Leight; Savage). Now, corporate-designed playlists dominate the streaming landscape which has led to shorter songs and longer “albums” which, in the case of popular music, are increasingly returning to collections of bundled singles (Aguiar and Waldfogel; Beaumont-Thomas; Leight; Savage). 

DS4EVER by Gunna album cover / Source: Genius

In a similar way, the album cover itself seems to be in a state of flux alongside the album, and not just due to the changing perceptions of what qualifies as “good” design. During the 1960s, the Beatles, primarily, expanded the possibilities of what an album cover could be by creating expansive and influential images or minimalist collector’s pieces.

Sgt. Pepper’s Lonely Hearts Club Band by The Beatles album cover / Source: Genius

The covers in the era that followed became iconic and sought to represent the sonic palette of the music inside. To a certain extent, this has been true ever since. Covers can be ambitious art pieces, intimate photographs, or actual sandpaper in the case of the band The Durutti Column. Or, once again, if you’re from the future like Donald Glover, they can be a literal .GIF.

Remain in Light by Talking Heads album cover / Source: Genius

Now recently, there’s been a trend towards a different kind of album artwork: one that provokes conversation. Of course, there is precedent for this, such as the questionable, NSFW covers for Houses of the Holy by Led Zeppelin or Is This It by The Strokes. Nowadays, the purpose of these covers seems to be primarily virality.

Certified Lover Boy by Drake album cover / Source: Genius

Take the above cover for Drake’s latest album Certified Lover Boy. It was immediately mocked upon its release and subsequently parodied. While it certainly isn’t an appealing cover by any means, it is a smart marketing move. The conversation surrounding the cover no doubt helped to bolster the amount of attention the album got (which would already have been astronomically because…. you know… it’s Drake). But Drake seems to have a knack for this. I remember when the Views cover was released, Drake also had a website where you could edit his image from the cover onto any other photo which spawned several spinoffs and memes. 

Views by Drake album cover & associated meme / Source: Elle

The cover of the Weeknd’s latest album seems to have a similar effect. When Abel released it, it was immediately panned on social media and word of “Old Abel” spread across the internet like wildfire. Several vinyl-exclusive covers have been released for the album which are all well-designed and much more appealing images than the one chosen for digital releases. It seems that the virality of an album cover is now beginning to supersede its aesthetic or symbolic significance. 

Dawn FM by The Weeknd album cover and alternate album cover / Source: Genius

Now, don’t get me wrong, the iconography on both of these covers is relevant to both artists and the albums themselves, but it’s clear that the goal was not purely design-based. It was conversation. Is that a bad thing? I’m not sure. It slightly ails me to think that album art will go the way of the album itself and become more about attention-harvesting instead of simply trying to create something beautiful. But also, there is more engagement built into these covers which I think is a positive in the current music age.

When I think about some of my favourite album covers, they’re also not necessarily the ones that are most “aesthetically pleasing” or “perfectly designed”. They’re the ones that are entirely captivating on their own while simultaneously capturing the spirit of whatever sounds are beneath the surface. I think as long as this principle still matters, there is room for interaction and virality inside of that framework. I actually think Views is a pretty good example of that. The cover is definitely representative of the album but also has that viral, memetic quality. I’d be lying if I said I didn’t use the generator to add Drake sitting on my shoulder (in my defense, I was 16 and those photos have been permanently destroyed). I’m hoping this trend pushes more artists to pursue meaningful artworks instead of a larger foray into laziness for the sake of igniting online conversation.

Works Cited:

Aguiar, Luis, and Joel Waldfogel. “Platforms, Promotion, and Product Discovery: Evidence from Spotify Playlists.” National Bureau of Economic Research, 18 Jun. 2018. ProQuesthttps://www.proquest.com/docview/2115108214?pq-origsite=summon&accountid=13631.

Beaumont-Thomas, Ben. “45 Songs by Chris Brown, Anyone? Why Albums are Getting Longer.” The Guardian, 31 Oct. 2017, https://www.theguardian.com/music/2017/oct/31/why-albums-are-getting-longer-chris-brown.

