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Monthly Recap: The Best Music from February 2019

Zack makes up for all the time he’s missed. The best music on Not a Sound for February 2019.

February was a quiet month for us at Not a Sound. Due to a perfect storm of unfortunate circumstances we did not cover nearly as much music as we would have liked to, which is all the more unfortunate because a lot of great albums came out this February. To make up for all the stuff we missed out on, this monthly recap will cover several albums that we did not have time to review. Hopefully we will be able to revisit these albums in the coming weeks to give them the full coverage they deserve, but for now enjoy this run-down of absolutely killer records!

2020 – Shin Guard (8.2)

Post-hardcore, Hardcore, Screamo
Flowerpot: February 14, 2019

Shin Guard’s expansive 2018 debut Cerebral showed us a creative young band with a lot of potential on tap. Their unique brand of progressive screamo breathed new creative life into a subgenre that was never famous for being particularly mutable and made Shin Guard a clear band to watch in the DIY touring circuit. Less than a year later we once again have a new Shin Guard album and once again they’ve caught us by surprise. Where the melancholic Cerebral shifted seemlessly between melodic emo and harsh posthardcore, 2020 is markedly more angry, more technical, and more heavy hitting, calling to mind Svalbard and Rolo Tomassi. On songs like Spears and the later half of Soliloquy of the Hourglass Shin Guard devolve into frenetic mathcore almost reminiscent of Dilinger Escape Plan, and yet they still manage to contextualize beautiful cinematic moments in Sure and a smooth jazz saxophone line in You Will Be Held Accountable For Your Actions without ever feeling hoaky. 2020 is a bold evolution in sound and focus for the young band and a critical step forward in establishing them as a band that should be on everyone’s radar.

new breed – Dawn Richard (8.0)

Pop, Art Pop, R&B
Our Dawn Entertainment: January 25, 2019

Dawn Richard’s 5^th studio release is art-pop at its finest, a catchy and concise homage to her home town of New Orleans. There is hardly ever a dull moment on new breed. Book-ended by two mostly A Capella pieces that catch the ear and establish the album’s narrative, and carried by amazing standout tracks new breed, spaces, jealousy, and the feel-good we, diamonds Richard’s newest is exhilarating start to finish. Driving the album is Richard’s powerhouse vocal performances, which when combined with lyrics that are sharp and socially aware without getting too heady help make a rare record that is substantive without sacrificing any fun. If you’re looking for something that is accessible without forsaking creativity, understandable without becoming vapid, and through it all maintains a unique, engaging perspective then this is the ideal album for you.

thank u, next – Ariana Grande (8.0)

Pop, R&B
Republic: February 09, 2019

Whereas listening to Sweetener felt like sitting on a cloud, thank u, next feels firmly grounded in reality. Opening track “imagine” is a classic Ariana ballad that paints a picture of a simple vision of love, the subtext of course being that she knows this vision is impossible. The sadness in her voice is palpable. Although lyrically it is similar to past releases, she sings it differently than she would have if the song had been released six years ago. thank u, next definitively places Ariana in the cannon as an era-defining pop star in the vein of Whitney Houston and Mariah Carey. Her record is not perfect, but it doesn’t have to be. It is not this record alone that accomplishes this, but the thrill of her artistic progression over the last six or so years. For the first time, she has truly shown us her flaws, and the result is her biggest statement as an artist yet.

Read Our Whole Review

The Language of Injury – Ithaca (7.9)

Hardcore, Chaotic Hardcore, Metalcore
Holy Roar: February 02, 2019

Holy Roar is hands down the best label for inventive heavy music right now. Last year they put out two of our top 25 albums, Svalbard’s It’s Hard to Have Hope and my album of the year Rolo Tomassi’s Time Will Die and Love Will Bury it. Not only were they both incredible records, but they were also two of only four metal or metal-adjacent records that cracked either of our editor’s end of the year lists. Continuing on their path to domination, Holy Roar can now also tout London’s newest and most ferocious hardcore act Ithaca and their dynamic new record The Language of Injury. In a genre filled with a lot of solid, but very similar bands, Ithaca shatter the mold to deliver an album that is at times mathy, at times sweeping and emotive, and at times chaotic. From the very first track Ithaca seemingly conjure and channel the ghost of Josh Scogin’s youth, creating an album that feels as fresh and free as early Norma Jean and The Chariot did in their day. It is a huge breath of fresh air for the genre and a huge statement from a band that should quickly become a mainstay in the hardcore/metalcore commnity.

