Reviews for Normal People

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Top 20 Songs of the Month (February 2018) — March 14, 2018

Top 20 Songs of the Month (February 2018)

When I first upped the amount of songs on these lists to 20, I said that it would vary depending on how many songs I wanted to talk about. I’d say this is still true to a certain extent, but 20 happens to be a solid number of songs when it comes to picking the best of the best. Every once in a while, I think of making this a weekly thing, but I think it would eat up a ton of my time and not be up to the same standard as these lists have been so far. Anyway, that’s just me talking. Here’s my favorite new singles to come out in February.

20) NO GOING BACK – Yuno

Here’s a fun little song to kick things off. Jacksonville artist Yuno is the latest signee to the legendary Sub Pop label, and while I’ve never heard any of his other music, this is certainly an impressive start. The song’s most obvious influence is Tame Impala, whose imprint is all over its high-pitched vocals, springy synth beat, and knack for pop songwriting. Whether or not this is emblematic of Yuno’s style, we’ll have to wait and see, but it’s a solid song.


If “No Going Back” is influenced by Tame Impala, “American Gods” owes something to Depeche Mode. It’s that same sort of theatric, melancholy ’80s techno-rock, and I kinda love it. ONR is another mysterious new artist, and another one that I’m definitely gonna have to watch for in the future. “American Gods” goes off, and makes you feel powerful in the way only a Depeche Mode disciple could. I think it’s about the president being bad or something.


As you’ve no doubt noticed, I’ve been on a bit of a Superorganism kick lately. They just put out their new album, it’s excellent, you’ll probably get to hear me talk about it whenever my next album-related list comes out, but for now, let’s talk “Reflections on the Screen.” It’s pretty much par for the course for Superorganism: nature sounds, psychedelic guitar, glitchy pop flourishes, all brought together by the hypnotic voice of 17-year-old lead singer Orono Noguchi. I don’t want to go out on a limb and say they’re the next big thing, but they definitely deserve your attention if you haven’t been paying it already.

17) SATURDAYS – Twin Shadow feat. HAIM

Instrumentally, this song has a definite ’80s vibe to it. Something about the dreamy guitars and those distinctly dated drums. It’s also got HAIM, which is never a bad thing in my book. “Dreamy” is definitely the right word to describe this song. It recalls the ’80s, but not in a way that necessarily has a definitive logic to it. It’s equal parts Belinda Carlisle, Phil Collins, Bruce Springsteen, you name it. It recalls memories of a cool teenage existence that may have never existed. Maybe I’m overselling this. It’s a catchy song.


This song was my first exposure to Swedish R&B singer Janice, and I’m really impressed. Aesthetically, it recalls Lorde’s “Green Light,” full of the same raw emotion and exuberant desperation, but in some senses I like “You Only Say You Love Me in the Dark” more. It’s a little slower, a little more soulful. Or maybe it’s just a “Green Light” clone. Either way, I wouldn’t be complaining, and you know I’m a sucker for long titles.

15) BRXNKS TRUCK – Slim Jxmmi feat. Rae Sremmurd

Pop rap party animals Rae Sremmurd are gearing up for their third album, SR3MM, and mark my words, it’ll change the game. The insanely ambitious project, which from what we’ve seen so far can only be described as Speakerboxxx/The Love Below on crack, will be a triple album, consisting of a Swae Lee solo record, a Slim Jxmmi solo record, and a complete Rae Sremmurd album. And this first crop of singles shows a ton of promise. “Brxnks Truck” is our first introduction to the solo Slim Jxmmi, and it’s a compelling one at that. Swae Lee is much of the emotional core of the group, which is why everyone was quick to pin him as the pop solo star, but Jxmmi brings an energy that can’t be understated. It’s a short, frenetic trap track that proves Jxmmi is more than capable of turning up all by himself.

14) TOY – Young Fathers

This is a weird-ass song, and one I’m not sure I could do justice in describing, but it’s so mesmerizingly unique that I had to include it. Young Fathers are a Mercury Prize-winning alternative hip hop group who bring a rocking European energy to their music that sets it apart from this planet. The result is some beautiful medium between Gorillaz and Death Grips, a fun, manic, wildly inventive song off an album that can’t be missed.

13) ROSE-COLORED BOY – Paramore

Yup, I’m back at it again with the new-wave inspired pop rock bops off Paramore’s incredible 2017 album After Laughter, the likes of which I’ve included on these lists three or four times at this point. I’m sorry, but they’re all really good. “Rose-Colored Boy” sets itself apart with that cheery Go-Go’s-esque hook. “No heat! No pressure!” I’ve been thinking about all those mid-’00s pop punk bands, and while I’m a fan of most of them, I’m developing the idea that After Laughter is the best album any of them ever released. It’s extremely good, and given that every Paramore album has been substantially better than the last, I can’t wait to see what comes next.

12) LOOK BACK – Diplo feat. DRAM

In case you haven’t heard, the latest thing in EDM is doing something that’s explicitly not EDM. Calvin Harris started the train with his masterful funk-pop album last year, and now Diplo’s joining with a psychedelic soul track featuring the ever-beautiful pipes of Big Baby DRAM. For an artist with one of the most unique, versatile voices in the game today, “Look Back” finds DRAM in rare form, crooning about his fast and dangerous lifestyle in an aggressively confident falsetto that recalls CeeLo Green in his prime. And of course, you’ve gotta give it up to Diplo here, who steps out of his sonic comfort zones to magical results.

11) MY ENEMY – CHVRCHES feat. Matt Berninger

We’ve got CHVRCHES on the list for the second month in a row, and this time they’re joined by lead singer of The National, Matt Berninger. I’m a fan of both of these bands, and like the collaboration between BØRNS and Lana Del Rey earlier this year, the combination here works even better than you’d expect. The sleek poppiness of CHVRCHES adds onto The National’s stark melancholy to create a Genesis-like blend of contemplative lyrics and hard-hitting synths. It’s got that devastation National fans are looking for, and it’s pretty damn catchy to boot.

10) DOIHAVETHESAUSE? – Ski Mask the Slump God

If you find SoundCloud rap dull or lyrically lacking, you probably haven’t been looking hard enough. Sure, the ease of production and distribution means there’ll be a lot of junk, but some of the most exciting music out right now can be found in that neck of the woods. Take, for instance, Ski Mask the Slump God, an artist I’ve already sung the praises of before. He’s got funny, inventive lyrics, a unique voice, and insane flows. The lowkey production on this track may deter you, but if you listen with an open ear, you’ll find plenty to love.

9) PRAY FOR ME – The Weeknd feat. Kendrick Lamar

Just to get it out of the way: yes, this is essentially a retread of “Starboy.” But hey, “Starboy” was a good song, and this one’s got Kendrick Lamar. The pulsating electronic instrumental is no Daft Punk production, but it goes hard nonetheless, and melds perfectly with the Weeknd’s soft tones. It also boasts one of Kendrick’s better pop guest verses, though to be fair, the song is off his album. Black Panther: The Album is a game-changer for the art of the soundtrack album, and “Pray for Me” is its most powerful pop single.

8) WE ARE… – Noah Cyrus feat. MØ

In the mad dash to earn a spot on one of these “Songs of the Month” lists, Noah Cyrus has been somewhat of a perennial runner-up. She does the modern pop sound justice, and she’s carved out a unique enough style, but nothing’s ever stuck out to me enough for me to put it on one of these lists. Until now, that is. I think what sold me on this one was the gleeful “WE! ARE! FUCKED!” that begins the chorus. Lyrically, the song could definitely be considered “fake deep,” railing on the woes of her and her “lost” generation. It’s also catchy as all hell, and utilizes tone, production, and Noah and MØ’s unique voices to get the idea of the song across in a way that doesn’t take itself too seriously to be enjoyed.

7) VINCENT – Ellie Goulding

You know Ellie Goulding as the idiosyncratic pop star who shows up out of nowhere every year or two with a song where you can’t quite tell if it’s annoying or great. Her latest single, “Vincent,” is a subtle, somber ballad covering the song of the same name by Don McLean. I’d obviously never thought to put McLean and Goulding together, but the results certainly speak for themselves. Goulding’s high, heavily-accented voice makes for fun pop jams, but it suits a quieter track really well too. If this is leading into some sort of album, it’ll be interesting to see what direction she takes it from here.

6) KRISTI YAMAGUCCI – A$AP Ferg, Denzel Curry, and IDK

A$AP Ferg, IDK, and Denzel Curry are three of the greatest new rappers of the latter half of this decade, but they’re typically relegated to the lower part of these lists (Curry and IDK found themselves at #19 just last month). Something about the way the three of them come together just really did it for me, I suppose. It’s an excellent song, boasting hilarious, hard verses from all three artists and an absolutely killer trap beat courtesy of Frankie P, who’s produced many of Ferg’s beats. Each rapper brings something different to the table, but it all comes together to create an early contender for the best posse cut of the year.

5) THE SHADOW – Millie Turner

I’m kinda not sure if I really like “The Shadow” or I just like all the things it reminds me of. Pop up-and-comer Millie Turner channels everyone from Lorde to Bridgit Mendler to La Roux on this track, and the result is a techno-infused banger with idiosyncratic vocals, strong writing, and a tone that’s triumphant and self-effacing in equal parts. Maybe it reminds me of great pop artists because it’s a great pop song. Maybe Millie Turner is the next great pop artist. We’ll just have to wait and see.

4) HURT TO LOOK – Swae Lee feat. Rae Sremmurd

Speaking of “the next great pop artist,” here’s “Hurt to Look,” the official debut solo single for Rae Sremmurd’s Swae Lee, who cut his teeth last summer giving French Montana the biggest hit of his career and has since had his solo debut become one of the most buzzed-about releases of today. On “Hurt to Look,” Swae puts his money where his mouth is, crafting a perfect piece of pop/R&B that encapsulates a mellow melancholy only someone with the unmistakable voice of Swae Lee could bring to the table. Don’t be surprised if you’re hearing this all over the place within the next few months, or possibly something else. After all, SR3MM is dropping one of these days.

3) MAY I – T-Pain feat. Mr. Talkbox

T-Pain’s swingy big band throwback track “May I” dropped to little fanfare as a cut off his album Oblivion late last year, but now that it’s been released as a single, can we please talk about it? This eight-minute R&B magnum opus plays like the culmination of over a decade of T-Pain. It transitions flawlessly from Sinatra to Usher to Pain himself, then explodes into stirring jazz and flips it back into the modern R&B sound it was subtly building all along. This is essentially the T-Pain version of a 20/20 Experience-era Timberlake track, but that’s not a bad thing (no pun intended). It’s maximal, but not to a fault, and it represents T-Pain for what he is: one of the greatest R&B singers alive.

2) MOON RIVER – Frank Ocean

Another cover song? Man, weird month. Anyway, you know I had to secure a top spot for Frank Ocean, possibly the greatest R&B singer alive, who came through this month with the best Valentine’s Day gift any of us could ask for: an achingly beautiful rendition of “Moon River.” This shit will tear your heart out, and that’s all I have to say about it. Just listen to the song, and don’t mind the channel. Frank’s original upload got taken down so I had to attach a reupload.

1) MAKE ME FEEL – Janelle Monáe

As is sometimes the case with these lists, I devoted a minor amount of mental space to asking myself “Are any of these songs good enough? What’s gonna be the absolute best?” And then, as soon as I heard “Make Me Feel,” it was out of the question. This cool, quirky, innovative bisexual anthem with an amazing hook and production by fucking Prince was the song of the month as soon as it came out. See, Janelle just announced her new album Dirty Computer, the fourth installment in her continuing Metropolis Saga, and this (alongside the militant rap track “Django Jane”) was the lead single. I’ve been in love with Janelle for quite some time, but “Make Me Feel” is one of the best songs she’s released to date, and something tells me the album proper will have even more in store. We won’t know until it comes out in April, but this song still stands out as easily the best song of 2018 so far.

Top 20 Songs of the Month (January 2018) — February 19, 2018

Top 20 Songs of the Month (January 2018)

Yup, don’t think I forgot. I’m not even done with my 2017 recap stuff yet. I’m just trying to get all this stuff out without falling behind in anything else, so this list comes to you about a week and a half later than usual. To be fair, there wasn’t a ton of music that really blew me away this month. There was more than enough fodder for a list, to be certain, and 2018 is already shaping up to be an even more interesting year for music than 2017 was, but we’re just getting started here, and things are still kinda just starting to pick up speed. Frankly, I probably could’ve shortened this top a top 15 or even a top 10 without losing much, but I feel like the top 20 is a tradition now, and I did have twenty songs to go off, so let’s kick it.