Boyd, Brian. “The Beatles, Bob Dylan and The Beach Boys: 12 Months That Changed Music.” The Irish Times, 4 Jun. 2016, https://www.irishtimes.com/culture/music/the-beatles-bob-dylan-and-the-beach-boys-12-months-that-changed-music-1.2671482.

Cuchna, Cole, and Camden Ostrander, hosts. “S7E1 – Childish Gambino: Because The Internet.” Dissect Podcast, season 7, episode 1, Spotify, 2020, https://open.spotify.com/episode/4eFo8fOZMjGbtVjJKCfg65?si=PkUdKIQJTfqcIZf6yZ-Kww.

Gaston, Peter. “Arcade Fire: Interactive Video For ‘The Suburbs’.” Spin, 30 Aug. 2010, https://www.spin.com/2010/08/arcade-fire-interactive-video-suburbs/.

Katz, Mark. Capturing Sound: How Technology has Changed Music. University of California Press, 2004. ACLS Humanities Ebookhttps://www-fulcrum-org.ezproxy.lib.ryerson.ca/epubs/ng451h98c?locale=en#/6/2[cover]!/4/4/1:0.

Leight, Elias. “Why Your Favorite Artist Is Releasing More Singles Than Ever.” Rolling Stone, 7 May 2018, https://www.rollingstone.com/music/music-features/why-your-favorite-artist-is-releasing-more-singles-than-ever-629130/.

Max, Jennifer. “EP vs LP vs SP: Let’s Talk Reality (2021 Edition).” SoundMaximum, 21 May 2021, https://www.soundmaximum.com/ep-vs-lp-vs-sp/.

Osborne, Richard. Vinyl: A History of the Analogue Record. Routledge, 2014. ProQuest Ebook Centralhttps://ebookcentral-proquest-com.ezproxy.lib.ryerson.ca/lib/ryerson/reader.action?docID=1068873.

Savage, Mark. “Playlists ‘more popular than albums’.” BBC, 23 Sept. 2016, https://www.bbc.com/news/entertainment-arts-37444038.

Completed as part of my Business of Music II course at Toronto Metropolitan University in the winter 2022 semester.

Categories
Music Analysis

Phoebe Bridgers and the Commodification of Depression

In 2020, Phoebe Bridgers released her second album Punisher to widespread critical acclaim. It was instantly my favourite record of the year and I was happy to see Phoebe reach a larger audience due to the record’s success. Across its eleven tracks are songs like “Kyoto”, an upbeat, breezy ballad about an unsatisfactory trip to Kyoto and her, understatedly, complicated relationship with her father. 

“Kyoto (Official Video)” by Phoebe Bridgers

There is also the somber title track where she muses about her relationship to celebrity and the strain of the obligation she feels to her fans. She also leans into existential longings on “Chinese Satellite” before narrating the end of the world on the stunning “I Know The End”. It’s a fantastic record that primarily explores the various difficulties and desires in her life. Her debut also dealt with similar themes and concepts, such as the breathtakingly beautiful “Motion Sickness” which is the song that made me a Phoebe fan.

“Motion Sickness (Official Video)” by Phoebe Bridgers

In a 2018 interview, Phoebe described what she refers to as “the commodification of depression”:

‘”Forever 21 probably has a shirt this year that says ‘SAD GIRL.’ It’s so romanticized and so kitschy,” Bridgers says. She can handle her music being called sad, but she doesn’t want it to seem like a gimmick. “I didn’t want it to come across as lazy songwriting, listening to me be like, ‘I’m soooo sad, blah blah blah.'”’

– Phoebe Bridgers / Source: (Murphy)

When I heard about this, I thought it was really interesting. Phoebe’s branding definitely leans into self-deprecating humour and nihilist tendencies but there is no doubt a difficult balance to strike when one sings so openly about mental health and trauma. For instance, a few months ago, Phoebe Bridgers fans (known colloquially as “Pharbz”) started the “phoebe bridgers is taylor swift for girls…” meme. This implied that, while both artists write heart-wrenching ballads and confessionals, Phoebe’s are often darker and make up more of her catalogue. An example of these tweets can be seen below. 