Suffer On – Wicca Phase Springs Eternal (7.5)

Hip-Hop, Emo Rap, Emo
Run For Cover: February 15, 2019

Suffer On is a startling return-to-form for Mcllwee. Although his melodic style never changed drastically from Tigers Jaw to Wicca Phase, the parallels are even more apartment on the new record. This is largely due to the acoustic nature of many of the tracks. Previous Wicca Phase releases have featured production from a variety of artists in the emo hip-hop sphere, including Doves, Fishnarc, Nedarb, and the like. On this record, Mcllwee takes production largely into his own hands, and the result is a more minimalistic sonic world than many fans will be used to. There are no obvious samples, and very few fully electronic sounds. Instead, the music is mainly driven by acoustic guitar chords that call to mind the emo music of the Tigers Jaw days. The song “Crushed” doesn’t even have a beat, and wouldn’t have sounded out of place on 2013’s Charmer. It offers a strong connection to Mcllwee’s emo-rock past. Fans of Wicca Phase’s acoustic EP, Raw and Declawed, will most definitely be pleased here.

Read Our Whole Review

Stuffed and Ready – Cherry Glazerr (7.4)

Alternative, Power Pop, Grunge
Secretly Canadian!: February 01, 2019

After a ringer of an album in 2017’s Apocalypstick, Cherry Glazerr are back with their solid follow-up Stuffed and Ready. Back again are Clementine Creezy’s sardonic lyrics and gleaming hooks, but this time they are contextualized in a much more straight-forward package, giving up some of the quirky experimentation of the previous album for big, sludgy, grunge. The result is a thoroughly enjoyable power pop record that revives some of the best parts of 90s alternative and finishes it with a dark psychedelic sheen. Fans looking for another Apocalypstick may find themselves disappointed in the album’s more conventional approach, but there is still a whole lot to love condensed into this 30 minute escapade.

Abject Bodies – Minors (7.0)

Hardcore, Powerviolence, Chaotic Hardcore
Holy Roar: February 22, 2019

Continuing their aforementioned trend of putting out good heavy records, Holy Roar once again deliver with the newest release from Ontario powerviolence band Minors. While some heavy bands go for flashy guitar playing and epic soundscaping, others, like Minors, favor a more brute force approach. Abject Bodies contains 8 of the meanest, heaviest, most dissonant songs in recent memory. Each passing song is like being bludgeoned with every single tool in the shed one by one, and then for good measure, again but all at once. For those who love this sort of thing, it is a wonderfully cathartic album that stands out firmly from its crowd. Needless to say, however, it is definitely not for everyone.

Everything For Sale – Boogie (6.8)

Hip Hop, West Coast Hip Hop
Shady/Interscope: February 01, 2019

Boogie’s first commercial record is most enjoyable when he locks into a groove and runs with it, as on album highlight “Lolsmh (Interlude).” The first half of the track features one of the sweetest instrumentals on the album as Boogie delivers some vulnerable bars, “It’s hard for me to be happy / Wish my girl would just dump me / I done showed you all my ugly, but why the fuck you ain’t judge me? / No, my skin ain’t thick, it’s thin, it probably bleed soon as you touch me / I love it if you hate me, I hate that you fucking love me.” His flow is flawless and delivery sincere (calling to mind Saba’s incredible CARE FOR ME); on tracks when he is on, he is a very captivating and believable.

Read Our Whole Review

Review: thank u, next by Ariana Grande

thank u, next definitively places Ariana in the cannon as an era-defining pop star in the vein of Whitney Houston and Mariah Carey.