20) FAVORITE – Leon Thomas feat. Buddy

For those of you who don’t know, Leon Thomas is the young singer and actor who played Andre on the Nickelodeon show Victorious. He also appeared briefly in Kathryn Bigelow’s Detroit, and while he’s been making music for a while, I’m pretty sure this is the first I’ve heard from him. And I have to say, I’m pretty impressed. It’s a really refreshing, catchy R&B/pop track with a unique aesthetic and a cool beat. I’m not exactly the world’s biggest Buddy fan, but his nasally sing-song style fits the jaunty piano riff pretty well. I could see myself getting hooked on this song.

19) NO WAVE – IDK feat. Denzel Curry

That’s right, IDK, who made my album of the year list last week with his August album IWasVeryBad, is already back with new music, this time in the form of an absolute banger of a single with Denzel Curry. I’ve always been into Curry, and I’m kind of surprised he hasn’t really shown up on one of these lists before, but he certainly delivers on this track. A menacing horror movie instrumental lays the foundation for killer verses by both MCs, a pair of artists who have quickly become some of the most exciting rappers on the come-up these past few years. I might never have thought to put these two together, but the results are undeniable.

18) GIRLFRIEND – Anderson East

Raspy-voiced Southern soul singer Anderson East has only been on my radar for a little more than a month at this point, but I’ve liked what I’ve heard so far. His new album’s pretty good, but I’m pretty sure my favorite track is “Girlfriend,” a barn-burner of a pop song with bombastic production by Avicii accompanying East’s over-the-top vocals. It’s across between East’s rootsy sound and the kind of music John Legend made in La La Land, and I kind of love it.

17) CHLORASEPTIC (REMIX) – Eminem feat. PHresher and 2 Chainz

As someone who’s liked several Eminem albums, including MMLP2, let me just say that his new album, Revival, fucking blows. It’s full of half-baked, uninspired versions of songs he already did five years ago, complete with barely-existent flows, witless lyrics, and bizarre sampling. 90% of the album stands in stark contrast to this remix, released a few weeks after the album proper, which is absolute heat. It opens with an outstanding verse from 2 Chainz, who just can’t seem to lose these days. Next up, there’s PHresher, whose explosive personality makes the song entirely his own. His verse is probably the least impressive on the song, but his personality is so fun to watch that you can easily overlook it. Finally, we get an insanely good verse from Eminem, who hasn’t come this correct in the better part of a decade. Em wraps the song up by promising that he’ll be back, and hopefully when he comes back, he’ll sound a little more like this and a little less like “Remind Me.”

16) ROCKET – En Vogue

So, it looks like En Vogue is back. The ’90s girl group behind classics like “My Lovin'” and “Whatta Man” returned in full force this month with “Rocket,” a soaring ballad written by the ever-underappreciated Ne-Yo. The 40-to-50-something R&B singers sound as excellent as ever, and the production by Curtis “Sauce” Wilson is refreshingly weird. These ’90s R&B revivals don’t always work out so well (lest we forget TLC’s comeback album last year), but I have a really good feeling about this.

15) ERA – PRhyme feat. Dave East

After years of silence, the hip-hop tour de force of Royce da 5’9″ and DJ Premier is gearing up for their second album, PRhyme 2. The first single off the record is “Era,” which showcases the elder statesman Royce looking at the state of his genre. Royce and Preemo are great as always, but the real show-stealer here is Dave East, the young rapper who’s become a perennial favorite for Joe Budden types the world over. His verse on this song is some of the most impressive stuff I’ve seen from him to date, and if this is the kind of stuff PRhyme is bringing out of their guests, I can’t wait to see what else the album has to offer (if the rumored tracklist is real, be on the lookout for CeeLo Green’s verse).

14) SYMPHONY – Towkio feat. Teddy Jackson

I never quite know what to make of Towkio. He looks like a CVS brand Post Malone, but his lyrical stylings are straight off the Savemoney lot and his recent leaning towards a dance pop sound has lead to some really interesting singles. What I can say for sure is that “Symphony” roped me in in a way few of his songs not featuring Chance the Rapper have before. The maximalist instrumentation fits the song’s title well, creating a dizzying feeling of rising action leading up to the orgasmic soulful pipes of Teddy Jackson on the chorus. It’s funny, catchy, and boundlessly enjoyable.

13) AFTER THE STORM – Kali Uchis feat. Tyler, the Creator and Bootsy Collins

When Kali Uchis and Tyler, the Creator come together, it’s always a recipe for success. This mellow cut is just that, a silky smooth track accentuated by a short and sweet verse from Tyler and the funky ways of music legend Bootsy Collins. There’s really not much to say about this song, but that’s kind of the beauty of it: you don’t have to think about it much, just press play and let the chillness wash over you.

12) BEDROOM CALLING – Chromeo feat. The-Dream

Now, when it comes to Chromeo, “chill” is not exactly the word I’d use. The electro-funk duo made their name known making goofy, polished, ’70s-inspired pop jams, and “Bedroom Calling” is no exception. I haven’t liked much of the stuff I’ve heard from The-Dream in the past few years, but he’s actually excellent on this song. His voice seems to morph like a liquid to Chromeo’s sonic container, and the result is a blast of pure joy that’s perfect for letting loose.

11) HOT PINK – Let’s Eat Grandma

I’ll admit that the British art-pop duo Let’s Eat Grandma hasn’t really been on my radar until now. What drew me to this track wasn’t the group at all, but the song’s producer: SOPHIE, who made last month’s list with her stellar single “Ponyboy.” This song starts off differently, with an ethereal murkiness that, from what I can tell, is more standard fare for Let’s Eat Grandma. But then the chorus kicks in, and it’s the SOPHIE we know and love. Just an absolutely devastating beat, that type of noise-pop sound that you’ll see a bit in some of Charli XCX’s work where it shouldn’t work, but it absolutely does. Also, the hook is pretty catchy.

10) FILTHY – Justin Timberlake

In these first few weeks of 2018, Justin Timberlake made his third big comeback of the decade with a performance at the Super Bowl and his new album, Man of the Woods. Both have not gotten the warm reception we’re used to from JT. I think anti-Timberlake attitudes have been brewing for over a decade, and as his image shifted towards “Jimmy Fallon of music,” it hit too much of a fever pitch for him to come back with something that’s not amazing. That being said, I like “Filthy.” In fact, I think I like Man of the Woods, but we can deal with that later. “Filthy” is obviously intended to capture the mesmerizing strangeness of “SexyBack,” and to some that cynical cash-in quality may be enough to write it off, but it’s grown on me as a song so much over the past month it’s been out that I decided to throw it on the list. Like “SexyBack” before it, it brazenly defies pop conventions of verse-chorus structure, hooks, etc. But this is “SexyBack” for the uncool era of Justin Timberlake. It’s littered with outdated references, corny attempts at innuendo, and self-aware goofiness that only a dad-era Justin Timberlake could grant us. This is a phase in the graceful aging of Timberlake’s sound, just an awkward one at that.


After two years of relative quiet, the synth-pop band my brain insists on calling “chavurches” is back with “Get Out,” the first single off their forthcoming record Love Is Dead. The album, which appears to feature contributions from Greg Kurstin, The National, and Eurythmics, already caught my attention, but this single has me interested.  Kurstin’s production (which in the past few years has graced the works of artists like Sia, Beck, Zayn, P!nk, Niall Horan, Foo Fighters, Halsey, Liam Gallagher, Kendrick Lamar, Carly Rae Jepsen, Adele, Ellie Goulding, Tegan and Sara, and about every other major artist you could name) is pitch-perfect, both complementing and expanding upon CHVRCHES’ established sound. It’s also one of the band’s catchiest song to date, and shows well for something off this album being CHVRCHES’ big pop crossover single.

8) CORPORATION – Jack White

Speaking on his forthcoming album Boarding House Reach, Jack White recently commented on a lack of spontaneity in modern rock music. I’m not usually one for “_____ ain’t what it used to be” arguments, but “Corporation” and the other singles off said album definitely feel like a breath of fresh air in the modern rock landscape. It’s completely off-the-wall, purposeful and enjoyable yet thoroughly unpredictable. If you needed any further proof that White is one of the finest musicians working today, this record’s got it in spades. It’s practically bursting at the seams with instrumentation, vocals, sounds, and creativity in general.


Andrew W.K. is one of the more unorthodox picks I’ve made for one of these lists to date. Certainly, his hardcore sound sets him apart from any other artist I’ve decided to include, let alone as high up as #7. But truth be told, I’ve always liked the guy. He’s been out of the limelight for pretty much the entire decade, but his incomparable spirit and energy has always endeared him to me, since I first discovered him on some Nickelodeon show he hosted at the turn of the decade. Also, this song’s just great as hell. “Inspirational ballad” is practically its own genre in popular music, but I think it’s been years since I’ve heard a song as great a motivator as this one. If you’ve been feeling down lately and you need something to simultaneously amp you up and make you feel good about the world, this song is for you.

6) BIG BAD WOLF – Lil Wayne

Last month, Lil Wayne dropped Dedication 6: Reloaded, and it’s already a strong contender for the best mixtape of 2018. He is leaking bars on this project, spilling out some of the cleverest shit he ever wrote on song after song after song. And “Big Bad Wolf” is a perfect example of the expert craftsmanship you’ll find on the tape. Over the beat to Blac Youngsta’s “Hip Hopper,” Wayne’s bars build up to a fever pitch over a dizzying four minutes, climaxing in an incredible string of about a hundred things that rhyme with “Antetokounmpo.” Mixtape Weezy’s back, and right when we need him most.

5) I’M GON MAKE U SICK O’ME – Parliament feat. Scarface

Perhaps the most welcome surprise of the month came in the form of “I’m Gon Make U Sick O’Me,” the delightful new single by legendary funk band Parliament and legendary rapper Scarface. Scarface is considered by many to be one of the greatest rappers of all time, and P-Funk is easily one of music’s greatest collectives, so obviously a collaboration between the two is bound to be brilliant. And sure enough, this song delivers. It’s brimming with sheer creativity, showing that neither George Clinton nor Scarface is close to running out of steam yet. I’m always a hoe for Parliament, but this song really does go above and beyond. Don’t miss out.

4) STREET LIVIN’ – Black Eyed Peas

The Black Eyed Peas are also a notorious group, but for much different reasons, I’d say. If you’re wondering what the group many consider to have ruined popular music did to deserve a slot so high on this list, just give this song a listen. First of all, they’ve gotten rid of Fergie, a move that seems to have been pretty beneficial for both acts (that new Fergie album is good, don’t @ me). They’ve also embraced their old school hip-hop roots, trading in shitty electro-pop-rap for jazzy samples and socially-conscious lyrics. Every rapper to put out music in the past year has done the social justice song, but the Peas offer one of the most scathing indictments of America’s systemic race issue to date. The long-maligned drops jewels like this:

Listen, they derailed the soul train

And put a nightmare in every Martin Luther King

And privatized prisons are owned by the same

Slave masters that owned the slave trade game

And it’s basically just three minutes of that. Your favorite rapper could learn a thing or two from the Black Eyed Peas.


Of course I’m gonna make room for the incomparable David Byrne, who’s got his new album coming out pretty soon. “Everybody’s Coming to My House” has everything you could ask for in a Byrne track: jazzy, complex instrumentation, goofy, artful lyrics, and Byrne himself sing-yelping about his house. Like much of his work, it’s hard to do justice to it in words, but trust me when I say that the Talking Heads frontman is as sharp as ever, and if you like the song (which you will because it’s phenomenal), you should check out his book How Music Works, which dropped late last year.

2) MY MY MY! – Troye Sivan

Looking at the pop landscape in 2017, there’s no denying that its glitchy, pitched-up, stripped-down electro sound was somewhat influenced by Troye Sivan’s 2015 debut. “My My My!” is a whole different side of Troye, one that’s poised and ready for pop superstardom. He’s confident, focused, and has developed a keen sense of pacing and moderation to produce a euphoric ’80s-infused lead single. This song didn’t hit a terribly strong debut in the U.S., but I wouldn’t be at all surprised if it blows up over the next couple months. It has that undeniable hit quality, combining the old with the new to create a magnetic force of personality and atmosphere. Hey, speaking of hits:

1) FINESSE (REMIX) – Bruno Mars feat. Cardi B

This is another unorthodox move on my part, as the most popular song to come out in a given month is rarely the best. Then again, the masses can’t always be wrong, and “Finesse” is a perfect goddamn song. I sung this song’s praises way back in 2016 when the 24K Magic album was still fresh, although the Recording Academy would argue it’s as fresh as ever. It’s a brilliant ’90s R&B mash-up made all the more phenomenal by a surprisingly perfect feature from Cardi B, who branches out from her typical trap flow to embody the ’90s with form-fitting dexterity. It’s a song that is, truly, dripping in finesse, and it actually does make sense because it’s one of the most flawlessly-crafted pop songs to come out in recent memory.