These two artists actually collaborated on a “From The Vault” track on Taylor Swift’s recent Red re-release and it is the perfect aural expression of this meme. Nonetheless, Phoebe’s Twitter is full of tweets and retweets of this nature. In December, she tweeted “my [Spotify] wrapped is just music for drowning to and silk chiffon” the latter referring to a collaboration she did in 2021 (traitor joe). Once again, this dark humour is inherently ingrained in her public image.

In the same interview referenced before, Phoebe explained how it can be difficult to be continually vulnerable with her fans. In connecting with music about difficult topics, fans find solace in the words and then look to Phoebe for answers or just help in general (Murphy). She said that she still has to figure out how best to console these fans while not coming off as dismissive (Murphy). Right now, she just tries to listen and be honest (Murphy). After all, she isn’t a trained mental health councillor or therapist and these situations can be extremely personal and sensitive. It’s, admittedly, a difficult line to walk.

Phoebe is also in a group with two other singers who may fall in this category: Lucy Dacus and Julien Baker. Under the name boygenius, they have only released an EP but they each often provide background vocals to one another’s records. Singer-songwriters Clario, Mitski, and Soccer Mommy have also gained a following in the last five years and are often grouped into this “sad girl indie” genre. While each of these artists do touch on heavy topics, Lucy Dacus was quick to point out on Twitter that not all of their music is sad and that it is dangerous to label them this way:

For proof, listen to one of her latest singles “Brando” below:

“Brando (Official Video) by Lucy Dacus

This raises a very interesting point that is thoroughly explored in the cited article by Natalie Geisel. The sudden popularity and interest in these singers, if solely branded as “sad girl indie”, can lead to a demand in the industry for this “commodification of depression” but specifically female trauma and pain (Geisel). Not only is this reductive, but it’s also extremely problematic. The work of male singer-songwriters like Elliot Smith or Jeff Buckley (major influences on the aforementioned artists), is often labelled as genius or talented (Geisel; Murphy). Meanwhile, the conversation around these “sad girl indie” artists can quickly devolve into quips about their continual sad content without acknowledging the talent of the individuals and the fact that they actually have fairly sonic and emotionally diverse catalogues (Geisel).

“rom com 2004 (Official Video)” – Soccer Mommy

Phoebe recently supported these sentiments by retweeting a tweet from “sad girl indie” artist Sloppy Jane which read:

If nothing else, this discussion should be a reminder that the music from these artists is incredibly nuanced and the product of unbelievable talent, not continual sadness. These are honest and raw confessionals and sure, some can be sad, but not exclusively. Now, as discussed before, Phoebe often pokes fun at these stereotypes, creating an online persona revolving around self-deprecation. This definitely plays into that dynamic but perhaps it’s a reframing of her categorization. She’s wearing it like a badge of honour while continuing to create a body of moving work.

And now… here is one of my favourite live performances of recent memory of a song that is already one of my favourites of the decade. And take notice of that big smile!

“I Know The End (SNL Performance)” by Phoebe Bridgers

Works Cited:

Geisel, Natalie. “Stop Expecting “Sad Indie Girls” to Be Sad All the Time.” Lithium Magazine, 2 Apr. 2021, https://lithiumagazine.com/2021/04/02/stop-expecting-sad-indie-girls-to-be-sad-all-the-time/.

Murphy, Sarah. “Phoebe Bridgers Is Not Your Trendy “Sad Girl”. Exclaim!, 21 Feb 2018, https://exclaim.ca/music/article/phoebe_bridgers_is_not_your_trendy_sad_girl.

Sloppy Jane [@sloppyjanemusic]. “ppl on here are obsessed w equating liking sad music w being deeply twisted and dark as if sadness is not 1 of 3 basic human emotions.” Twitter, 3 Dec. 2021, 11:51 a.m., https://twitter.com/sloppyjanemusic/status/1466812430525239302?s=20&t=VNINmQIGh_XJJ8d7YGAcQg.

traitor joe [@phoebe_bridgers]. “my wrapped is just music for drowning to and silk chiffon.” Twitter, 5 Dec. 2021, 7:13 a.m., https://twitter.com/phoebe_bridgers/status/1467467280602828804?s=20&t=1lB8K1lIOFr-c7UEGrs7CA.