Ariana Grande’s rise from teeny-bopper Nickelodeon star to pop icon has felt fast and slow at the same time. Initially, her music career was aimed to market towards the tween audience that watched her on TV, but she rejected this after releasing only one single. Instead, we got her excellent 2013 debut, the Babyface-produced Yours Truly, which effortlessly blends the styles of the R&B/pop legends of the 80’s and 90’s with production updates and tweaks that kept it fresh but not trendy. The beats and R&B aesthetic meshed well with rappers, allowing her singles to cross over from pop to urban charts. The records that followed saw greater success, as producers used her natural talent and charisma (not to mention that voice) to mold the Ariana brand into a variety of different styles, ranging from EDM to pop-ballads to reggae.

Although this brought on great success in the charts, there was no clear picture of who Ariana actually was through her music. In interviews she would clap the label “honest” on all of her songs, but there was always a personal aspect that seemed to be lacking in her music. Although she had writing credits on many tracks, it was unclear whether or not she was an artist or a puppet, another pretty face and big voice that was in the right moment or the right time.

This all changed with 2018’s Sweetener, released last August. The album was a huge step forward from her previous work, lyrically and sonically. Many of the songs on the first half of the album were structurally progressive, as Pharrell helped her tap deeper into her hip-hop influences and broke her out of the usual pop tropes. Lyrically, the album delves into more personal territory; many of the songs openly discuss her engagement to comedian/actor Pete Davidson, and also healing from the bombing that famously took place at her concert in Manchester. It seemed that she had finally found her voice as an artist; her music sounded more her’s than her producer’s.

Then just when things were going well, her ex-boyfriend, Pittsburgh’s own Mac Miller, died suddenly from a drug overdose. Her relationship with Davidson fell apart in the wake of this tragedy, and her relationships and life were so analyzed by the media that people started to get sick of her, when in the previous months she had been untouchable. It is with this context that she released thank u, next a mere six months after her last record.

The quick turn-around does not disappoint. The songs sound raw and blunt. Whereas listening to Sweetener felt like sitting on a cloud, thank u, next feels firmly grounded in reality. Opening track “imagine” is a classic Ariana ballad that paints a picture of a simple vision of love, the subtext of course being that she knows this vision is impossible. The sadness in her voice is palpable. Although lyrically it is similar to past releases, she sings it differently than she would have if the song had been released six years ago.

The second track, “needy,” whips her back into reality. Over a melancholy chord progression she sings, “And I’ma scream and shout for what I love / passionate but I don’t give no fucks / I admit that I’m a lil’ messed up / But I can hide it when I’m all dressed up / I’m obsessive and I love too hard / Good at overthinking with my heart / how you think it even got this far, this far?” It’s easily the most vulnerable and authentic she’s ever been on a track. These lyrics feel real and the simplicity of the instrumentation emphasizes the raw place that these songs came from.

Ariana does not stay on the sad-girl train the whole album though. Immediately following “needy” is the bouncy “NASA,” which might be her catchiest song ever. It’s an ode to being alone, to wanting space rather than being forced into it. The hook is so addictive that I’ve actively listened to it ten-plus times in a row; it’s the perfect example of what a pop song should be.

If the entire album was as good as the first three tracks, we would probably have a modern classic on our hands, but unfortunately that’s not the case. She dips into the faux-Latin trend on “bloodline” which lacks the authenticity of the previous songs, and seems clearly geared for air play and streams. “bad idea” takes a darker turn, with heavy bass blasts and an ominous guitar hook. This track features one of the more experimental productions choices, with a brief instrumental orchestra break just when you think the track is ending. It sounds cinematic and dark, and as it swells, an altered beat kicks on with Ariana’s vocals pitched several octaves down, making it sound almost like a Future track for a few seconds.

The record has quite a bit of variety stylistically, but sonically all the songs fit in the same world. It rarely slows down except on the airy ballad “ghostin” which speaks vulnerably about her own faults in her high-profile relationships. “I know that it breaks your heart when I cry again,” she sings over whooshing synths and sparse strings. It reinforces that this is a truly personal record, even more so than Sweetener. Whereas Sweetener felt like a calculated reaction and intentionally big statement, thank u, next has a flash-in-a-pan quality that brings the messages home much more strongly; it showcases Ariana as a songwriter and as a somewhat hardened celebrity. She sings (and at points, actually raps) with more conviction, more force, more confidence.

thank u, next definitively places Ariana in the cannon as an era-defining pop star in the vein of Whitney Houston and Mariah Carey. Her record is not perfect, but it doesn’t have to be. It is not this record alone that accomplishes this, but the thrill of her artistic progression over the last six or so years. For the first time, she has truly shown us her flaws, and the result is her biggest statement as an artist yet.