Review: Black Coogler — February 18, 2018

Review: Black Coogler

Hey! I’m gonna try to start doing movie reviews again. And what better place to start than the most talked-about movie of the season, Marvel’s Black Panther? The latest superhero blockbuster from Disney is an instant smash, with fans and critics alike lauding it as a bold new step forward for the company and another phenomenal notch on director Ryan Coogler’s increasingly-impressive belt. Does it live up to the hype?

Well, not exactly. To be fair, with hype like that, how could it? It’s definitely one of the finest movies in the MCU, and it’s easy to see why everyone’s creaming their collective jeans over it, but it’s not without its flaws. I think you’ll enjoy this movie most if you don’t go in with any expectations; if you’re expecting a bold, subversive masterpiece, that’s not quite what you’re gonna get. What you will get is a really cool, well-made, intriguing, but relatively straightforward action movie.

To be clear though, I love this movie. Killmonger is streets ahead of every other villain in Marvel history, and T’Challa may be the most interesting hero we’ve seen from them in quite a while. Marvel heroes thus far have generally fallen into four archetypes: cocky smart-ass, bewildered everyman, gentle giant, or sexy assassin. Chadwick Boseman’s T’Challa doesn’t really fall into any of those categories. In moments of action, you could probably swap him out for any other superhero, but his character has some interesting layers: he’s wise and composed, but not always sure of himself. He’s a young man put in charge of an entire nation, torn between his nation’s past and future. Similarly, Michael B. Jordan’s Killmonger goes above and beyond Marvel’s standard villain fare: even though his plan ultimately is to use a magic rock to take over the world, his motivations run much deeper, and there are definitely points in the movie where you feel he’s kinda right.

The other stand-out character in the movie is Shuri (Letitia Wright), T’Challa’s tech genius younger sister who’s hip on what all the kids are into, like the totally timely “what are those” meme. To be fair, that moment is probably the funniest thing in the entire movie. Wright brings a magnetic charm to her portrayal of the character, no doubt a future Marvel fan favorite (consider: an animated Disney princess movie with her in the lead role). Unfortunately, not many of the other characters live up to these three. Lupita Nyong’o feels tragically underused, Andy Serkis is sort of lame as a secondary villain, Angela Bassett was great to see but didn’t add much, and Forest Whitaker played the exact same character he played in Rogue One.

Now, this is a very character-driven movie, but there’s other things to admire about it as well. It’s visually stunning, going above and beyond Coogler’s previous films with tremendous uses of color and cinematography. It also carries a lot more intrigue than a lot of other Marvel films. Other than the Captain America trilogy, Marvel tends to shy away from political fare, but where the Cap films tend towards full-on political thriller, Black Panther deftly balances serious intellectual debate with Marvel action sensibilities. In that sense, it’s similar to Wonder Woman, though it edges that film out mainly in the ways that the Marvel formula trumps the DC formula.

That being said, Black Panther falls a bit flat when it gets too Marvel-y. The action scenes are really cool in the beginning, but dry up a bit in the middle and lean towards full-on sloppiness by the climax. The rushed final battle is the clearest sign of studio interference in the film, and it doesn’t do a particularly good job resolving anything. Also, the CGI is weirdly bad? Like, there are a lot of moments in this movie that look like they belong in one of the Star Wars prequels, or the Sam Raimi Spider-Man movies, not a Marvel movie in 2018. Given that the film had a higher budget than Thor: Ragnarok, there are a number of ways in which it feels bizarrely low-budget. On top of the CG, there’s the fact that it keeps returning to the same few sets, like the Phantom Menace-esque throne room or Shuri’s sparsely-furnished laboratory.

But that’s just the bad stuff. Another great thing about this movie is the score. Composer Ludwig Göransson elevates the sound of the film above standard Marvel fare with his unique ear for production, incorporation of African musical cues, and recalling films like The Lion King, which the movie pays deliberate homage to on several occasions. Adding to the sound of the film is Kendrick Lamar, who offered up a whole album’s worth of original songs (maybe four of which are actually in the movie).

All in all, Black Panther feels like a comic book in a way no movie in the MCU has before it. It’s got vivid characters and worldbuilding, stylish visuals, it’s got real intrigue without taking itself too seriously, and it rolls at a deliberate yet feverish pace. I’d give it a solid A-. It’s probably not the absolute best Marvel movie, but it’s way up there.

Top 50 Best Albums of 2017 — February 10, 2018

Top 50 Best Albums of 2017

Yes, the wait is finally over. These are my top 50 favorite albums of 2017. The wait has been long, and while I can’t promise this list is any good, it allowed me to reflect on a lot of the great and not-so-great music released this year. In my opinion, 2017 saw a lot of exciting new artists and sounds, but didn’t have quite the wealth of excellent albums we got in 2016. I mean, Bruno Mars just won the Grammy for Album of the Year, and his album didn’t even come out in 2017, and he kinda deserved it. Still, it was a real struggle to narrow this list down from the 200+ albums that made my shortlist, and a lot of excellent albums got left in the dust. For instance, I’d like to give an honorable mention to Belly’s Mumble Rap, Foo Fighters’ Concrete & Gold, HAIM’s Something to Tell You, the National’s Sleep Well Beast, and Syd’s Fin. With that out of the way, let’s get things started with one of 2017’s most revelatory debut solo outings.

50) HARRY STYLES – Harry Styles


Harry Styles, the album, suffered from a typical case: a finely-tuned, perfectly solid record terminally overshadowed by its lead single. Sure, “Sign of the Times” was a perfect move for Harry Styles: an undeniable, breathtaking single to elevate him from boy band leftovers to exciting pop up-and-comer. But of course, there’s no way the rest of the album could live up to it. Still, “Sign of the Times” fits neatly in the album’s winsome catalogue of capable, resonant throwbacks. One Direction’s solo outings have yielded mixed results, but at the very least, it can be said that Harry’s got it going on. Niall’s album was pretty good, too.

Best songs: “Sign of the Times,” “Carolina,” “Only Angel,” “Kiwi”

Worst song: “Sweet Creature”

49) NO DATA – Daye Jack


There were a lot of exciting breakthrough albums by up-and-coming rappers this year (as there are every year these days), but one of the most tragically overlooked has to be Daye Jack’s phenomenal, retro-futuristic debut LP No Data. The album combines space-age grooves and pounding hip hop to create something fresh and thoroughly enjoyable. The apparent Justin Timberlake influence lends itself to Daye Jack’s still-hungry raps and surprisingly solid singing voice. I’ll admit I hadn’t heard anything from Jack before this year, but his suave, fluid energy is sure to keep me coming back for more.

Best: “Deep End (Jayvon Remix),” “Finish Line,” “Bully Bully,” “Casino”

Worst: “Lady Villain”



Primus isn’t exactly a love-’em-or-hate-’em band, but they’re pretty close. In their transition from exciting new sound to weirdo-rock legends, they’ve always had their fair share of detractors. The Desaturating Seven, their latest album and the first since 2011 to feature their original lineup, is no exception. To some, Primus’ whole “thing” is exhausting, but criticisms for this album also noted its unusually short length and relatively unchanging sound. I can certainly see where folks are coming from, but I was sort of sold on this album from the get-go. In addition to its unique concept (it’s based on an Italian children’s book about rainbow goblins), it also features some tightest songwriting of Primus’ entire career, as well as some absolutely jaw-dropping bass playing by frontman Les Claypool.

Best: “The Seven,” “The Trek,” “The Scheme”

Worst: “The Ends?”

47) BOO BOO – Toro y Moi


I’ve known about Chaz Bear’s lo-fi Toro y Moi project for a while now, and I’ve always liked the guy, but something about it never quite stuck with me, up until Boo BooBoo Boo is a gorgeous album, quiet and ambient with an undeniable groove that sets it apart from the rest. It’s fun, it’s bittersweet, it’s personal, it’s full of captivating quirks in writing and production that give it what Chaz just might have needed all along: personality. To purists, it may read as Bear “going pop,” but the pep and polish gives it an aesthetic that sets it apart from past Toro y Moi albums and makes for something fun, thoughtful, and new.

Best: “Mirage,” “Mona Lisa,” “Don’t Try,” “Labyrinth”

Worst: “Windows”

46) GOOD FOR YOU – Aminé


Amine first found a following in 2016 with his delightful breakthrough hit “Caroline.” The single boasted a kooky instrumental, off-the-wall sense of humor, and penchant for pop culture. With that in mind, Good for You delivered everything we could’ve hoped for. I’d challenge anyone to listen to this album without smiling, which is saying a lot because there’s a lot of great albums that’ll never elicit anything close to a smile. This breezy, bouncy, at times impressively insightful record is one of the better feel-good rap albums I’ve ever heard, and it sets Aminé apart as an artist apart from his contemporaries, a voice we’ve yet to hear in hip hop.

Best: “Spice Girl,” “Wedding Crashers (feat. Offset)”, “Sundays,” “Heebiejeebies”

Worst: “STFU”

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Top 20 Songs of the Month (December 2017) — January 4, 2018

Top 20 Songs of the Month (December 2017)

While I’m working on more end-of-the-year lists, help yourself to some of my favorite tunes from the month of December. This list didn’t take nearly as long to narrow down (not a lot of people put out music in the last week or two of December), but I have to say I’m more satisfied with this one than the past few I’ve done. It’s easily one of the most varied lists I’ve ever done (though a couple artists show up more than once), and I was able to get it out earlier than I have in over a year. Will any of these songs be making my eventual “best songs of 2017” list? We’ll see, but they’ve made it this far, so give ’em a listen.

20) LUCKY PEOPLE – Waterparks

I was first put onto Waterparks a month or two ago when they released “Blonde,” a fun ’90s throwback pop-punk number bolstered by some impressive instrumentation and a memorable vocal performance by lead singer Awsten Knight (“Is Awsten Knight gay?” has been added to my search history; the results were inconclusive). “Lucky People” is… different. Knight himself described it as “the most happy Jason Mraz-ass song you ever saw,” and I’m inclined to agree. It’s charming at first, but it hooks you after a few listens and sets it apart from your standard “white guy with acoustic guitar” fare with a great pop hook.

19) BEN FRANKLIN’S SONG – The Decemberists

“Ben Franklin’s Song” is the first of a series called “Hamildrops,” in which Lin-Manuel Miranda plans to put out unreleased content written for Hamilton every month of 2018. Of course, that’s exciting, to hear new songs from Hamilton performed by beloved musicians. And based on Lin’s brilliant decision to give this one over to the Decemberists, the songs are definitely in capable hands. I’ll admit I’ve never been way into the Decemberists, but I’ve heard enough to know that their folky sound perfectly complements the brash, cocky Franklin represented in the lyrics. Every “Do you know who the fuck I am?” lands with impeccable timing, and it all builds to a surprising theatrical climax. It’s easy to see how this would fit in to some version of Hamilton, but framing it as a Decemberists song makes it all the better.

18) GO DUNG – Major Lazer feat. Kes

Major Lazer first came across my radar with their global smash hit “Lean On” back in 2015, and I’ve kinda been a fan ever since. They’ve really perfected their electro-dancehall fusion sound to a science, and I haven’t liked everything I’ve heard, but when they get it right, they get it right. Like “Go Dung,” their latest single featuring the soca band Kes, ostensibly from Lazer’s forthcoming album Music Is the Weapon. It starts off with a classic reggae/pop hook, then morphs into a club banger and rests itself squarely in both categories. It’s fun, simple, and catchy, but still carries the hallmarks of Diplo, Jillionaire, and Walshy Fire’s intricate production.

17) DANGER – Migos and Marshmello

In the last few days of 2017, Will Smith’s Netflix fantasy action blockbuster Bright got absolutely clowned for piss-poor attempts at social commentary and that bland film of David Ayer grime. Like Ayer’s previous work, Suicide Squad, it’s maybe not as bad as people make it out to be, but definitely pretty fucking bad. Also like Suicide Squad, it’s actually got a really solid soundtrack. I wasn’t expecting too much from a collaboration between Migos and Marshmello, but I was pleasantly surprised by this one. Marshmello’s sometimes-dated EDM-pop production lends itself well to Quavo’s vocals. Takeoff’s verse is really good, and the hook is one of the best we’ve heard from Migos in some time. Will it have the staying power of “Purple Lamborghini?” I don’t know about that, but it’s a solid track.

