Our Favorite Musical Moments of 2018

 

This week is our year in review week at Not a Sound and we wanted to try celebrating a few things that don’t get celebrated enough. Both of our editors are musicians and/or songwriters outside of the blog and are passionate about the creative craft that goes into making good music. With that in mind, we thought it would be fun to do a pair of columns celebrating the craft of music rather than just the whole finished product. In the last article we basically just wanted to geek out about a few of our favorite lyrics from releases in 2018. In this one we want to share some of favorite musical moments from 2018. We hope you enjoy these songs as much as we do!

The Offensively Heavy Chorus Riff in “Whispers Among Us” by Rolo Tomassi

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On an album that is definitely not your father’s metal album, Rolo Tomassi pull off incredible cinematic moments, beautiful jazz sections, and lush synth washes, but it was not the most experimental moment on the album that first caught my attention, rather it was exactly what I came for: an obscenely heavy riff. Usually when a band tries to out-heavy themselves it comes off somewhat comical, satisfying, but in a way that makes you think “oh I can’t believe they did that.” The chorus of “Whispers Among Us” manages the incredibly difficult task of landing a riff that is unthinkably heavy, but contextualized in a way that it isn’t in the least bit comical. Instead it hits like a falling building, catching the listener unsuspecting and burying them before they know what hit them.

The Classic, Disney-esque Strings in “Window” by Noname

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Though Noname’s newest offering is led primarily by her talented lyricism, it is also an album full of creative arrangement choices. Perhaps one of the most ear-catching is the introduction to “Window”, which features a beautiful, cinematic string section that can only be prepared to the opening of a fairy-tale or a classic Disney movie.

The Transitions From “On Watch II” to “E.D.” to “The Author” on Slow Mass’s “On Watch”

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Slow Mass’s newest record might be the most underrated album of 2018, due in large part to their mastery of dynamic movement both in songs and between them. One of the most incredible moments on the album comes as the interlude “On Watch II” crescendos into the frenetic “E.D.”, which is more than doubly as heavy as anything previous on the album, which itself fizzles out after only a minute into the reserved track “The Author.” It happens so quickly and from so out of left field that it almost demands you replay it to make sure you didn’t imagine it.

The Jarring Beat Changes on “SICKO MODE” by Travis Scott feat. Drake

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“Sicko Mode” is the best song off 2018’s Astroworld.  In an album full of hits, it stands above the others as the main attraction.  Between the multiple beat changes and catchy (if uncomplicated) flows from Scott and Drake, the song feels like a thrilling rollercoaster, the kind where you’re ready to ride again as soon as you get off.

The Rock n’ Roll Ecstasy of “Freeee (Ghost Town Pt. 2)” by KIDS SEE GHOSTS

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To those only marginally familiar with their careers, it may seem unlikely that Kanye West and Kid Cudi created one of the most explosive rock jams of the year.  But indeed – it happened.  The crushing guitar chords and booming drums clash gorgeously with Kanye’s yelpy singing, while Cudi’s bass-heavy voice sounds like it could swallow up the world.  Add in the gorgeous harmonies provided by Ty Dolla $ign during the breaks, and you have the type of song that you’ll be turning up to max volume over and over again.

The Psychedelic Mirage of “Nowhere2go” by Earl Sweatshirt

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The first single off of Earl Sweatshirt’s Some Rap Songs is a beautiful hallucination of sound.  There is so much going on, so much to unpack during its 1:53 run time. Earl raps over a disorienting yet infectious beat, as layer upon layer of melodic samples whirl around him.  It is gorgeous and exhilarating, the type of song that begs to be longer.  The sounds themselves are so beautiful that it is easy to forget that Earl is actually saying words here; his voice sounds like just another instrument in the mix.