Rating: 8.0 (Best New Music)

For info on how we rate albums see our rating scale.

Label: Republic Records

Release Date: Feb. 8, 2019

Ian’s Top 25 Albums of 2018

Trying to make end of the year lists is an inherently subjective task. Here at Not a Sound we are committed to reviewing albums based upon how well they accomplished what they set out to do given their audience, genre, and vision. That makes ranking albums across genres and cultures difficult in many ways, because it is impossible to review Mark Kozelek and A$AP Rocky in the same way, or compare Ariana Grande to Deafheaven. At the end of the day, our favorite records are the ones that stuck with us the most, not only in terms of technical prowess, but in terms of an emotional and personal connection. So don’t take this list personally if your favorite record didn’t make it on here; this is simply the music that defined 2018 for me. Just because your favorite artists aren’t on here doesn’t mean I think they’re bad.

25 – How To Fix Everything by Fantasy Camp

Emo-rap singer and producer Fantasy Camp did a lot this year. He produced songs for other artists, helped form Misery Club, and released two of his own Eps. The second of which, How To Fix Everything, is huge leap from the first, demonstrating crisp, focused instrumentals and pristine vocals. As emo-rap continues to develop, it is clear that Fantasy Camp will be one of the artists at the helm.

24 – Historian by Lucy Dacus

I have to admit that I was one of the people who only found out about Lucy Dacus when the boygenius project was announced. After listening to her latest album Historian, I understand the hype that she has received from critics this year. The record is a perfect example of well written indie-rock, brimming with poise and sincerity. The best example of this is the track “Night Shift,” which characterizes her voice, lyrical style, and arrangement very well in its two part structure.

23 – TESTING by A$AP Rocky

A$AP Rocky has had a difficult time living up to the hype that he and the media have built around him since his breakout in the early part of the decade. Testing is no masterpiece, but I enjoyed all the weird detours and experiments he takes you on over the course of the record. It doesn’t flow perfectly, but it’s a fun, truly odd listen that was definitely a soundtrack to my summer. “A$AP Forever REMIX” is one of those songs that you gotta turn up to with the homies every once in a while. It just is.

22 – Corinthiax by Wicca Phase Springs Eternal

On this EP, Wicca Phase cleaned up his sound, and released a polished effort that is easily the most likeable and accessible work he has created yet. The EP loosely follows the theme of seeking after “Corinthiax” – “A dark manifestation of a love that I was given by the hollow moon.” It’s a dark, quirky listen that is an acquired taste, but one that I have learned to love given the right mood.

21 – Nasir by Nas

One of the five albums to come out of Kanye’s Wyoming sessions, Nasir lacks some of the focus of the other five, but is still a phenomenal listen. Kanye’s beats and Nas’ lyrics and delivery are a match made in heaven, and the album is crowded with great samples. The album drops off a bit at the end, but the beginning warrants a spot for me on this list. Also the song Simple Things might be one of the catchiest hip-hop tracks of the year.

20 – East Atlanta Love Letter by 6LACK

6LACK is the artist that I always hoped Drake would be. Unlike Drake’s bloated Scorpion, East Atlanta Love Letter is concise, and while it shares a similar moody hip-hop/modern RnB style to Drake, 6LACK sounds way more convincing than Drake ever has. On album highlight “Scripture,” he raps, “I’m and RnB n— with a hip-hop core” and you believe him.

19 – DAYTONA by Pusha T

On the first Kanye-produced project to arrive this summer, the president of G.O.O.D. MUSIC label made a scorching comeback. This is a nearly perfectly constructed album – Push’s delivery is intense, sadistic, and snarky as ever before. He spits bar after bar over Kanye’s beats and sampling, which are expertly crafted and chosen to fit the moment. This is a daring, experimental, and daunting example of what gangster-rap looks like in 2018.