16) THIS IS ME – Kesha

Here’s another soundtrack song, this one from the bizarre-in-the-blandest-way-possible P.T. Barnum musical The Greatest Showman. Like any other song on this album, it’s schmaltzy, corny, and weirdly pre-9/11 in it’s doe-eyed optimism, but what really makes it is Kesha’s voice. It’s so interesting how in such a short time, Kesha’s gone from an Auto-Tuned has-been to one of the most powerful voices in pop music, but she fucking belts on this track. It’s time to start a petition to put Kesha in a musical already, or at least put her on every soundtrack album.

15) CAKIN’ – Yogi, DRAM, and Lady Leshurr

DRAM has quickly become one of my favorite artists of his class. I’m always eager to hear whatever new stuff he puts out, and this month was a bountiful one. In addition to a deluxe edition of his phenomenal debut album Big Baby DRAM, we got this new collaboration with British producer Yogi and British rapper Lady Leshurr. DRAM’s hook really ties the whole thing together, although the production is also unique and interesting and Leshurr serves up a pretty solid verse (though if you’re looking for a taste of her capabilities, check out her “Queen’s Speech” freestyles). Fun, solid song all around.

14) LAST WAVE – They Might Be Giants

Ya gotta love They Might Be Giants. Between their appearances on kids’ shows and the theme from Malcolm in the Middle, they were one of the first bands I was exposed to, period, and they’ve only gotten better with age. They’ve streamlined their weirdness to a science, with their idiosyncratic vocals, ear for hooks, and great instrumentation. I’m not sure I could pin down why I like this song a lot, but it’s definitely a prime example of just a few of the many thing TMBG has to offer. Looking forward to that new album, guys.

13) STICKY – Ravyn Lenae

With the help of rising multi-instrumentalist Steve Lacy, Ravyn Lenae pushes R&B in bold new directions with “Sticky.” It’s sublimely strange, equal parts macabre and mellifluous, some kooky hybrid of Janelle Monae and Solange with a dash of Aaliyah. Steve Lacy is quickly becoming one of the most important musicians on the scene, pushing R&B and hip hop into psychedelic new territory while working with the likes of Kendrick Lamar, J. Cole, and Tyler, the Creator. “Sticky” isn’t perfect– it’s a little too brash, a little too jagged– but it’s a sign of great things to come for Ravyn Lenae.

12) STIR FRY – Migos

What’s especially exciting about Migos’ recent output is that it finds them branching out from their trademark trap stylings while still maintaining the hallmarks of their unique sound. On “Stir Fry,” they team with Pharrell for an interesting melding of styles: Pharrell’s jaunty schoolyard mid-’00s pop rap melds with Migos’ signature cadences to create something starkly new and refreshing while still being undeniably Migos. It takes a moment to get used to, but by the time you get to Offset’s (phenomenal) verse, you’re hooked. It’ll definitely be interesting to see how Migos’ sound has evolved on Culture II.

11) GROWN – Chloe x Halle

For a moment in 2016, everyone was going nuts over Chloe x Halle. The sister R&B duo went from YouTube sensation to award shows, working with the likes of Missy Elliott and Beyonce, and being at the center of every music blog’s radar in a short span of a few months. And yet, where are all those critics now? These two are better than ever, as evidenced by this single and their phenomenal mixtape earlier this year, but the music community seems to have already moved on to the next obsession (Brockhampton, who we’ll get to in a bit). It’s a shame, because this song definitely deserves attention. It’s got an overwhelmingly beautiful hook, great vocal performances as always, and an interesting sort of Disney vibe to it that makes it feel really urgent and captivating. I don’t know. Don’t sleep on these gals.

10) HO HO HO – Sia

Sia’s Everyday Is Christmas album dropped last month to decent fanfare. It’s got a lot of holiday bops, but most of them ended up being sort of forgettable. Of course, the stand-out track is “Ho Ho Ho,” a simple, jaunty pseudo-shanty that builds to a thoroughly enjoyable and perfectly complements Sia’s idiosyncratic vocals. There’s a delightful instrumental break towards the end that feels like something straight out of a Rankin/Bass special. If any Everyday Is Christmas song has the makings of a holiday staple, it’s “Ho Ho Ho.”

9) FREEDOM IS A WORD – Christian Scott aTunde Adjuah feat. Vic Mensa

Christian Scott aTunde Adjuah is a jazz trumpeter who released a thoroughly slept-on trio of albums in 2017, capped off with this month’s The Emancipation Procrastination. For “Freedom Is a Word,” he teams up with Vic Mensa to create a soulful jazz/rap hybrid that features some of Vic’s best bars in recent memory. I’ve been underwhelmed by some of the stuff I’ve heard from Mensa recently, so I appreciated this song on that level, and it’s also good to see major artists working with Christian, who I’m hoping to see join the ranks of folks like Steve Lacy and Thundercat in this new wave of jazzy rap.

8) ABC 123 – Tune-Yards

This is only like, the third Tune-Yards song I’ve ever heard, but clearly I’ve been missing out. “ABC 123” is a kooky electro-indie track imbued with sharp lyrics and Merrill Garbus’ uniquely ambiguous pipes. It’s excitingly weird, but still purely enjoyable, with intricate, bleak lyrics layered with pulsating, off-kilter synths and a delightfully dramatic vocal performance. It makes me eager to check out some of their older stuff, as well as eagerly anticipate their forthcoming album.

7) TAKE ME – Brasko

I’ve never heard of Brasko, I can’t seem to find much on him anywhere, and I’m quickly discovering this song didn’t technically come out in December. Still, given his relative obscurity and the fact that this song barely has 2,000 plays on SoundCloud, I felt the need to share it, because this guy is phenomenal. The song is pure Prince brilliance, slathered in synthesized guitar and ’80s drums, with Brasko’s nasally voice delivering unapologetically sexual pop reflections. I really hope to see more of this guy in the future, but regardless, it’s quite a first impression.


I swear, this is the last Christmas song. I honestly feel that I haven’t given Lizzo her fair shake on these lists in the past; she’s one of the most versatile, exciting voices on the rise in R&B today. “Never Felt Like Christmas” has all the makings of a holiday classic; it’s sentimental, thoroughly catchy, it’s got immaculate instrumentation and exquisite crooning by Lizzo herself. My only wish is that Lizzo could be the star Mariah Carey was in the early ’90s, to elevate this from a hidden gem to a phenomenon. It’s that good.

5) CAMPFIRE – DRAM and Neil Young

Hello again, DRAM. When it was announced that DRAM and Neil Young were working on some music together, I don’t think anyone really knew what to expect. Both artists are multifaceted auteurs, but it’s hard to see where the common ground between them would be. Young chiefly traffics in degrees of folk and rock, whereas DRAM fluctuates between psychedelic R&B and goofy rap tunes. Somehow, they found their mojo in “Campfire,” a groovy reggae-esque track merging DRAM’s free-form vocals and Neil Young’s artful storytelling. The result is more captivating than anything else, not particularly catchy or clever, but beautiful in its ambition. It certainly makes me want to hear more from these two together. Who would’ve thought?

4) NEVER BE THE SAME – Camila Cabello

Man, I’ve been really digging Camila Cabello lately. “Havana” was one of my favorite pop songs this year, and looking back at it, I kinda dug “Crying in the Club” too. “Never Be the Same” is stellar in a whole different way. It’s a full-on ballad, the kinda shit drunk people ruin in karaoke, an unmitigated display of range and talent that proves Camila’s got great things ahead of her, and it’s also really catchy. I wouldn’t be surprised if this were as big a hit as “Havana” in the next month or so, given the relatively lackluster crop of pop tunes coming out right now (although, Bruno Mars’ “Finesse” and whatever Timberlake’s working on are sure to draw crowds). But what’s important is, it’s a great, superbly memorable pop song that you definitely shouldn’t sleep on.

3) DON’T DON’T DO IT! – N.E.R.D feat. Kendrick Lamar

After all these years, Pharrell’s seminal alternative rap rock group N.E.R.D returned this month with a phenomenal album of apocalyptic bangers featuring a who’s who of guests (not to be confused with Gorillaz, the seminal alt group who returned in April with a phenomenal album of apocalyptic bangers featuring a who’s who of guests). I already gave props to “Lemon” last month, but “Don’t Don’t Do It!,” their new single with Kendrick Lamar might be even better. It’s got a smooth, funky intro written by Frank Ocean (!!) that flows into a frenetic, surprisingly memorable hook of “Don’t do it! Don’t don’t do it!” Kendrick’s rapid-fire verse (potentially one of the best verses of 2017) brings home the song’s themes of police violence and discrimination, creating an urgent, inescapable track built on Pharrell’s sharp-as-ever production abilities.

2) BOOGIE – Brockhampton

Oh, you thought that Brockhampton comment earlier was negative? Nah, I love these guys. “Boogie,” the lead single off this month’s Saturation III, is easily one of the hip hop boy band’s best songs to date. It features arguably the best beat they’ve ever worked with: a beautiful cacophony of blaring horns and sirens over a Pharrell-inspired drum beat that allows each member of the group to showcase their unique talent and personality in the form of a seemingly never-ending series of hooks. If you haven’t checked out any of Brockhampton’s music yet, definitely start with this one.

1) #FREESTYLE087 – Black Thought

Alright, so technically, this might not qualify as a song, but I just couldn’t resist giving it top honors. Freestyles that leave this much impact don’t come around every day, and Black Thought’s blistering ten minutes of fury over Mobb Deep’s “The Learning” instrumental is definitely one for the books. In one take, Black Thought touches on history, sociology, religion, literature, and of course his extensive back catalogue of music knowledge, including references to everyone from Kafka to Buzz Bissinger to Kanye West to Padma Lakshmi. It’s an absolutely stellar display of lyrical craftsmanship and presence, completely captivating from beginning to end in spite of its daunting length. For a long time, I’ve considered Black Thought one of the top five best rappers of all time. This just serves as further proof.

I’ve got a lot of year-end lists coming soon, including album of the year, movie of the year, verse of the year, potentially song of the year, and probably a few others, so stay tuned.

Top 20 Best Hit Songs of 2017 — December 28, 2017

Top 20 Best Hit Songs of 2017

Yes, with the worst out of the way, it’s time to count down the best. In a lot of ways, this year was a mixed bag. A lot of pop was very formulaic, but “pop” as a genre was much less prominent on the charts than in previous years, allowing pop artists like Lady Gaga, Kesha, and Calvin Harris to branch out in exciting new directions while non-pop artists like Kendrick Lamar and Childish Gambino found their way into the mainstream ear. So there was a lot of middling shit, but an above-average amount of great shit as well. Here are my personal favorites. Note: for the purposes of these lists “hit” refers to any song that made its way onto Billboard’s year-end Hot 100 or into the top 20 at any point this year.

20) MOTORSPORT – Migos, Cardi B, and Nicki Minaj

In a way, this song acted as a bookend for the year in pop rap. It acts as the first single off Migos’ upcoming Culture II, the follow-up to their January Culture album which dominated the culture for much of 2017. It features Cardi B, who made waves this year with her smash hit “Bodak Yellow (Money Moves)” and became the first solo female rapper to earn a #1 single this century. Nicki Minaj had a busy year herself, including high-profile beefs, a few talked-about verses, and a top-ten hit with Yo Gotti’s “Rake It Up.” In October, these five titans came together for “MotorSport,” a surprisingly-lowkey but still undeniably catchy track featuring outstanding verses by the two female MC’s and solid work from Migos. A bit overlong, perhaps, but I don’t think there’s anything I’d take out (except maybe Quavo’s verse).

19) LOVE GALORE – SZA feat. Travis Scott

“Love Galore” is the lead single off SZA’s earth-shattering debut Ctrl, and it gave mainstream audiences the first taste of the R&B songstress’ unique vocals and penmanship with a distorted, deep-groove sex song. The marriage of styles between SZA and Travis Scott goes as wonderfully as you’d expect, with Travis’ woozy psychedelic rap juxtaposed against SZA’s syrupy pipes to create something strange, but undeniably enjoyable.

18) FRIENDS – Justin Bieber feat. BloodPop®

There’s something about that big ’80s synth sound I just can’t get enough of. On “Friends,” Justin Bieber reunites with producer BloodPop, who worked on five songs from Bieber’s last album Purpose, including the smash hit “Sorry.” You can definitely hear the “Sorry” in this track, an upbeat-yet-forlorn plea to an ex-lover punctuated by weird EDM sounds and a deep, driving groove on the verses. It’s simple, but not to the point of being cut-and-dry; it still feels real in spite of its universal “Can we still be friends?” conceit.


Not since Bobby Shmurda has an up-and-coming rapper made this much of an impression with a solo single. For the latter half of 2017, “Bodak Yellow” was inescapable.  People who’d never listened to it knew half the words. There’s the famous video of an entire subway station gathering together to turn up to it. And it’s not a bad song, either. It’s simple, sure, but there’s a power in it; an infectious quality that can’t be understated. It’s a common concept (“I didn’t have money, but now I do”) handled elegantly by a rapper with a lot of potential. A lot of big singles by new rappers turn out to be flukes. I don’t think Cardi B is going anywhere.