Completed as part of my Business of Music II course at Toronto Metropolitan University in the winter 2022 semester.

Categories
Music Analysis

Abel’s Divine Comedy

Originally, I wanted to title this post “The Michael Jackson-ification of The Weeknd” but that would be clickbait. What I am really interested in exploring is the Weeknd’s latest foray into multi-album storytelling with After HoursDawn FM, and a recently announced third album to complete the trilogy (Jones).

Now, that’s not to say that the The Weeknd hasn’t continued to hone his Michael Jackson impersonation skills. In fact, I think the track “Out of Time” from Dawn FM is his closest attempt yet! It’s also the best song on the record.

“Out Of Time” by The Weeknd

But before we dive any further into the idea behind this album trilogy, we have to get a few things straight about The Weeknd.

#1: Trilogy is inherent to his brand:

The Weeknd (or Abel Tesfaye as he’s colloquially known)’s first studio output was actually a collection of songs from three mixtapes titled Trilogy. He then released three more studio albums before beginning a new trilogy with 2020’s After Hours. The old saying that “everything happens in threes” seems to prove especially true with Abel and his music.

#2: He loves nostalgia

While Abel has certainly always had a knack for Michael Jackson and 80s soundscapes in general (Just listen to “Can’t Feel My Face” or all of Starboy), they seem to be much more purposeful on this album trilogy. His obsession with nostalgia not only dominates the instrumental portions of the album but also the inspirations (such as the films Fear and Loathing in Las Vegas or After Hours that inspired the album of the same name). The influence of the retro, synth-filled score for the film Uncut Gems has also no doubt been an influence on his latest music, a film in which Abel himself appeared.

Now that that’s settled: why did he dress in a red suit for a year and wear bandages on his face? And what exactly is up with his latest obsession with the afterlife? Let’s start with the first question. The hope is, by the time you’re done this article, you see why these records are not only great but some of the most interesting projects in popular music this decade (so far).

The World of After Hours:

After Hours album cover (source: Genius)

The album begins with the fittingly titled “Alone Again” where Abel confesses that he feels at home in Vegas and he’s falling for “the night”. The night, in Abel’s music, is a concept which has been and will continue to be important. It basically symbolizes the hedonism of night life, a subject matter covered extensively throughout his discography. But here he seems self-aware that it is toxic as he sings “I don’t know if I can be alone again”. The next song details how Abel believes its “Too Late” to save the souls of him and his lover, whom he thanks on “Hardest to Love” and to whom bids adieu on “Scared to Live”. In the aftermath of this relationship, Abel reflects on his life and leaves California “into the night”. In fact, he confesses on “Escape From LA” that he feels trapped by the city, which seems to be a metaphor for his habitual lifestyle, revealed by the act of infidelity he commits in a recording studio at the end of the track. The title itself is also another film reference and the lyrics of the song contain others (Genius Contributors)!

Instead of escaping from this behaviour, Abel doubles down on “Heartless” indulging in pleasure to the point of apathy. The consequences of this are detailed on the next track “Faith” where Abel confesses that he lost his faith and that he’d “choose Vegas if they offer Heaven’s gate”. The song ends with the lyric “I ended up in the back of a flashing car” suggesting that his behaviour has either led to his arrest or a medical emergency (Furtado). This, of course, transitions into one of Abel’s biggest hits: “Blinding Lights”. 

“Blinding Lights (Official Music Video)” by The Weeknd (tw: blood/gore)

While it’s a catchy anthem, it contains somber lyrics such as “Sin City’s cold and empty” and “I’m drowning in the night”. It’s clear that the song is more of a cry for help than it is a celebration. But at least he’s admitting the severity of his condition. This seems to give him the confidence to face his ex, who feels betrayed and has moved on, while apologizing and taking accountability on “In Your Eyes” and “Save Your Tears”. Except, he doesn’t really mean it as revealed on “Repeat After Me (Interlude)” and this reveals the glaring issue: he’s still alone. All of his indulgent behaviour left him isolated from any true connection. He confesses this heartbreak on the title track before the haunting closing song “Until I Bleed Out”. Given the title, it seems to indicate that Abel dies once the song ends or that, at the very least, his hedonistic behaviour is slowly draining his life.