18 – CARE FOR ME by Saba

The Chicago-native Saba wrote some of the most heartbreaking bars of 2018. Much of the album deals with the loss of a loved one, and the aftermath. On opening track “BUSY / SIRENS” he disdainfully and heartbrokenly raps, “Jesus got killed for our sins, Walter got killed for a coat / I’m tryna cope, but it’s a part of me gone / in this packed room I’m alone.”

17 – 7 by Beach House

Beach House is one of those bands that I’ve always flirted with, never fully committing to calling myself true “fan,” but this album may have won me over. I was swinging at the park up the street from my parent’s listening to it this summer when the song “Woo” came on. The gorgeous synths, electro beats, and airy vocals singing “I want it all, but I can’t I can’t have it” made me feel like I was in a dream.

16 – Lush by Snail Mail

A friend recommended this to me quite recently, and while I haven’t had the chance to get close to it, Lush is a strong example of what an indie rock album should sound like to me. It is full of tightly constructed songs, passionate lyrics, and earwormy melodies that stick with you when you’re done. Jordan’s vocals are emotional without overdoing it. This album is one that I will return to in 2019.

15 – Sweetener by Ariana Grande

I guess you could say I’ve been an Ariana stan (no that’s not a typo) for a while, and this album helped validate this title for me. While her excellent debut Yours Truly was a great 90’s throwback record, and her subsequent releases yielded massive hits, it did not feel as though she had a truly unique voice in the pop sphere. On this album she seems to have finally found it. It’s a massive, girly, sincere, and fun album that pulls out all the stops. This record proves that trap is the new pop, as many of her songs are oriented around trap influenced beats, while still maintaining the RnB-diva aesthetic of her previous work. As far as pop music goes, this is as 2018 as it gets.

14 – Tha Carter V by Lil Wayne

Wayne’s long delayed, incredibly hyped fifth Carter installment finally came this year. For an album that he had begun working on years ago, this record sounds surprisingly modern. Of course, in many ways it is nostalgic as all get out in terms of the lyrics and some of the beats, but it does not disappoint. It felt like a return-to-form for Wayne, a resurrection of the master MC of ten years ago, with fast bars on top of fast bars, and punchline after punchline. Where Wayne shines the most however is in his introspection as a veteran of the scene, as in the delightful and melodic “Mess.”

13 – Some Rap Songs by Earl Sweatshirt

Odd Future alum Earl Sweatshirt was another popular rapper who made his return this year on the psychedelic, jazz influenced hodge-podge that is Some Rap Songs. Earl has always been introspective, but he takes it to a new level on this release, reflecting upon the loss of his father. He successfully ages from the angsty punk we knew from his early career to a reflective, wise adult who is on the verge of a spiritual awakening.

12 – Mark Kozelek by Mark Kozelek

These days there’s not really that much of a difference between a Sun Kil Moon record and Mark Kozelek solo record, but it is evident upon this release. These songs mainly consist of guitar looping and Mark’s trademark, stream-of-consciousness storytelling. While not as engaging as some of his more dynamic work, this album is a testament to where he is at in his life and career. It means a lot when an artist chooses to release a self-titled record this late in their career. This album represents who Mark is, as he sings about his home town, boxing matches, memories from his childhood, and the day-in-and-day-out of his extremely normal, yet fascinatingly introspective life.

11 – Ordinary Corrupt Human Love by Deafheaven

I don’t usually listen to metal that much. One night this summer I was cramming an assignment for an online class, and I saw an album called Ordinary Corrupt Human Love pop up on my recommended page. The album title is what initially caught me, as the meaning of the statement was intriguing, and the words themselves just sounded powerful. I found myself struck by the dark beauty of the music. I couldn’t understand the words lead vocalist Clarke was saying, but I felt the emotion of the music, and the attempt to make something huge and important. “Canary Yellow” was blasted in my car on the way to work quite a bit in August.