Lady Gaga’s pivot towards country was met with mixed reception. You’ll recall I rather dug the album, putting Joanne somewhere in the upper twenties on my 2016 Album of the Year list. A lot of people hated that album, most agreed it could’ve used an edit. One thing less polarizing than the album: the hit single, “Million Reasons,” which enchanted fans and critics alike by taking Gaga’s commitment to country and going all the way with it. Like “Bodak Yellow,” it’s simple: a wistful guitar-and-piano tune with pretty repetitive lyrics, but it’s Gaga’s vocal performance (one of the best of her career) that really makes the song. Of course, the simplistic folky concept does have a certain Paul Simon quality to it. It’s a perfectly timeless song, a sandbox that could be covered and transformed a million different ways. But I just need one good one to stay.

15) DESPACITO – Luis Fonsi and Daddy Yankee feat. Justin Bieber

Hello again, Bieber. Look, what do you want from me? Justin Bieber had like, a half dozen hit singles this year. He’s gonna have to show up on the list. You’re lucky I didn’t also throw in “Let Me Love You.” Anyway, it was a weirdly brilliant idea to throw Bieber on this track. He complements the Latin guitar surprisingly well, he gave the song the crossover appeal it needed to top the charts in the US for a billion weeks, and the way he says “despacito” is just honey on the ‘drums. Also, say what you will about Luis Fonsi, but the dude’s got hooks on hooks. In a year of hit-free hits, “Despacito” was refreshing not only for its language, but because it was an actual summer song. With how absurdly overplayed it was, it may take a few years to appreciate in quality, but I think history will be kind to “Despacito.”


Is Drake any good? The question’s haunted me for quite some time. On the one hand, you’ll recall how “Both” made my worst list, and I put “Fake Love” and “Free Smoke” in the running as well. He’s definitely not putting very much effort into some of his music these days. More Life is a fine not-album, but there are a lot of songs on it that were pretty clearly made not out of inspiration, but out of a commercial need to put something out. On the other hand, there’s “Passionfruit.” I don’t know whether or not Drake uses ghostwriters, but assuming he doesn’t, this is probably his most impressive song to date. It’s got a brilliant, poetic structure to it; it almost feels like a St. Vincent-type art-pop song, but with a lo-fi Caribbean flair. I don’t think anyone would be doubting Drake if he put out more tracks like this.

13) FEEL IT STILL – Portugal. The Man

There’s no surer sign that the pop machine is dying than the fact that, for the better half of 2017, Portugal. The Man had a top ten hit. Yes, the indiest of indie bands finally found its way onto pop radio with “Feel It Still,” an undeniably catchy send-up to ’60s protest culture. How did these oddballs score a hit? Well, the short answer is commercials. As it’s become harder for lesser-known artists to make a living in the age of streaming, bands have started turning to advertising companies, who have been working for years to make indie rock synonymous with cars and Vitamin Water. Most heard “Feel It Still” for the first time in a commercial featuring Aaron Paul dancing on a treadmill. It picked up steam from there, thanks to its unshakable groove built around a sample of the Marvelettes’ “Please Mr. Postman,” and the rest is history.

12) ROCKABYE – Clean Bandit feat. Anne-Marie and Sean Paul

Yeah, I still love this song. I know I’ve written about four different blurbs on it already, but what can I say? It’s such a bizarre concept, handled by the most extra name in EDM, featuring conscious raps from Sean Paul. From Paul’s opening ad-libs “All the love and devotion / Calling the moms, adoration / Foundation / A special bond of creation” to the melodramatic violin outro (represented in the video by a woman in her underwear solemnly pole dancing), it’s the most bizarre EDM-pop track to find its way onto the radio this year, and I love it dearly.

11) LOCATION – Khalid

This is another song that could be described as “weird,” but less in a cornball way and more in a “this guy’s gonna be huge” way. It’s simple, layered, and completely unforgettable. Khalid’s voice is soft, weary, but unique, and works perfectly in tandem with the desperate lyrics. And the beat is unlike anything I’ve ever heard before. bubbly synths create the illusion of a somber acoustic guitar while barely-there vocal samples give the track an otherworldly feeling. This song transports you to a strange, liminal space, and it’s easily one of the most moving songs on the radio this year.

10) ATTENTION – Charlie Puth

After a couple years of sappy, schlocky, insipid piano pop, Charlie Puth finally gave the gays what we want with “Attention.” Granted, this could’ve easily been another stupid piano ballad, and it would have been only slightly less shitty than the rest. But that groove, man. Who would’ve thought funk and Charlie Puth go so well together? Hopefully Charlie’s learned his lesson now: if your song’s gonna be stupid, it at least has to be fun. “Attention” is fun.

9) I FEEL IT COMING – The Weeknd feat. Daft Punk

If I recall correctly, this song was rather high on last year’s list, but in fairness, my standards for last year’s list were ridiculous. This year, “I Feel It Coming” was actually a hit, and I’m glad too, because it’s still an amazing song. That ’70s groove is Daft Punk at their finest, and The Weeknd’s mellifluous crooning brings it to another level. It’s pure campy disco bliss.

8) 24K MAGIC – Bruno Mars

Hey, speaking of camp. An earlier version of this list had “That’s What I Like” in the top ten, but upon further consideration, I’m ready to say definitively that “24K Magic” is a better song. It’s a brilliant send-up to the entire history of R&B, and a perfect intro to Bruno Mars’ delightful 2016 album of the same name. Sure, it’s not the type of doe-eyed piano ballad that made him big, nor is it a bold new direction, but if Bruno Mars just kept remaking “Uptown Funk” in slightly different genres for the rest of his career, I would not complain.

7) BAD LIAR – Selena Gomez

I was a fool for sleeping on this song when it came out. I let the fact that Selena Gomez has literally never made a good song before get the better of me and failed to see how absolutely brilliant this track is. It’s catchy, it’s funny, it’s relatable, and above all else, it’s super fucking weird. Selena murmurs through gonzo verses over a classic Talking Heads bass line leading up to a hook that doesn’t have any right to be as catchy as it is. One can only hope we get to see more delightfully weird shit from Selena Gomez in the future.

6) HAVANA – Camila Cabello feat. Young Thug

It took the combined star power of Young Thug, Pharrell, and Starrah, but I’m finally a Camila Cabello fan. It’s not that I hated her or anything, but between her shitty collaboration with Machine Gun Kelly, her unremarkable work with Shawn Mendes, and “Crying in the Club,” which is fine, I just kinda didn’t see what she had going for her. It turned out, all she needed was to get on a Pharrell beat. I probably listened to “Havana” more than almost any other song this year. I instantly loved it. And it’s not just the Pharrell production, or Starrah’s pen, or Young Thug’s idiosyncratic warble; I love Camila on this song. I love her voice, I love the lyrics, I love how she fits with the beat. To me, this proved that Camila is more than just a bland pop star, and I’m excited to hear what she comes out with next.

5) SIGN OF THE TIMES – Harry Styles

Here’s another song I’ve already gushed to death about. We were all ready to be excited about Harry Styles, just waiting for him to come out with something worth talking about, and by god, he delivered. Once his debut album finally dropped, some folks didn’t love it, but this song’s still pretty great, right? It’s a meticulously-paced, gorgeously-produced glam rock ballad, the sort of thing that elevates the standard for a post-boy-band debut to live up to. “Cry Me a River?” Please.

4) HUMBLE. – Kendrick Lamar

With other folks’ end-of-the-year lists coming out, it’s clear that fans and critics alike just can’t get enough of Kendrick Lamar’s DAMN. While I hear a lot of praise dumped on that album and think “Well, I don’t know about that,” I will say this: “HUMBLE.” is an amazing song. That dirty piano beat, the endless quotables, the sheer swagger of it all. Kendrick’s always been a pretty vulnerable, introspective artist, so to hear him come for rappers’ necks like this is really refreshing. When you’re the king, you get to gloat, and “HUMBLE.” revels in that glory to delightful returns.

3) SLIDE – Calvin Harris feat. Frank Ocean and Migos

“Slide” was one of the earliest contenders for song of the year, dropping in late February and staying true all the way through December. It’s an absolute powerhouse of a song, the type of space-age summer jam to be remembered for generations to come. Calvin Harris and Frank Ocean is a fever dream collaboration that has absolutely no business working as well as it does. Frank’s vocals are heavenly as always, Quavo and Offset put in some really solid work (this is actually the song that put me onto Offset as a rapper), and the production just might be Calvin Harris’ finest work to date. It’s almost too perfect, but it’s too much fun to ignore.

2) PRAYING – Kesha

I’ve remarked several times that this song is far too powerful to play on the radio. Whenever I hear it in the car or a cafe or my school’s dining hall, I lose 80% of my brain functionality to absorb its majesty. Ryan Lewis is the best thing to happen to pop music in a long time, and he does his magic on this track to create something baroque and beautiful without falling into cliche or inaccessibility. But of course, the star of the track is Kesha herself, who sets herself apart as one of the best pop vocalists alive in one fell swoop while baring her soul on this intense five-minute track. It feels like a song that should’ve gotten old months ago, but every time I listen to it, really listen to it, it still jerks a few tears out of me.

1) REDBONE – Childish Gambino

In a scant two years, we’re going to start discussing the best songs of the decade. Music journalists will begin the process of throwing together “decade in review” lists, picking out the most impactful, inspired, and enjoyable music of the 2010’s. And at this point, one of the strongest contenders is “Redbone.” It was an instant critical smash when it dropped late last year, and after appearing in two of the best films of the decade (Moonlight and Get Out), it creeped its way onto the pop charts. Now, looking at its impact, the countless memes it spawned, Gambino’s ethereal vocals, the inspired production, and everything else, it’s hard to argue “Redbone” isn’t one for the ages. Our kids will know “Redbone.” Musicologists in the next century will know “Redbone.” Donald Glover has been cementing his place as a pop culture icon for a few years now, but with “Redbone,” we start to see him carve his place into history.

Top 15 Worst Hit Songs of 2017 — December 26, 2017

Top 15 Worst Hit Songs of 2017

Yes, 2017 has finally come to an end, which means it’s time to start looking back at this most recent year in the form of oversaturated listicles. The more positive lists will be out shortly, but we’re starting on a brown note with my personal picks for the top 15 worst hit songs of the year. To be clear, my definition of “hit” includes any song that made it onto Billboard’s year-end Hot 100 or placed in the top 20 at any point this year. In spite of this being an especially mediocre year for pop music, it was kind of hard to pick out songs for this list. It wasn’t too hard to pick out the best, but with so many floating towards the middle, there wasn’t as much fodder to mock for the worst. As a result, I was pretty damn close to including three different songs that were also on last year’s list, but I managed to restrain myself. Anyway, here’s your fucking list.

15) BOTH – Gucci Mane feat. Drake

Now, this song isn’t too bad from the start. Half-decent, innocuous trap beat. Some pretty fun bars from Gucci, an artist who had a particularly massive year. It’s hard to get upset about this song. But then Drake comes in and… oh boy. Oh, buddy. How the mighty who once rapped “I love you like the Ninja Turtles love pizza” have fallen. It’s a grating, unpleasant chorus, already a surefire sign that Drizzy’s not on his best behavior, but it’s only accentuated by one of the worst verses of his entire career. I don’t know if Drake is just so inundated with wealth that he doesn’t know how to properly rap about it anymore, but “used to get leftovers out the fridge” is not it.

14) 2U – David Guetta feat. Justin Bieber

Now, before you write this off as tedious Bieber hate, let me just say you can expect to see Bieber on my best songs of the year list more than once. In fact, this is actually tedious David Guetta hate. Of course, I admire Guetta for a lot of things. As an artist sometimes credited as the “grandfather of EDM,” he’s had a long and illustrious career, and for a time, defined the soundscape of pop radio. The only thing is, now cats like Diplo and Rihanna have started defining the soundscape and your boy David Guetta is having some trouble adjusting. It opens with some downright bizarre lost-in-translation lyrics, but the wobbly, overblown drop really seals the track’s fate. In the age of EDM, a lot of popular songs don’t really have hooks, but they’re written around not having hooks. You can’t build up to a huge hook and then give us nothing. There’s the beginnings of a good song here, but a depressing amount of wasted potential.