Throughout 2020, Abel appeared in the same outfit, a red suit, with various layers of bandages covering his face. Eventually, he revealed in the Save Your Tears video that his character had plastic surgery to recover from his injuries. While there have been several speculations about the meaning of this, its most interesting interpretation is its extension of the idea of the dangers of his character’s lifestyle.

“Save Your Tears (Official Music Video)” by The Weeknd (tw: blood/gore)

In 2021, Abel announced he was working on a new album, presumably titled “The Dawn”, which would be a companion piece to After Hours. In a feature for Kanye West’s Donda, Abel sings “The dawn is bright for me/No more dark for me” seemingly teasing a hopeful ending for his character in the next chapter. 

The Purgatory of Dawn FM:

Dawn FM album cover (source: Genius)

Before Abel announced Dawn FM at the beginning of 2022, he explained the album’s concept in an interview with Billboard:

“Picture the album being like the listener is dead. And they’re stuck in this purgatory state, which I always imagined would be like being stuck in traffic waiting to reach the light at the end of the tunnel. And while you’re stuck in traffic, they got a radio station playing in the car, with a radio host guiding you to the light and helping you transition to the other side. So it could feel celebratory, could feel bleak, however you want to make it feel, but that’s what The Dawn is for me.”

Abel Tesfaye / Source: Mamo

This is exactly what happens on Dawn FM. It appears that somehow Abel has died, either at the end of After Hours or much later. Abel then is guided through purgatory by a disc jockey (played by Jim Carey) through his past mistakes and regrets, facing his self-destructive behaviour head on. At first, he mourns the loss of his love before admitting he failed to sacrifice for his significant other on “Sacrifice”. From there, Abel embraces fleeting romances on the aptly titled “Here We Go… Again” and “Best Friends” before confessing that he’s afraid to love again. This woman or these women (it’s never confirmed) eventually move on but Abel once again is left alone. This time, Abel takes responsibility for his actions on the happy, nostalgic “Less Than Zero”. While it isn’t much, it is growth. The album ends with a monologue from Carey who says “you have to be heaven, to see heaven”.

Knowing there is one album left in this series, we must assume that the final chapter will deal with Abel’s fate. So, the question is: after reliving his past trauma and repenting of his actions, will Abel end up condemned to the night forever or finally be able to reach the dawn?

Works Cited:

Furtado, Frank. “Breaking Down AFTER HOURS.” YouTube, uploaded by Middle 8, 24 Dec. 2020, 

https://www.youtube.com/watch?v=ik8o1Natq9g.

Genius Contributors. “The Weeknd – Escape From LA Lyrics – Genius.” Genius, 20 Mar. 2020,

https://www.google.com/search?q=escape+from+la+lyrics+genius&oq=escape+from+la+lyrics+genius&aqs=chrome..69i57j69i60.3698j0j7&sourceid=chrome&ie=UTF-8.

Jones, Damian. “The Weeknd say ‘Dawn FM’ Is Part Of “A New Trilogy”. NME, 10 Jan. 2022, 

https://www.nme.com/news/music/the-weeknd-says-dawn-fm-is-part-of-a-new-trilogy-3134384.

Mamo, Heran. “The Greatest Hit: The New No. 1 Song Of All Time.” Billboard, 23 Nov. 2021, 

https://www.billboard.com/music/features/the-weeknd-blinding-lights-billboard-cover-story-2021-interview-1235001282/.

Completed as part of my Business of Music II course at Toronto Metropolitan University in the winter 2022 semester.

Categories
Review

Top Ten Albums of 2020

11 min read – Characters: 15117

Since I was able to listen to a substantial amount of music while quarantining in 2020, I also decided to make a list of my favourite albums of the year! As always, there is a runner up section for albums that did not make the top ten but I thought were worth mentioning. Enjoy!