10 – Kids See Ghosts by KIDS SEE GHOSTS

This is the colab album that both Cudi and Kanye fans have been dreaming of for years. It’s an extremely artsy-banger, with Ye and Cudi trading verses back and forth, across various genres and styles ranging from guitar-sampling rap, to straight up rock music, and even a song that sounds like Man On The Moon-era Kid Cudi. It’s the perfect example of the genre that Kanye and Cudi have carved out for themselves over the span of their careers – a unique blend of art rap and pop rap that has gone on to influence hip-hop as we know it.

9 – Astroworld by Travis Scott

Astroworld finally lived up to the hype that Scott has had since the start of his career. The album is like the fictional theme park it is named after; each song is a wild ride and a new attraction. While it inevitably drops off at some points due to its excessive runtime, it feels natural. Like any long hot day at an amusement park, there are highs and lows: long waits in line, stops in grimy bathrooms, overpriced food. But, most of the time, you’re still glad you went.

8 – This Is My Dinner by Sun Kil Moon

I’ve already written about this album, so I’ll spare the details, but I will reiterate that this is one of Kozelek’s best recent works. Rather than feeling oppressive as he did sometimes on 2017’s Common As Light, his stories here feel like they are coming from a better place of hope and often humor. The variation of instrumentals is engaging, and captures a melancholic beauty that I am often aware of in late fall. It is no wonder he waited to release this album until November 1^st, as it was written and recorded in November of the previous year and perfectly fits that mood.

7 – Twin Fantasy by Car Seat Headrest

I wasn’t sure if this should really count towards this year or not, as it is a re-recorded version of an album released years ago on bandcamp. But considering the work that Toledo did to literally re-record and rework the whole thing, I believe it does stand out as a new record. This is a densely packed, experimental indie-punk album that lays the writer bare to the listener. It’s a long, thrilling masterpiece that is a tribute to those suffering from mental illness that is also life-affirming in its exuberant weirdness.

6 – Club Misery by Misery Club

This is another that I’ve written about already this year, so again, I’ll spare the details. Misery Club is one of those underground groups that you run across every so often that you realize is bound to be huge. The melodies, tight beats, and emo lyrics are all geared perfectly towards rap’s current moment, as intense vulnerability is becoming more popular than ever. With the right publicity behind them, this group could be one of the biggest pop-rap sensations, if not on the radio, then in the larger underground scene.

5 – Bark Your Head Off, Dog by Hop Along

Hop Along’s third album is different than the previous two. It has far fewer explosive moments than Paint It Shut, which initially was a setback to me. Overtime though, the consistency of this record has caused me to come around to viewing it as potentially Hop Along’s best record. It is paced perfectly, a fantastic example of guitar-based indie pop. Lyrically, it touches on the emotional and personal memories, as well as on the current political moment in songs such as How You Got Your Limp and One That Suits Me. It is a timely release that hits all the bases.

4 – Skylight by Pinegrove

It took me a few days to listen to this album. Given the band’s past, I had mixed feelings about their return, and it had been a while since I had listened to Cardinal actively. In the end, Skylight turned out to be one of my favorite releases of the year. It is not a drastic departure from their previous sound; much of it is still the same brand of country-infused emo that made them popular. The difference here is that there is an amount of reflectiveness in these songs that hits the ears differently than Cardinal. The first half is slow-paced and linear, and there are far fewer catchy hits on this record than before. But give it a few listens, and you will find layers to the stories that these songs tell that will have you coming back time and time again.

3 – Swimming by Mac Miller

Mac’s final album is his best yet. I remember thinking this before he died, wondering where his career would take him next. It’s the best version of what he had been trying recently – a funky style of rap that infused RnB flawlessly. The lyrics are stark and personal, but also convey true joy and hope in the latter half. It is not a perfect record, but it is not one that reveals a perfect man, so the flaws feel appropriate. It’s a powerful testament to going through it (whatever your personal it might be) and coming out on the other side intact, a different person, but one who is ready and able to move on. This is the best legacy Mac could’ve left as his last testament.

2 – boygenius by boygenius

This is an indie-supergroup dream band. The possibility of Phoebe Bridgers, Julien Baker, and Lucy Dacus on one project makes total sense, but I still could not believe it was actually happening when it was announced. As three of the most powerful voices in indie-rock in this current moment, they come together to make a record that has variety, consistency, and beauty that is nearly unparalleled. They are all different-but-similar enough for it to work without sounding like their solo releases. Boygenius is undeniably a group effort that offers something new to fans of any of the three artists. I’m praying they do another release eventually.