13) COLD – Maroon 5 feat. Future

Count on Maroon 5 to always find new and interesting ways to suck. They almost had me going there, between “Sugar” and “This Summer’s Gonna Hurt Like a Motherfucker.” Even that weak song with Kendrick Lamar seemed like it could have been a step in the right direction. But then we got “Cold.” It’s not uncommon for a pop song to come around that’s not catchy. But rarely do we get one so impossible to get into. There’s nothing; no beat, no hook, nothing to say, nothing to do, just four absurdly long minutes of wallowing. Future gives it his all, but the track ultimately drags him down with it.

12) IN CASE YOU DIDN’T KNOW – Brett Young

I’ll be brief with this one because country’s not really my thing and if you’re reading this, there’s a solid chance it isn’t yours either. I don’t want to comment too much on a genre I have no expertise in, but listen to this song for a quick sec. Just like, 20 seconds, long enough to hear Brett Young sing. Okay, now what the fuck? Why does he sound like that? This isn’t a joke or anything. It’s clearly meant to be a serious, romantic type of thing. I just don’t know how anyone could suspend their disbelief that someone who talks like that could be sexy for a full three minutes. Okay, I’m done. Back to my comfort zone.

11) GUCCI GANG – Lil Pump

To be clear, I understand why people like this song. I understand that it’s supposed to be low-effort, and it’s supposed to provoke your standards for what constitutes a good song. The only thing is it’s also, y’know, a bad song. I don’t need hot lyrics from every song I hear, but it’s not like, catchy or anything either. It’s a bad beat. Bad hook. Bad bars. It’s just a purely unenjoyable song.


You know what’s worse than bad turn-up rap? Bad conscious rap. Purported Christian rapper NF has been building up steam over the past couple years as a sort of Eminem-lite, and he made a bid for the mainstream late this year with a #1 album and a bit of a hit single in “Let You Down.” Now all he needs is a point. For now, he’s content to wallow in pitter-patter platitudes, apologizing to… someone? His dad, I guess? There’s also the shitty, melodramatic EDM beat/hook, and the ingenious rhymes like “disappointment” and “disappointed.” If you thought Eminem was washed up, wait ’til you hear what his successors are peddling.

9) ROCKSTAR – Post Malone feat. 21 Savage

At first glance, this song’s pretty inoffensive. Forgettable, decent beat, pretty solid 21 Savage verse, certainly not Post Malone’s worst. The only thing is, this was the #1 song in the country for eight weeks. What the fuck? How did this cheesy, phoned-in, lame little tune keep audiences coming for so long? The answer seems to be Post Malone’s rabid fanbase, who must have been really clamoring for him to collaborate with lo-fi gangsta rapper 21 Savage, because goddamn. How else do you explain a song with no beat, no hook, that wasn’t even played on the radio, becoming the #1 song in the country? For two months?

8) ROLEX – Ayo and Teo

Shitty Rae Sremmurd impersonators gonna shitty Rae Sremmurd impersonate. Admittedly, this song has a fun beat, and a more tactful rapper (DRAM? Drake? Rae Sremmurd?) could’ve done good things with it. But as it stands, the song itself is annoying, unpleasant, and clumsy. It’s Rae Sremmurd’s ear for hooks and rockstar attitude that makes them so enjoyable; take away the skill and the charisma and you’re left with a bad one-hit wonder meme song like “Rolex.”

7) NOW OR NEVER – Halsey

I like Halsey. She’s got an interesting sound, she’s a solid writer, I like her albums. But man, someone’s gotta help her pick out singles, because she sucks at it. Her previous album Badlands went all in on “New Americana,” arguably the worst song she’s ever released, and the charmingly-baroque follow-up hopeless fountain kingdom staked its bet on “Now or Never,” an obvious rehash of Rihanna’s “Needed Me.” I mean, I’m not crazy, right? It’s literally a beat-for-beat copy. It has the same hook. Fundamentally, it has the same beat. As a fan of a lot of Halsey’s work, I kind of expect more from her.

6) WHAT LOVERS DO – Maroon 5 feat. SZA

That’s right, Maroon 5’s doing double duty this year. In some ways, this song is worse than “Cold,” but my main reason for putting it this much higher is that they had to drag SZA into it. One of 2017’s biggest breakthrough artists, one of the most exciting voices in R&B today, and she still couldn’t escape Maroon 5’s creative black hole. That tragedy aside, it’s also an insipid, unpleasant song that takes it a step further than “Cold” through A) gratingly repetitive lyrics and B) a beat that’s actually kinda good. It’s nothing special, but they could’ve put Khalid or Sia on this and made a really solid summer jam. Instead, we got “Say say say, hey hey now baby.”

5) HEATHENS – Twenty One Pilots

What? I didn’t say there weren’t any songs from last year’s list making a comeback; I just said I restrained myself. For a song like “Heathens,” I just couldn’t resist. I think I already thoroughly dug into this one on last year’s list, so I’ll keep it short, but this is really a phenomenally bad song. If it hadn’t been #1 last year, there’s a good chance it would be #1 this year. Then again, I’m not necessarily ready to say that any of the songs below are any better. Eh, they probably are. This songs so sloppy, so unfinished, so up its own ass that few can compare. Although, truth be told, it’s a little easier to stomach now that it’s not quite as ubiquitous. Still, they didn’t need to layer fucking chipmunk vocals over everything. Come on, guys.

4) GUMMO – 6ix9ine

This is another ugly, annoying meme song that just barely managed to crack the charts because people were quoting it on Twitter. The only difference is that 6ix9ine, the performer behind it, pled guilty to three felony charges of “use of a child in a sexual performance” in 2015. Earlier that year, when he was 18, he and his friend made a video of them engaging in sexual acts with a then-fourteen-year-old. So that’s, uh, pretty bad.

3) THUNDER – Imagine Dragons

Listening to all of Imagine Dragons’ recent singles, the same thought seems to cross my mind: “How am I supposed to feel about this?” The once-exciting pop rock band has been failing lately at one of the most fundamental, unappreciated aspects of making music: eliciting a specific emotional response. In that sense, “Thunder” may be the worst hit song of 2017. Yes, it’s got that annoying “thun-DAH” thing, a weirdly incongruous tone, and uncharacteristically basic lyrics, but its greatest failure is not nearly as concrete as that. It fails to make the listener feel anything.


Now, this song’s problems are a bit more obvious. You’re comparing a woman to a dirt road, jackass! I could cap it off there, because that’s already enough for high honors, but there’s even more to hate about this song. Namely, the track is a particularly insipid instance of “bro country,” the blight that’s been infecting mainstream country for a few years now. The beat is more DJ Mustard than Dolly Parton, complete with 1-2-snaps and “Ay! Ay! Ay!”‘s. At its core, this song is basically a hybrid of Liam Payne’s “Strip That Down” and Niall Horan’s “Slow Hands,” and while I actually like both of those songs, I don’t think “half as good as One Direction” is something your typical country singer would consider high praise. Still, this song was doomed from the start. “Body Like a Back Road.” Are you fucking serious?

1) 1-800-273-8255 – Logic feat. Alessia Cara and Khalid

Hoo boy. Get your crucifixes ready. Alright, obviously this isn’t actually the worst song of the year, in the sense that on its own, it’s probably less bad than more than a few of the songs preceding it. So if it’s not the worst, why is it at the top of the list? Well, a few reasons. First of all, it should be noted that it is pretty bad. It fails as a serious song because it’s trying too hard to be a radio single, from the Chainsmokers chords to the cheesy ad-libs to the bankable guest appearances. It also fails as a pop song because it’s super depressing and melodramatic. I get that it’s about a really serious topic, but when you hit the point of literally having a dude crying in the background for the last minute and a half, you might be going overboard. Couple that with some pretty poor lyrics (the song’s cowritten by the Chainsmokers, if you can believe it) and a few other very questionable choices (Who can relate? Woo!), and it’s obvious this song isn’t the masterpiece we’re socially obligated to pretend that it is. That’s a huge part of the problem, too: it’s taboo to not like this song. Logic suckered us into bringing his grating, nasally pipes, middle school bars, and masturbatory social commentary to number 3 on the Hot 100. Like with “Heathens,” this song’s baffling ubiquity is a big part of the reason it’s so unpleasant. If it had come and gone, peaked at #8 and raised money for a good cause, the thought to put it on this list at all wouldn’t have crossed my mind. But for the past few months, this syrupy drivel has been inescapable. That’s why it’s the worst song of 2017. Don’t @ me.

Best Songs of the Month (November 2017) — December 13, 2017

Best Songs of the Month (November 2017)

Sorry I’m a little late on this one. Finals and whatnot. This was a pretty solid month for music. Not much in the way of earth-shattering singles, but we did get some hotly-anticipated returns by the likes of Eminem, Beyonce, Rihanna, N.E.R.D., Natasha Bedingfield, Ashanti, and many more. At least three members of One Direction put out new music (plus one Big Time Rush member and one Jonas Brother), Sia dropped a surprise Christmas album, and a ton of other artists were putting out great new music throughout the month, though things seemed to quiet down a bit towards the end. Still, only twenty singles made the list, and to kick things off, here’s a long-awaited release by DMX.


Back in 2012, DMX did a radio interview where he performed a live cover of “Rudolph the Red-Nosed Reindeer.” That video went viral, five years passed, and now here we are. I’m not the type to put a ton of stock in novelty, but this is actually a really good cover. DMX’s off-the-wall energy brings sheer fun to a Christmas classic, aided by a really solid hip hop-infused instrumental. I was genuinely surprised by how good this turned out to be, and I like DMX.

19) TRAVELING LIGHT – Talib Kweli feat. Anderson .Paak

When he’s not engaging in pipin’ hot discourse on the world wide web, Talib Kweli still puts out music. Back in April, he dropped a solid EP with Styles P, and he’s already back with a full-length this month. The first single off that new album, “Traveling Light,” is a frenetic five-minute display of charisma and penmanship, slathered liberally with silky Anderson .Paak vocals. 20+ years into his career, Kweli’s as sharp as ever, and if you’re looking for bars, he’s got ’em in droves.

18) SOMETHING FOREIGN – SiR feat. ScHoolboy Q

SiR is the latest signee to Top Dawg Entertainment, and “Something Foreign” is his silky-smooth new single with fellow unconventionally-capitalized TDE crew member ScHoolboy Q. It’s got a cool, old-fashioned soul beat, with a late-night jazz club piano backing and rainy day drums. SiR’s unassuming voice carries free-flowing, flirty vocals, leading up to ScHoolboy’s show-stopping verse. Q doesn’t give out guest verses to just anyone, but when he comes through, he comes hard. 

17) PIÑATA – Vice feat. Bia, Kap G, and Justin Quiles

This was the last song I decided to put in the top 20. It was between this, Louis Tomlinson’s new song, and a couple others. I ultimately chose “Piñata” because it was the one I was thinking about the most. It’s not perfect. It’s a little simple, it feels like it could’ve come out in 2014 or 2011 or maybe even 2009. The hook is pretty ridiculous. There’s a buildup, but no real drop, which can be irritating a lot of the time. But it’s just… fun. I love the hook, I love that ludicrous suh-winnng! sound effect, it’s just a really enjoyable, memorable song. I’ve also been meaning to put something by Kap G on one of these lists for a while. Mostly the other stuff, though.

16) CARTOONS – CupcakKe

“Cartoons” is exactly the kind of song CupcakKe shines on: a dizzying two-and-a-half-minutes of raw energy, lyricism, and unfettered personality. Everything about her is over the top, from her image to her raunchy lyrics to her indulgent beats. There’s lots of wonderful wordplay all over this track, but my personal favorite is probably “I’m a snack, so I attract Scooby Doos.” CupcakKe was one of the rap game’s biggest revelations this year, and I can’t wait to see where she goes from here.


Miguel came back in a major way this month with a summery, idiosyncratic record full of soaring vocals, glitchy pop beats, and metaphorical critiques of American imperialism.  “Pineapple Skies” is one of the sunnier tracks on the record, with beachy synths and assurances that “everything’s gonna be alright.” It’s a four-and-a-half-minute journey of ecstasy, one of the most blissfully enjoyable R&B songs to come out this year. After his 2015 album Wildheart was seen as a stagnation of sorts, “Pineapple Skies” is a welcome reinvention of Miguel.

14) FAKE HAPPY – Paramore

Speaking of new directions, Paramore traffics in depressing ’80s-infused pop jams now. “Fake Happy” runs in the same vein as “Hard Times” and many of the other tracks off After Laughter, one of the best albums of the pop punk band’s illustrious career to date. Conceptually, you get a lot of what “Fake Happy” is about from the title: the narrator is fake happy, and she’s trying not to confront her reality, noting “I bet everybody here is fake happy, too.” Hayley Williams delivers an excellent vocal performance, which I suppose is to be expected, but it comes out especially on this song in particular.