Runner Ups

Lianne La Havas – Lianne La Havas

photo taken from Genius

What sparkled on her debut, Lianne La Havas zeroed in on for her self-titled sophomore record. Lianne is wholly captivating as her silky-smooth vocals and jazzy songwriting make the record feel like a conversation with a good friend rather than some grandiose presentation. Nothing is overdone, every piece feels like it has just enough to perfectly frame Lianne’s voice and nothing more. Although the instrumentals are often sparse, Lianne uses this to its maximum potential on tracks like “Can’t Fight”, “Paper Thin”, and her stunning cover of Radiohead’s “Weird Fishes”. It is beautiful, soft, and warm, making this record a much-needed pick-me-up for 2020.

Notes on a Conditional Form – the 1975

photo taken from Genius

If you’re not interested in the strange experimentation and overindulgence of the 1975, this record will most likely leave you feeling confused. Despite its polarizing nature, the 1975 comes through with a batch of solid tunes and interesting arrangements that feel more like a journey than a typical album experience. The sounds shift at abrupt intervals, keeping the listener constantly on their toes. Although it fails to reach the soaring heights and urgency of A Brief Inquiry Into Online RelationshipsNotes on a Conditional Form still stands out as an interesting, albeit lengthy, addition to the 1975’s discography.

Man On The Moon III: The Chosen – Kid Cudi

photo taken from Genius

It’s safe to say that no one was expecting Kid Cudi to release the finale to the album series he began over a decade ago. It was previously rumoured to drop soon after Man On The Moon II, but was eventually abandoned by Cudi and most expected it to never see the light of day. Needless to mention, there was a lot riding on this record and somehow it managed to live up to the hype. Each track features extremely atmospheric production that seems to sound like the unbelievable cover art. Tracks like “Tequila Shots”, “She Knows This”, “Sad People”, “Lovin’ Me” (featuring none other than Phoebe Bridgers), and fan favourite “The Void” are the best of the bunch and reveal Cudi’s ear for melody and moving lyricism. After a string of polarizing records, it seems like Cudi saved the best for the last of his trilogy. Luckily, this is not the end of Kid Cudi as he has teased a deluxe edition of this record coming in early 2021. I cannot wait to see what else he has in store.

Top Ten

10. Fetch the Bolt Cutters – Fiona Apple

photo taken from Genius

I think it’s safe to say that Fetch the Bolt Cutters is unlike any other record that has come out this past year. It is an achievement that could have only come from Fiona Apple. It is wholly and uniquely her own, never ashamed of its form and style, the most obvious example of this being the stunning opener “I Want You To Love Me” which ends with dolphin-like squeals from Fiona. It is not often that an album is met with instantaneous critical acclaim and hailed as a “classic” but it is undoubtedly deserving of it. On Fetch, Fiona is laser-focused on her personal expression in the #MeToo era. Whether it be highlighting the importance of female empowerment on “Shameika” or addressing the misogynistic silencing of women on “Under the Table”, Fiona unapologetically addresses the common struggles of women in the twenty-first century.

The biggest standout moment on the record comes in the form of the song “For Her” which rapidly changes pace and genre throughout its near three-minute run time and was written in solidarity with Deborah Ramirez and other survivors of sexual assault. Its disorienting structure is no doubt a reflection of the confusion and rage many felt over the tragedies of these women. Yet, through the frantic and blunt pain (“You raped me in the same bed your daughter was born in”), there are moments of hope in Fiona’s angelic vocal harmonies that close out the song. Through stunning poetic lyrism and homemade instrumentals, Fiona rallies support and draws attention to the mistreatment of women, bringing together a supportive community that refuse to be silenced.

9. Ungodly Hour – Chloe x Halle

photo taken from Genius

Until now, Chloe x Halle had really just been a Beyoncé-supported YouTube sensation. In 2020, however, Chloe x Halle had their breakout year with a series of unforgettable performances and award nominations all kicking off with the release of their sophomore album. Ungodly Hour flaunts the sisters’ sheer talent and ear for ear-worm melodies and innovative production. There is never a dull moment on this record despite the subtle nature of a lot of the songs. They seem to creep up and become immediately infectious. Tracks like “Lonely”, “Busy Boy”, “Do It”, and the title track show that Chloe x Halle are not to be messed with. Talents like these only come around once in a while and, although they might be dealing with the worst, most confusing times of their lives, Chloe x Halle have never sounded more heavenly.