1 – ye by Kanye West

Kanye had quite a year. It seems that he does almost everything he can to keep people from talking about what he does best: music. Kanye’s short, flash-in-a-pan ye is his most lyrically revealing, vulnerable album in years. In past releases, his usual pattern is to reveal something about himself – some guilt, pain or insecurity – and then immediately cover it with an expletive or a bad joke, but on this album, he gets as close to naked as we have seen him. The lyrics deal largely with his mental health, wrongs he has committed against his wife and the public, as well as drug addiction, and working through his role as a father. Through it all, the music is fantastic, crackly, a bit lo-fi (for blockbuster standards), adding to the rawness and emotional energy. As usual, it is packed with guest features, most uncredited. They usually take on a background role: these are not designed to gain hype, but to add to the over-all product. Despite his shortcomings as a person, ye is some of the best music Kanye has released. It will not be viewed as an influential super-hit the way most of his previous albums are, but to fans, it is a rare and real look into the most influential man in popular music.

Top Songs of 2018

Putting together a “Top Songs of 2018” post felt a little disingenuous for both of us, considering that both of us rarely listen to songs outside of their context in albums, making it hard to put even an approximate ranking to songs as a medium on the year. We’ll leave that kind of analysis to what we’re more familiar with: albums. Instead, here are our completely subjective favorite songs from 2018, we hope you like them as much as we do.

Zack’s List

“Happy” – Jeremy Messersmith (Pop-Folk)

Jeremy Messersmith’s new album “Late Stage Capitalism” was almost one of my picks for most underrated album this year and it is filled with snarky, cynical sing-alongs reminiscent of Father John Misty, but a little hookier and dare I say a little less pretentious. “Happy” is Messersmith at his best, a head-bobbing earworm that is painfully sarcastic, but so upbeat that you can’t help but be cheered up at first listen. It is the sonic equivalent of skipping through a field of flowers with a huge grin on your face and both middle fingers raised.

“Gray Havens” – Slow Mass (Indie-Punk)

We’ve talked about Slow Mass a lot here at Not a Sound, so I’ll cut to the chase: everything about “On Watch” is good. “Gray Havens” is the first true song on the album and showcases everything the band does well: dramatic dynamic shifts, riffs that make you want to play Guitar Hero II again, and a soaring hook that’ll stick in your head for days. If you, like many people, have never heard Slow Mass before and are even remotely interested in the world of DIY punk music in 2018, this is a song you absolutely should not sleep on.

“Television” – IDLES (Punk, Post-Punk)

Speaking of punk and punk-adjacent music, the English band IDLES put out arguably the most fun record of 2018, the aptly named “Joy as an Act of Resistance”, which is loaded with several of my personal favorite tunes. “Television” might be the most aggressively wholesome thing that has ever been recorded, an anthemic arena-punk song decrying Western beauty standards and promoting self-love. From the moment the song starts with the line, “If someone talked to you like you do to you, I’d put their teeth through” vocalist Joe Talbot demands that you love yourself, cascading into a gang shouted, sing-along chorus for the ages: “I go outside and I feel free / ‘Cause I smash mirrors and fuck TV.” Of all the songs on this list, this is the one I find myself coming back to the most.

“Back in Brooklyn” – Half Waif (Synth-Pop)

In an age where female songwriters are finally starting to get the credit they deserve alongside their male counterparts, especially in alternative, Nandi Rose Plunkett is still one of the most underrated songwriters of the 2010s. “Back in Brooklyn” is a gorgeous piano ballad that pulls you in with the gentle rise and fall of Plunkett’s trademark soothing vocals. This song, however, has an emotional twist. When she reaches the bridge she reaches to very tip of her range for one of the best melodic moments of 2018 when she sings, “The further away I walk, the more I’m a whisper / Listen for me now / You’ve gotta listen for me know.” For the first and only time on the entire album her usually smooth voices reaches a raspy breakup and the result is a truly moving, tear-inducing climax to an already powerful song.