This is another track released via Twitter by Lupe Fiasco, featuring a handful of lyrics from the previous set. It’s also another eight-minute lyrical tirade by Lupe Fiasco, swimming from topic to topic effortlessly with legendary lyrical skill. You can also barely hear it. As the song opens, you listen and think “Oh, he must have recorded this on his phone, since he’s releasing it on Twitter and everything.” But as the song wears on, you notice some samples standing out in front of others, the beat becoming clearer, deeper, while Lupe’s voice fades into the background. I have no idea what he was going for with this, but it’s mesmerizing regardless.


The trouble with OK Go, or perhaps their entire strategy, is that they put so much time, money, and energy into their videos that the music often gets lost in the fray. Outside of “Here It Goes Again,” their biggest hit and potentially their best song, I can’t say I remember many of their songs. It’s hard to even get an idea of how I feel about them as a bad when the videos themselves are so dazzling. I like this one, though. Lyrically, it’s not the most revelatory stuff I’ve ever heard, but there’s something about the instrumental. Something about those space-age synths, the sparse use of hard rock guitar and cowbell. It’s simplistic in a lot of ways, but deceptively complex, and it’s as tightly-produced as we’ve come to expect from the band. This is one OK Go song I won’t be forgetting any time soon.


JONES is a British alt-pop artist whose first album came out late last year. I had never heard of her before this month. But if this song is any indication, she’s found a new fan. “Something Bout Our Love” is a sparkling disco-infused electropop track with an absolutely killer beat and a pretty solid hook. I don’t have too much to say about it, it’s just a great tune by an artist with tons of potential. Check it out, why dontcha?

10) STRANGERS – Sigrid

Speaking of big tunes, I’m really digging this song. I’ve heard Sigrid a few times before, and I always felt she had a certain je ne sais quoi that I admired. This song immediately stood apart from the pack, though. Its most obvious inspiration is 1989-era Taylor Swift: introspective lyrics, hard-hitting ’80s synths, that one “hey!” sound effect in the background, you get the idea. Still, Sigrid expands on Swift’s ideas, creating someone that sounds particularly modern while still wearing its influences on its sleeve. And what a hook. It stands about halfway between Swift’s “Wildest Dreams” and Carly Rae Jepsen’s “Run Away With Me,” and that’s high praise.

9) TISK – MellowHype

After being declared dead in January 2015, cult favorite hip-hop duo MellowHype (consisting of Odd Future’s Hodgy and Left Brain) return, sounding fresher than ever on “Tisk.” The track serves as a five-minute show of lyrical strength by Hodgy, who swims through complex wordplay and elongated syllables over the simple, mesmerizing Left Brain beat. I was impressed with a lot of the stuff on Hodgy’s most recent solo effort, but he’s really stepped up to the plate on this track. At one point, he uses the word “Lincoln” about six different ways in the span of a few seconds. I’ll admit I never listened to MellowHype in their heyday, but after this onslaught, I’ll be sure to keep my ears peeled.

8) SAY LESS – Ashanti feat. Ty Dolla $ign

After a few years of dormancy, early-’00s R&B it girl Ashanti is back on a new track with Ty Dolla $ign, produced by DJ Mustard, and it absolutely slaps. Musically, the beat is a slight step backwards for Mustard, who proved his prowess with Rihanna’s “Needed Me” last year, but despite him playing his old tricks, he’s clearly harnessed their power in a major way. The beat is infectious from start to finish, as Ashanti and Ty$ glide from hook to hook with no end in sight. I don’t want to jump the gun and say this is another hit for Ashanti, but with the right team behind her, it certainly has it.

7) JUICE – Chromeo

Chromeo is a group known for bringing an ’80s flair to their electropop bangers, and “Juice” might be their freshest yet. It’s delightfully corny, incessantly catchy, and it’s got a talkbox solo. What more could you want? The hook (“You got the juice / That’s why I keep pressing ya, pressing ya”) is pure camp brilliance. Earlier this month, I revisited Bruno Mars’ 24K Magic after it was nominated for Album of the Year. “Juice” embodies a similar spirit, and its swagger can’t be tamed.

6) LEMON – N.E.R.D. and Rihanna

Yes, after years of silence (SpongeBob soundtrack album notwithstanding), N.E.R.D. is back and as ahead of its time as ever. “Lemon” is an acquired taste; its pulsating beat feels a little too fast, and Pharrell’s whiny, repetitive vocals are just barely tolerable. But once Rihanna starts rapping, there’s no turning back. You’re hooked. Rihanna’s always carried the swagger of a rapper, and this song is all the evidence we need that she should pursue rapping on a larger scale. The world needs a Rihanna rap album, that’s all I’m gonna say.

5) HEY BOY – Natasha Bedingfield

You might remember Natasha Bedingfield from her two smash hit pop masterpieces, “Unwritten” and “Pocketful of Sunshine.” Those two songs remain ingrained in the psyches of Generation Z, but little was heard of her since then, and she hasn’t released a full-length album since 2010. Now, the voice of a generation is back with “Hey Boy,” a swinging retro pop song taunting immature men in power. It’s iconic, it’s powerful, and it couldn’t have come at a more perfect time, when the world is in desperate need of A) shitty men to be taken down a few pegs and B) more Natasha Bedingfield. Also, apparently this song was co-written by Linda Perry? That’s fucking wild.


For those of you not “in the know” who only faintly recall Hanson as mildly irritating ’90s teenyboppers, please be advised that they’ve since become the greatest Christian rock band of all time. Okay, it’s debatable whether they’re the greatest, or especially Christian, or rock, but they are a phenomenal pop rock group, and “Finally It’s Christmas” is a fine introduction to their many charms. It knows what it is, it gets you in the Christmas spirit, and it absolutely kicks ass in the process. As previously mentioned, Sia put out a Christmas album this month, and it had a few singles I seriously considered putting on the list, but at the end of the day, I haven’t heard a new Christmas song that works as well as “Finally It’s Christmas” in ages.


DRAM has quickly set himself apart as an artist for whom I’ll drop everything to listen when he puts out a new single. “Check Ya Fabrics,” produced by the incomparable Rick Rubin, is one of his best songs to date. It’s a simmering slow-burn full of dizzying observations on DRAM’s own obsession with clothing. The chipmunk vocals deterred many fans, but I think they suit the song perfectly and make for a delightfully weird experience, which is what all the best DRAM songs deliver. There’s something so perfect about how it all comes together. I don’t know who it’s for, or why it was made, or what mood it’s trying to convey, but I love it all the same.

2) PUT JEWELS ON IT – Statik Selektah feat. Run the Jewels

I sort of surprised myself with how high I ended up putting this on the list. I love Statik, and I love RTJ, but it’s not like I was clamoring to see these two forces collide. There’s just something about the way they work together on this track. It’s rare to hear an RTJ track without El-P producing, but the duo’s lyrical stylings suit Statik Selektah’s refined old-school sound effortlessly. This is also one of the more impressive lyrical displays by RTJ to date. It most reminds me of the song they did with DJ Shadow last year, “Nobody Speak,” and as much as I love that song, I’m tempted to say this one outdoes it. I may come to regret putting this so high up on the list, but I’m certainly not there yet, so enjoy it!

1) KIWI – Harry Styles

November is the month Harry Styles got absolutely robbed by the Grammys, receiving a resounding zero nominations for his beloved debut Harry Styles or its lauded lead single “Sign of the Times.” November was also the month that the album’s latest single “Kiwi” was released, and it proves why Harry deserved better. I’ve probably listened to “Kiwi” more than any other song on the album, including “Sign of the Times.” It’s just so infectious, so fun, so raw. In it, Harry plays around with vintage punk aesthetics to describe a debauched encounter with an anonymous woman (ostensibly a Kiwi). If anything, it’s a show of Harry’s sheer artistic range, transitioning seamlessly from boy band fluff to glammy, indulgent ballads to this fuzzy, unfiltered rock. There’s some great lyrical moments (“It’s New York baby, always jacked up / Holland Tunnel for a nose, it’s always backed up”), but what drives the song is Harry’s sheer energy, hollering classic rhythms with a delightful intensity. It kicks ass.

Top 20 Songs of the Month (October 2017) — November 11, 2017

Top 20 Songs of the Month (October 2017)

To be honest, I’ve been putting off this list for a couple days. I definitely really like all these songs, but something about the compiled list feels a little lackluster. I just couldn’t put them in a ranking order that satisfied me. So, this month’s list is actually not going to be in order, but just a collection of my 20 favorite songs to have been released (not including album tracks) in the month of October. There’ll also be a Spotify playlist of all of them at the end, and songs near the bottom of the article will generally, though not necessarily, be the ones I appreciate most. Still, these are just twenty of the many, many songs that came out this month, so if you had any favorites you wanted to bring up, let me know in the comments.

SHOW LOVE – Everything Is Recorded feat. Sampha and Syd

“Show Love” is a threefold collaboration: The Internet lead singer and queer R&B up-and-comer Syd, British soul singer and Kanye West collaborator Sampha, and XL Recordings president and influential dance producer Richard Russell, as Everything Is Recorded. Of course, Russell and Sampha have worked together a few times already, so the real takeaway from this track is the magnetic chemistry of Sampha and Syd. Both artists dropped phenomenal debut albums earlier this year, and despite their soulful styles and similar writing chops, somehow, no one’s ever thought to bring them together on a track. It’s beautiful, catchy, and at times fun in its own way. It’s perfect rainy day music, and it shows that these two artists are likely to be here to stay.

HEADPHONES – Walk the Moon

Walk the Moon garnered the public’s attention with their 2015 hit “Shut Up and Dance,” one of the biggest hit songs of that year. With their new album What If Nothing, they seem to be out to prove they’re not a one-trick pony. While some of their new singles got a bit too far into Maroon 5 territory for my tastes, “Headphones” is quite the opposite. It’s a thrashing, electric rock track built around exhilarating guitars and witty, referential lyrics about bitter jealousy. It’s a relentlessly fun track that definitely shows a side of Walk the Moon we haven’t really seen before.

ONE CHANCE TO DANCE – Naughty Boy feat. Joe Jonas

Being an electropop song built around a shamisen sample is interesting enough to warrant a mention, but “One Chance to Dance” has a surprising amount of history to it. Naughty Boy first announced the song in 2014 as the next hit single from… One Direction.  The song was apparently cowritten by Zayn Malik and Emeli Sande, and Naughty Boy announced it just as 1D was rolling out their album Four. Of course, “One Chance to Dance” didn’t make the album, and if a 1D version of the song was ever recorded, we haven’t heard it. Things took more interesting turns after that, when Zayn left the band just six months later and immediately linked up with Naughty Boy, drawing ire from 1D’s remaining members and fans. Zayn said they were best friends, then that they weren’t friends, and things generally took a lot of weird turns, but now, all of three years later, we have “One Chance to Dance.” Frankly, the song works much better as a Jonas Brothers song than a One Direction song, even if only one JoBro appears. It’s a neat, inspirational pop jam with (as previously mentioned) a really cool beat. It’s also got a catchy hook, and Joe’s really flexing his range, where most of what we’ve heard from him recently is in his goofy DNCE falsetto. I’m glad the song came to see the light of day, even if it wasn’t necessarily worth all the drama.


Honestly, I haven’t had a chance to check out Tune-Yards yet. As I understand, this eclectic mix of rudimentary electronic sounds is generally what I can expect from them, with some occasional ukulele. I gotta say, I do like the song. In spite of its apparent messiness, it’s earnestly catchy at times, and I really like the way it plays around with Merrill Garbus’ distinctive vocals. It has a very retro-techno feel, but still feels decidedly new. And Garbus’ vocals are great, by the way. She’s got a uniquely androgynous voice that seems to transition seamlessly between mellifluous and shrill, and helps convey the really interesting lyrical content in a fitting way.

ANITA (REMIX) – Smino feat. T-Pain

Anyone who knows me IRL or has been with this blog for long enough knows I’m an absolute thot for the soulful sounds of T-Pain. Here, his bombastic Autotuned crooning is paired with the soulful Chicago instrumental of Smino’s “Anita.” Smino delivers some brand-new bars of his own, more of the wry flirting that made the original track so charming. Of course, T-Pain’s presence adds a lot, giving the song a certain aged gravitas, a worldliness that sort of takes its concept to a new level. It also gives T-Pain a chance to show off his long-underappreciated rapping skills.


I really dig Beck’s new album. Some feel it’s a shallow step towards soullessness relative to his previous (unjustly) Grammy-winning album, but I think Beck’s sheer pop craftsmanship shouldn’t go unrecognized. “Colors,” the album’s title track, is a great example of Beck’s ability to tie his quirky songwriting and unique instrumental ear into a polished, perfectly danceable pop package. It’s catchy, interesting, and magnificently weird, all the things I want to hear from a Beck song.