Our Favorite Lyrics of 2018

This week is our year in review week at Not a Sound and we wanted to try celebrating a few things that don’t get celebrated enough. Both of our editors are musicians and/or songwriters outside of the blog and are passionate about the creative craft that goes into making good music. With that in mind, we thought it would be fun to do a pair of columns celebrating the craft of music rather than just the whole finished product. In this article we basically just wanted to geek out about a few of our favorite lyrics from releases in 2018, we hope you enjoy these songs as much as we do!

“Ghost Town”- Kanye West feat. PARTYNEXTDOOR, Kid Cudi, and 070 Shake

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070 Shake: “Oh once again I am a child / I let go of everything that I know / and nothing hurts anymore / I feel kind of free / we’re still the kids we used to be.”

“Ghost Towns” is the climax of Kanye West’s self-titled ye, in which 070 Shake leads the second half. Her child-like vocals soar over electric-guitar riffing, and when the instrumental cuts out at “I feel kind of free” leaving only her voice on the beat, it makes for one of the most triumphant, emotionally satisfying lyrical moments of 2018.

“Stay Down” – boygenius

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Julien Baker: “I look at you and you look at a screen / I’m in the backseat of my body / I’m just steering my life in a video game / similar acts in a different name”

The Julien Baker-led boygenius track “Stay Down” perfectly and simply describes the loneliness of life in 2018.

“2009” – Mac Miller

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“I don’t need to lie no more / nowadays all I do is shine, take a breath and ease my mind / and she don’t cry no more / she tells me that I get her high ‘cause an angel’s s’posed to fly / and I ain’t asking “why?” no more / oh no I take it if it’s mine, I don’t stay inside the lines / it ain’t 2009 no more / yeah I know what’s behind the door”

Released weeks before his untimely death, the penultimate track on Mac Miller’s final album is basically a perfect song, lyrically and sonically. In an album chronicling pain and rejection, “2009” looks beyond it all, accepting the past with a resolve to move forward. It is a true shame that he would not live to see this fully carried out.

“Lavender Burning” – Half Waif

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“I miss New York, but I don’t wanna think about leaving / I’m out on the road and it’s losing all of its meaning / Just tryin’ to fill this hole that once held my whole being / Is this all there is?”

The opening track to Half Waif’s critically acclaimed album “Lavender” is a stunning reflection on self and place. Invoking her grandmother’s practice of burning lavender as an image of home and identity, lyricist Nandi Rose Plunkett reflects on her life on the road and all that she left behind; those things that shaped her into who she is that she now feels distant from.

“With You” – Noname

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“I’m almost just as empty as you think I am, a penny for your thoughts / A witty pear of happiness, a pretty Ricky Ross / A maid black music, I woke up in my sympathy, became black Judas / All my everythings for sale / All my secondhand discoveries, Dungarees faded pale / All my halfway hallelujahs that tippy-toed in the mail / All the fluctuations on scales / And the missing therapy sessions of bullets treating me well”

It’s hard to pick just one lyric from Noname’s “Room 25”, an album that is packed with incredible lines from the moment it opens with “Self” to the moment it fades out with “no name.” I decided to go with the penultimate track “With You”, where Noname wrestles with her growing fame and influence and what it’s like to essentially sell your life experiences as art. This perpetual mental battle is one that all confessional writers face to one degree or another, and Noname nails the feeling with a lyrical precision and openness unique to her.

“Why” – Animal Flag

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“When your parents met, it was a lonely night / They figured yeah, who cares? People get married all the time / Then they made you up, and they brought you home / And they laid you down and said “God, what have we done? / What have we done?”

“Now you’re a speck of dust on a floating rock / You’re the fastest hand on the smallest clock / You’re a vapor bird in a body cage / And when you break out, it’ll leave everyone in pain /Oh, in pain”

“Why” deals with the ever looming existential question, “why are any of us even here?” in a way that is both artful and somewhat humorous. It opens with a lackadaisical, irreverent stanza about a married couple bringing a new child into the world before shifting into a stanza detailing the existential dread of being human in the most snide possible way. In what is perhaps it’s most clever line, Animal Flag describe the human essence, or soul as “a vapor bird in a body cage” before revealing the irony of death, that freeing that bird from it’s cage will leave everyone else in pain. What a drag.