8. evermore – Taylor Swift

photo taken from Genius

The praise for folklore was so pervasive it was hard to miss. I mean, who else could drop a critically acclaimed, indie folk record after working exclusively in pop for the last 6 years? It could only be Ms. Swift. However, to me, Taylor’s second surprise record of the year surpassed its subtle sister record. Where folklore was more reserved, evermore let loose to allow Taylor Swift to dive farther into plucky folk (“willow”, “dorothea”, “marjorie”), boot-stomping country (“no body no crime”), lush electronica (“closure”), and indie pop (“gold rush”, “long story short”). But the standouts by far are when all of these genres blend perfectly on the Bon Iver assisted tracks “ivy” and the title track. Folklore was unexplored territory for Swift, but evermore proved she can master even the most uncharted waters.

7. SAWAYAMA – Rina Sawayama

photo taken from Genius

At the beginning of 2020, Rina Sawayama was only on the radar of the most dedicated underground pop connoisseurs. She has since skyrocketed in popularity after the release of her debut album to much-deserved acclaim. SAWAYAMA is a smorgasbord of different genre experiments including metal (“STFU!”), arena rock (“Dynasty”, “Who’s Gonna Save You Now”), experimental pop (“Akasaka Sad”), and theme music (“Paradisin’”, “Snakeskin”). And yet, it somehow maintains a certain cohesion that is no doubt the product of Rina’s uncompromising vision. The album is truly a journey into the Rina’s world and throughout she makes it clear that she is only just getting started.

6. Maverick City Vol. 3 – Maverick City Music

photos taken from Genius

Born from their writing camps that unite songwriters from across the globe, Maverick City Vol. 3 is one of the most impressive releases to come out of the Christian music industry in years. Diversity for them is not something they strive for but is woven into the fabric of who they are. Their desire is to bring people of all backgrounds together to share in community and collaboration. Perhaps this is what made the hateful comments they received when standing against the unjust killing of George Floyd sting that much more. These songs are not only products of their deep faith and dependence on God, but are sung through all of the unique pain and joys they have experienced.

There is a sense of authenticity on this record that is not always as present on other releases in a similar vein. Whether they are venturing into traditional ballads (“Promises”, “Lean Back”, “Be Praised”, “God of Midnight”), gospel (“Man of Your Word”, “My Heart Your Home”, “Yahweh”), or folk musings (“Holy Ghost”, “Closer”), simplicity is key to Maverick’s success. Their writing is sharp but some of the most impactful moments are in the repetition of their thoughtful phrases. Instrumentally, the album would seem at home at a campfire or quaint cabin in the woods. Admitting they would be nothing without Jesus, Maverick City Music beautifully illustrates faith-filled community and the simplicity in worship that makes the heart soar.

5. how i’m feeling now – Charli XCX

photo taken from Genius

I seriously do not think anyone other than Charli XCX could create an album in thirty days during a lockdown due to the coronavirus pandemic and have it turn out this good. Not only that, but she found a way to perfectly capture the sentiments of the time. how i’m feeling now truly deserves the title of “the first quarantine album”. From the erratic “pink diamond” to the self-doubt of “detonate” to the yearning of “anthems”, Charli was able to successfully unveil the feelings of being quarantined and coming to terms with life in the current decade better than any artist this year. But it was perhaps the standout single, “forever” that is truly an anthem for our distanced world. The fact that she made this while filming herself to get input from fans in a month’s time only adds to the impressive nature of this project.

4. After Hours – The Weeknd

photo taken from Genius

The Weeknd is perhaps most known for his dark, late night jams about partying, drugs, and other forms of escapism. However, After Hours sees the self-titled “King of the Fall” start to reflect on the effects of his excessive hedonism. Abel cleverly uses retro-synth soundscapes to create a feeling of nostalgia while drawing visual/narrative inspiration from Fear and Loathing in Las Vegas. Somehow he weaves these references through his own self-analysis and eventual breakdown on the final track “Until I Bleed Out”. Abel pulls out his best tricks from his discography on After Hours while making it a momentous commentary on the consequences of hedonism, something that not only applies to Abel but extends outward to all of us. It not only feels like a logical evolution of the Weeknd as a character but of Abel’s entire constructed world.