Criminally-underrated Weeknd signee Belly is back with another phenomenal album that you probably haven’t listened to. If you haven’t heard what he has to offer, or you’re not quite convinced yet, check out “Man Listen.” It’s got a catchy hook, a great MMG-type beat, and clever, layered lyricism, all delivered with Belly’s signature swagger. It’s a pitch-perfect brag rap track: you can play it in the clubs, you can play at the gym, you can play it at home, it’s got a great beat and dazzling poetics that’ll keep you on your toes. It showcases Belly’s many talents in a concise package.

MOTOR SPORT – Migos feat. Cardi B and Nicki Minaj

One of the biggest acts of 2017, Migos, are back yet again with the first single off their anticipated album Culture 2, “Motor Sport.” Or “MotorSport.” It has many of the same charms as “Bad and Boujee,” the smash hit that catapulted them to superstardom, with some added elements to push it even further (Takeoff has a verse! And a good one!). All three members come through, though Quavo’s verse is pretty lackluster. And then there’s the featured artists. You’ve got Cardi B, the biggest breakout rapper of 2017, Offset’s fiancee, the hottest newcomer on the scene with one of the bestselling singles ever released by a female rapper. Then you’ve got Nicki Minaj, the queen of the game for the better part of this decade, an artist whose monumental celebrity has allowed her to go two whole years without a hit single and still be relevant. After a lot of speculation about them possibly feuding, they came together on a track, and it is divine. Both artists come through, with Cardi B showcasing some new flows and witty punchlines while Nicki effortlessly slips from deliberate to rapid-fire in an exhilarating 24 bars.

FAKING IT – Calvin Harris feat. Kehlani and Lil Yachty

“Faking It” is the latest single off Calvin Harris’ veritable single goldmine Funk Wav Bounces, Vol. 1 (“Cash Out,” one of the best songs on the album, still hasn’t been made a single yet). It features the dulcet tones of Kehlani, a surprisingly sweet verse from Lil Yachty, and an introspective funk beat with elements of ’80s techno, courtesy of Harris. It’s actually really similar to “Honor” by DJ Cassidy, another funky retro dance jam about relationship woes featuring a DJ, an R&B songstress, and Lil Yachty. That song remains one of my favorite songs of the year, and this song, while maybe not quite as catchy, has many of the same elements that make that song great, plus some elements that are done even better (Kehlani is probably a better singer than Grace, and Harris is probably a better producer). Still, I’m basically just trying to put “Honor” on the list again.

FEELINGS – Hayley Kiyoko

I know this makes me a homophobe, but I’ve never been particularly into Hayley Kiyoko. She was great in Lemonade Mouth, but her music’s always seemed a bit… dry. I’ve come to appreciate “Girls Like Girls” a lot more than I did when I first heard it, but it doesn’t really fit her voice. It’d do better in the hands with someone a little more dynamic, like Sia or even Halsey. “Feelings” feels much more within Hayley’s zone, and it’s phenomenal. She sounds so fucking cool on this song. She’s got an incomparable swagger that works in tandem with the dynamic electropop beat. On songs like “Gravel to Tempo,” it sometimes feels like Hayley drains the energy from the song. On “Feelings,” someone else could’ve done it, but no one else would’ve sounded so awesome doing it.

MEDICATION – Nick Murphy

I never listened to Nick Murphy when he was Chet Faker. I guess I don’t really “listen to him” now. This was a bad way to start this entry. “Medication” is a great song. It’s sort of reminiscent of Superorganism’s “Something for Your M.I.N.D.,” which I believe was on last month’s list, in that it’s experimental and kooky and sometimes the music cuts out entirely right in the middle, but somehow it’s still really catchy. Structurally and lyrically, there’s no reason this can’t be classified as a pop song, but the shapeless electronic beat, varying vocal distortions, and aforementioned instrumental disappearances say otherwise. It’s still got a great hook, and as heavy as it sounds at times, it’s generally a pretty fun song. Maybe I should start listening to Nick Murphy. Or Chet Faker.

ACHOO! – Keith Ape and Ski Mask the Slump God

South Florida weirdo Ski Mask the Slump God has quickly become one of my favorite new rappers of 2017. He’s funny, endearing, relentlessly fun, he has a really interesting voice and always pulls through with excellent, unique flows. On “Achoo!,” he’s joined by Korean rapper Keith Ape to teach you how to be sick, like a sneeze. Ski Mask spits rapid-fire references to R. Kelly and Reese’s Pieces, Keith Ape says some things I’m sure are also cool, and along the way, bass is served and the word “sick” is said 104 times. This club has everything.

ALMOST LIKE PRAYING – Lin-Manuel Miranda and Artists for Puerto Rico

Sure, it’s for a great cause, but this is also just a really solid song. LMM is a master producer, flipping West Side Story into a fun-yet-urgent Latin pop bop, joined by Latinx artists ranging from Fat Joe to Gloria Estefan. There’s a chance it’ll get caught in your head, which isn’t something you can say about a lot of benefit songs. I mean, who would’ve thought that a song that, for all intents and purposes, is just a list of places in Puerto Rico would be so darn catchy?


Releasing two-minute singles on Twitter is a move so disastrous from a business standpoint that only Lupe Fiasco could be behind it. The rap legend returns with some of his finest bars in a long while, delivered over an excellently mellow soul beat. Highlights include the brilliant “Trust all these Einsteins if you want the facts / Fuck Harvey Weinstein if you want to act.” These new songs are likely standalone projects to hold us over while we await the release of Lupe’s next album, DROGAS Wave, and they’re solid enough content to last us a while, as short as they may be.

HOW LONG – Charlie Puth

I’ve joked that Charlie Puth’s hit single this year, “Attention,” was his “one for the gays,” but he really seems to be keeping this funk train rolling. “How Long” is arguably an even better single than “Attention,” with a swagger and ear for hooks that recalls Timberlake in his prime. I never thought I’d be so into Charlie Puth, especially after “Marvin Gaye,” but I’m rooting for the guy at this point. In my opinion, you can never have too much funk on the radio, and I’m glad Puth’s keeping the spirit alive while Bruno Mars and Justin Timberlake are between albums.


I’ve had some out-of-character artists make it onto these lists, but Sufjan Stevens may just be my biggest leap yet. I am actually a fan of the guy, though I didn’t love Carrie and Lowell, the album this song seems to be a reject from. If I was a little bit more of a dick, I would say it was left off the album for being too interesting. But anyway, this is the type of shit I like to hear from ol’ Suf-Jan. It’s got his soft, folky elf boy vocals, but it’s also just fucking bonkers conceptually and lyrically, with inspiring instrumentation that lends to an overall feeling of epicness.


As a young country singer, it takes some serious guts to make a response record to Dolly Parton’s “Jolene,” one of the best country songs of all time. But Cam’s got guts, and the sheer power to pull it off. “Diane” is certainly different from “Jolene,” but at its best moments it carries the same immense weight as the original. It’s hard to imagine a “Jolene” response record coming terribly close to the original, but this comes closer than anything else I’ve heard. Suffice it to say, have you ever seen a country song so high up on one of these lists before?

ALWAYS ASCENDING – Franz Ferdinand

It’s been a few years since we’ve heard from Franz Ferdinand in the form of a proper single, but they did an anti-Trump thing last year, and a collaboration with Sparks the year before that, and brought back the Sparks collaboration this year, so they’ve certainly been keeping busy. Now, they’re back full-force with “Always Ascending,” an epic art rock track where the “Always Ascending” referenced in the title, in addition to its lyrical meaning, also refers to the rising sound effect perpetually happening in the background for the entire song. It’s also got layered electronic drums, real guitars, and Alex Kapranos’ weirdly deep-high voice. It’s not the kind of music I’m best at describing, but it is a really good song.


This song will be stuck in your head for days. I’ve already talked a bit about Aminé, the Portland rapper who sprung into stardom this year, developing a sound that’s uniquely his own and releasing a number of charming, relentlessly catchy, goofy hip-hop jams. “Spice Girl” is one of the finest of the bunch, a delightful little tune that’s an even better showcase of Aminé’s charms than his big debut single, “Caroline.” I don’t want to give too much away, but just listen to the song. At least the first ten seconds. You won’t regret it, if you don’t mind an earworm.

PILLS – St. Vincent

It’s possible that “Pills” isn’t that good a song. It overwhelms me every time I listen to it, from its electro-clusterfuck production to its sunny ’50s soap jingle hook to its strangely hopeful, cinematic outro, it’s got enough song in it that it could’ve taken up this entire list. It works really well in the context of St. Vincent’s (fucking amazing) new album MASSEDUCTION, but it’s sort of a concise narrative on its own. It’s got dystopian and sci-fi elements, personal exploration, a beginning, middle, and end, and sexual moaning. It’s a trip, for sure, but I’m glad I took it a few times.

Here’s a Spotify playlist of all the songs on the list (except Lupe’s, which as I said, was released on Twitter), in case you’d like to listen to all the songs on the go.

Review: Thunderfuck — November 7, 2017

Review: Thunderfuck

Wonderstruck was destined for success. It had phenomenal source material: an acclaimed book by Brian Selznick, who already proved his works were especially screen-compatible with 2011’s Hugo. It had the directing talents of cult favorite filmmaker Todd Haynes, who directed the groundbreaking Bob Dylan biopic I’m Not There and queer classics Poison and Carol. It had a rock-solid cast, Amazon Studios and Roadside Attractions backing it, and it even competed for the Palme d’Or.

All this is especially interesting because the movie is not good. Sure, it has charming moments, a great soundtrack, pretty good cast, a real sense of wonder, but Todd Hayne’s melodramatic style combined with Brian Selznick’s, let’s say, inexperienced screenwriting work in tandem to create a film devoid of purpose, thoroughly sappy, and at times insufferable. The very first scene in the film is so laughably poorly-written that I breathed a sigh of relief when the main character went deaf.

One of the major problems with the film is that it delivers exposition like Mike Tyson delivering a punch to your jaw. The aforementioned scene contains lines in a conversation between one of the leads and his mother like “Happy birthday, twelve-year-old” and, completely unprompted, “So, dad was an astronomer?” A character who can only communicate through writing, in a very hectic scene, takes extra time to write “I miss you, mama,” just so that the audience doesn’t have to think too hard. Later on, the same deaf character, now adult, writes entire paragraphs of exposition in a matter of seconds.

The film also does a pretty poor job expressing the main twist of the book, that the girl from the ’20s is the grandmother of the boy from the ’70s. Sure, in the film, the grandmother is played by Julianne Moore, who also plays the girl’s mother, but the audience’s only incentive to put it together is that the movie would be utterly pointless otherwise. The decision to differentiate the two time periods aesthetically by having the earlier one be black-and-white is one of the most uninspired decisions Todd Haynes has ever made, in what is easily his least inspired film. The black-and-white portion of the film is abandoned entirely a little more than halfway through, which is kind of what happens in the book, but it makes much more sense in that case because the perspective shifts to an older Rose (the female protagonist), where in the movie we’re still following Ben (the male protagonist) when we’re introduced to adult Rose.

The characterization in the film is pretty shoddy, too. Ben’s friend Jamie lies to him to keep him from finding out about his father for no reason other than to make the movie about 20 minutes longer. He says it’s because he doesn’t want to lose him, but there’s no reason to believe he would lose him once he found his grandparents at the bookstore. Part of the reason Rose being the grandmother is rendered baffling is because a large chunk of Rose’s life is left out of the story, and the two seem like completely different characters. Ben’s brother is the second character introduced in the entire movie, and we literally never see or hear from him again after the first few seconds.

Now, a few positives. Todd Haynes may be melodramatic, but he’s certainly a good director. He plays with some very clever concepts in the film, and does a lot with very little dialogue. My favorite part of the whole movie is the sequence where Ben and Rose have both just arrived in New York and are just exploring the city. There’s no dialogue, no plot or character development, but it’s a purely magical moment, something I was hoping to see more of in this movie. The kids are phenomenal (Have you noticed how all the child actors got really good all of a sudden in the past couple years?), and some of the adults aren’t really pulling their weight, but the focus is on the kids, and it really works. The potential romance between Ben and Jamie is probably the sweetest aspect of the film. Like I said, I really appreciated much of the soundtrack, especially the jazz-infused ’70s portion. There are parts where it seems to be throwing bells and whistles in to be quirky without purpose, but it’s still mostly captivating.

Still, I couldn’t give Wonderstruck more than a 3.8/10. It suffers from many of the same issues I found with Carol (a film I did generally like, to be fair), coupled with a godawful script and source material that really lends itself much better to one of Selznick’s visual novels than a feature film. I’d like to see these kids go places, and it’s always good to see Todd Haynes working, but this is definitely one you can skip.