Enjoy these songs in the playlist below.

Underrated Albums: On Watch by Slow Mass

The year is 2018 and guitar-driven music is once again in need of revitalization. A few years ago the 2010’s Emo Revival hit full swing, inspiring a new wave of pop-punk-but-this-time-it’s-dorky bands, twinkly math-rock depressed with the state of life in the American Midwest, and self-described loser-rock produced largely in suburban bedrooms and determined to self-destruct at all costs. Roughly a decade ago, when all of these sounds blew up they breathed new life into a musical medium that many had already declared dead. Now with the Emo Revival beginning to lose its steam, the realm of guitar music is once again due for new ideas. Enter: Chicago’s Slow Mass and their debut LP On Watch.

On Watch opens, after a brief intro, with the screech of guitar feedback and two dueling, distorted guitars laid over frenzied drumming courtesy of Josh Sparks (Standards – Into it. Over it.). It hits with the force of a car crash, sending the listener reeling before it retreats on cue to a subdued verse led by the soft crooning of bassist/vocalist Mercedes Webb. The transition is simultaneously drastic and effortless, somehow making what should be a jarring juxtaposition of sounds seem nuanced and natural.

Throughout the album, Slow Mass continue to hold these sounds and dynamics in contrast to one another, at times bordering on pure chaos and at times producing sounds that can’t be described as anything other than beautiful. On My Violent Years, a sparse acoustic arrangement suddenly flourishes with a myriad of woodwind instruments and ethereal vocal harmonies into a rising crescendo that never loses the gentleness of the piece as a whole. Three tracks later E.D. kicks down the door with its dissonant, frenetic brand of hardcore and lays waste to the room before handing the reigns over to the calm shuffling of The Author. Sometimes, like in the plodding Suburban Yellow, they move between both moods in the same song. In still other songs, like penultimate track Schemes, the instrumental and the lyrics seem to create different moods simultaneously. It is this masterful ability to create nuance out of something drastic and extreme that sets Slow Mass apart from their contemporaries. It is this very same ability that makes On Watch a clinic on album composition.

Lyrically, On Watch often leans into the Jeff Tweedy school of cryptic and somewhat obscure. Like Tweedy, however, it is apparent that the lyrics are rarely if ever meaningless, rather they seem to dance around the subject, perhaps giving the listener its general shape but never exposing it in clear terms. In this way deciphering what the songs are about becomes a bit like the old grade-school illustration of feeling an elephant with your eyes closed and trying to explain what you feel. For the ever-shifting, somewhat mysterious feel of the album as a whole this brand of lyricism works quite well, in part because though the lyrics may be cryptic they are not vague. The imagery on On Watchis often vivid, with lines like “a walled up border collie”, “spray painted scenester/ king of the bottom feeders”, “a newborn fib/ and a loser’s lisp”, and “you peel me off like dead skin.” In the few moments where Slow Mass give you something direct it is usually simple, but impactful, such as the central line in closing track G’s End: “All I’ve wanted to say/ is I hope you find peace today.”

Here in their lyricism Slow Mass once again showcase both the tension and the compatibility of extremes, creating a lyrical atmosphere where obtuse images are juxtaposed with direct, easily intelligible phrases such as: “There’s nothing like getting up before dawn to start wasting your life.” Alongside the ever-changing, constantly metamorphosizing music, the lyrics help create an album that seems to have it’s finger on something real, but intangible; everyday, but mysterious; pretty out there, but still grounded somewhere. It is the kind of album that is both mechanically innovative, but also emotive and thoughtful; an album that is unapologetically artsy without feeling overly self-indulgent. Perhaps it is exactly the kind of album that we need to jolt the guitar music world back to life.