3. Women in Music Pt. 3 – HAIM

photo taken from Genius

Funnily enough this is the only album on this list that is nominated for Album of the Year at this year’s Grammys. It goes without saying I am rooting for it to win. This is without a doubt the Haim sisters’ best record. The songwriting is sharper, the melodies slicker, and the production more engaging. It is everything one could want from them.

As the title suggests, HAIM use their 16-track record to explore what it’s like being women in the music industry and in the world in the #MeToo era. “Man from The Magazine”, “Los Angeles”, and “3 AM” each deal with the various advances of men in their lives and careers and how this impacts them. Each song not only feels timely but deeply personal and urgent. The implementation of jazzier instrumental mixes only adds to these mature themes.

One of the most interesting things about the album is the inclusion of “Pt. III” at the end of the title shows that, as their third album, it is not only an investigation of their experience for a singular project but ingrained in their existence as artists. Not only are the hooks catchy and memorable but they infuse their work with rare, brash empowerment and truth.

2. Restoration – Lecrae

photo taken from Genius

This. This is the album I always knew Lecrae was capable of making and he exceeded my expectations. Restoration is at once an honest confessional and narrative album about redemption and the struggles of being a Christian and, yet, still being prone to sin. Whereas Anomaly and All Things Work Together felt like collections of well-produced singles, Restoration feels like a hero’s journey to which anyone can relate. It is dark, chaotic, and, simultaneously beautiful.

It opens with the fittingly titled “Restore Me” which acts as the thesis statement and prayer which guides the rest of the experience. Over the album’s 14 tracks, Lecrae unpacks his own past traumas and addictions, struggles with fame, and constant conflict with systemic racism only exacerbated by the senseless murders of George Floyd, Ahmaud Arbery, and Breonna Taylor at the hands of racist police and citizens in the United States last summer. As a result, Lecrae crumbles on tracks like “Drown”, “Deep End”, and “Only Human” which populate all sections of the album, not just the first half. This creates a similar statement to that of Kings Kaleidoscope’s 2016 epic Beyond Control, where one’s redemption story through Christ does not just take place at a single fixed point in time: it is a continual process.

Restoration‘s message is similar to that of Kirk Franklin’s message on Kanye West’s The Life of Pablo: “you can never go too far where you can’t come back home again”. Oddly enough, Franklin shows up here, not to offer a message of reassurance but rather to present a wake-up call of the fleeting nature of life inspired by the deaths of Kobe Bryant, his daughter, and seven others at the beginning of the year. The record at once exerts a timely and timeless message of redemption for all while also presenting a reactionary journey through the chaos of the modern world.

1. Punisher – Phoebe Bridgers

photo taken from Genius

I could go on for ages about this record. For your sake, I will try to keep it relatively short. It has been a long time since I have heard an album that has captured a beautiful simplicity such as the one displayed on Punisher. Phoebe’s songwriting and vocal performance are so incredibly addictive and feel claustrophobically lived-in. The minimal yet haunting production perfectly complements Phoebe’s musing about “love” (“Savior Complex”, “Moon Song”, “Halloween”), God (“Chinese Satellite”), and the apocalypse (“I Know the End”). 

In a year as tumultuous as this one, Punisher feels more like a good cry with a close friend than just another record about the topics above. It just feels like a perfect statement for a such a confusing and difficult time. Phoebe’s honest anecdotes often come as a relief, perhaps best displayed on “Garden Song” where she flirts with the possibility of disposing of the body of her skinhead neighbor who has met an unfortunate end before fantasizing about what her life could look like in the future. But she also doesn’t shy away from orally depicting the tension of the modern age whether it be through her passionate screams on “I Know the End” or her honestly about disassociating from those she disagrees with on “Punisher”. 

Although the range of topics and emotions covered on Punisher is vast, the project somehow does not feel like a behemoth on its own and I think that is what makes it so special. Phoebe was somehow able to break these large ideas and feelings into digestible, and frankly, entertaining vignettes which play out like a home movie projected on a wall. Overall, Punisher demonstrates Phoebe’s unparalleled ability to transcend her music and truly connect with her fans in the most beautiful, human way possible.

Thanks for reading!