“I Couldn’t Be More in Love” – The 1975 (Art-Pop)

I will be the first to tell you that I was never a huge fan of The 1975. They were a band that I thought was very talented, but their brand of pop-rock injected with a healthy dose of 80s flavor was never really my cup of tea. If you told me before December started that my favorite song of 2018 would be a The 1975 song I would have outright laughed in your face. Ironically, however, that is exactly what happened. “I Couldn’t Be More in Love” is a 90s RnB throwback that I didn’t know I wanted in 2018, but the soulful crescendo of, “What about THESE FEELINGS I got” made me audibly shout in jubilation the first time I heard it. It’s one of those songs that makes all the right choices from start to finish, landing every money note, hitting every cheeky key change, and even fitting in a guitar solo for good measure. “I Couldn’t Be More in Love” is immediate, emotional, and only gets better with more listens.

Ian’s List

“2009” – Mac Miller (hip-hop)

“2009” was one of those songs that hit me exactly in the right moment. This past August when Swimming was released I was driving with the windows down on my way to pick my brother up from soccer practice, listening to the album for the first time. Dusk was beginning to fall; I think some slight rain might’ve been forming on the horizon. The gorgeous string intro began; I turned up the volume slightly, and when Mac spoke the first line, “I don’t need to lie no more,” I was already hooked. By the end of the last verse when he says, “with these songs I will carry you home / I’m right here when you’re scared and alone,” I had a tear in my eye, hearing the testament of a man who had been through it and came out on the other side to let us know it was going to be okay. To me, this will always be Mac’s legacy.

“I Thought About Killing You” – Kanye West (hip-hop)

“The most beautiful thoughts are always beside the darkest.” The first line of Kanye’s self-titled ye summarizes the contradictions that he embodied in 2018. This album encapsulates evil, guilt, pain, ecstasy, love, and ultimately rebirth in it’s 23 minute runtime. Although much has happened in the world of Ye since it’s release in June that may call into question what the “rebirth” ultimately amounted to, the album remains an excellent flash-in-a-pan rendering of a moment. The first track sets the tone, admitting to viscous pride and self-loathing with the refrain, “I love myself way more than I love you / and I think about killing myself / so you best believe I thought about killing you today.” Also, on a less heavy note, I still crap my pants every time the beat drops.

“Portal” – Pinegrove (indie-rock)

This short track from Pinegrove’s excellent Skylight is a beautiful meditation on a lost relationship. It seems to be one of the oft-forgotten songs in the first half of the record, which is full of dense writing and linear structure. What initially caught my attention was the melody – Stephens emotional vocal delivery makes the song, as he sings over the melancholic folk-rock instrumental. Only later was I struck by the power of the lyrics, “Isn’t it lovely / I’ll never hold you / to all you held me to,” making it stand out over the rest of the album to me, and one of the songs that I have repeatedly gone back to this year.

“Get Well Soon” – Ariana Grande (pop/RnB)

The concluding track of Sweetener is everything you could want in an Ariana song. The staccato piano chords, soaring vocal chops, hip-hop influenced beats – it’s all there. It features a surprisingly unconventional song structure which suits her voice and style, and allows her to shine more than many of her more popular singles that usually get played on the radio. Ariana is at her strongest when her hip-hop influence shines, and it definitely comes through on this track as she switches between singing and rapping without over doing it. It gets me going every time.

“Canary Yellow” – Deafheaven (Post-rock/metal)

Post-rock influenced black metal band Deafheaven released an album called Ordinary Corrupt Human Love this year, and jeez-oh-man is it dope. “Canary Yellow” is the centerpiece of the record. The first two-and-half minutes of the twelve minute track consists of an instrumental post-rock build, pulling you into the experience, only to slap you in the face with screaming vocals and pulverizing blast beats. The riff in the third part of the song almost brings to mind the classic rock of the 70’s, complete with a squealing guitar solo that ushers in the only clean vocals on the track, an eery yet beautiful chorus of “On and on and on we choke on / on and on and on we choke on / an everlasting, handsome night / my lover’s blood rushes right through me.” By the end of that song alone, you feel as if you come through a tremendous emotional journey that you can’t wait to go on again.