shoegaze albums

THE SHOEGAZE GENERATION’s Best Releases of 2016

shoegaze/dream pop/lo-fi/space rock…

VHS Dream - Departure
Newmoon - Space
Soviet Soviet - Endless
Simmer - Paper Prisms
Roy Montgomery – R M H Q: Headquarters
Flyying Colours - Mindfullness
SULK - No Illusions
Pretty City - Colorize
The Stargazer Lilies - Door To The Sun
Dead Horse One - Season Of Mist
Kindling - Everywhere Else
Tears Run Rings - In Surges
HalloweenStabParty - Leave Me Here
Secret Asian Men - Secrets Beyond The Room
Bummers Eve - Bummers Eve
Vivienne Eastwood - Shook
Narrow Head - Satisfaction
LSD and the Search for God - Heaven is a Place
Teal - Near The Ground
The Blessed Isles - Straining Hard Against the Strength of Night
Miles Bandit - Night Man
Flicker Vertigo - Epiphany
Annie Hall - Saudade
Stella Diana - Nitocris
Receiving Line - Demo
Candace - New Future
The Veldt - The Shocking Fuzz of Your Electric Fur The Drake Equation
Eyes Behind the Veil - Empathy
Não Ao Futebol Moderno – Vida Que Segue
yuko yuko – more than a facebook friend
Rollercoasterwater - Umami Sounding Fireball
DIIV - Is The Is Are
Crescendo – Unless
Pinkshinyultrablast - Grandfeathered
CASTLEBEAT - CASTLEBEAT
Pixie Cut Tentacle Head - PCTH
Dream Suicides – Someday
Pity Sex - White Hot Moon
Last Movement - Bloove
Lights That Change - Byzantium
Living Hour – Living Hour
Echolust - Veldisa
dälek - Asphalt For Eden
Ambersmoke – The Great Nothing
Matt Bartram - Moments Before
Rev Rev Rev - Des fleurs magiques bourdonnaient
Ulrich Schnauss - No Further Ahead Than Today
Voices From Deep Below – This Place Will Raise Up
Nothing – Tired of Tomorrow
Lush - Blind Spot
きのこ帝国 (Kinoko Teikoku) - 愛のゆくえ
In The Branches - Wilderness Time
Mumrunner - Gentle Slopes
Soda Lilies – Love Cemetery Tapes
The Death of Pop - Turns
Film School - June
Klam - The Concrete Vagina / Canciones de otras bandas
Danxia - Danxia 1
Bloody Knives - I Will Cut Your Heart Out For This
Acid Ghost - WARHOL
Impulsive Hearts - Sorry In The Summer
Mirror Days - No Hope For Getting Better
Blankenberge - Blankenberge
Deutsche Ashram - Deeper And Deeper
yourboyfriendsucks! - Episode 01
Linda Guilala – Psiconáutica
Melt - Rifter
Pale Dīan – Narrow Birth
Golden Graves - Be Safe
Ultra Material - Double Date
Peonies - Landscape
Telstar Sound Drone - Magical Solutions to Everyday Struggles
Strata Florida – Falling From Grace
Архитектурный Оркестр Благодетели - При любой невозможности
Ulrika Spacek - The Album Paranoia
Wax Witches - Memory Painting
The Cheers Cheers - Carinae
Evvolves - Mosses
FLame - En Borde
TURNIP KING - Laika
Daydreams - Trust
увула - никак
Daydreams - Teenage Feelings
We. the Pigs - DK31
Sustains - Sustains
Leave The Planet - Nowhere
The High Violets - Bells
Brothers In Law - Raise
Man Is Not a Bird - Life & Levity
Manic Sheep - Brooklyn
Field Mouse - Episodic
Daylily - Pills
Alter - Embers
Magnet School - The Art of Telling the Truth
Omega Vague - Obsolescent
93MillionMilesFromTheSun - Darkness Inside
Vet Trip - Swimming In Machines
Slow Down Molasses - 100% Sunshine
JAGUWAR - II
Pastel Dream - s/t
Bloodhounds On My Trail - Haunted Isles

Turnover, “Like Slow Disappearing”

I was afraid but you were glowing like the most relieving light. 
You were my revealing light.
I closed my eyes and suddenly we were 
attached. 
You stayed with me after the moment passed. 
I felt you buried deep under my chest, like my lungs when I’m breathing in and I was not myself when I opened up my eyes again.

People kept saying shoegaze. I like shoegaze. I bought the album. It’s really cool. But maybe not what I consider shoegaze. Certainly indie-rock though. This is my favourite track. It’s actually really beautiful, the music that is. I love the shimmery nature the of the production (reverb?). I guess this song, for me is the closest thing to the shoegaze I listen to, on this album. I Would Hate You if I Could gets pretty close as well. Both of those songs are great, but I much prefer this one, Like Slow Disappearing. I like the chorus. It’s nice.

The photos in the booklet are kind of nice too. However the actual cover I dislike. There’s something about the cover picture that unnerves me. Perhaps it’s the huge fucking spider. Regardless, I switched the booklet around so that the back page picture is the cover. It’s a nicer picture.

It’s all nice.

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Anybody like shoegaze?

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Top 10 Albums of 2017
#5: Mindkult - Lucifer’s Dream

Pop doom metal. Love it, hate it, there is one thing that cannot be denied… it is something we’re stuck with. Ghost B.C. popularized the style, although it could be argued that they’re barely a doom band by any standard. Pallbearer is perhaps the more viable alternative, although I’ve never liked them.

In comes Mindkult in 2017. A one-man American project with the brave assertion that this is somehow both doom metal and shoegaze. Now, I cannot confirm or deny if this is actually shoegaze or not, but it is doom metal. More specifically, it is pop doom metal of the highest order.

What really sets Mindkult apart is the production. It’s raw, it’s stripped down, the guitar tone sounds like it’s coming through a 10 watt amp. It has that sort of horror dungeon vibe that Electric Wizard or Uncle Acid have. Much like the mighty Wizard, vocals are pushed way back in the mix. Those who love that sort of atmosphere will find much to enjoy here.

The songs are very simple. They’re mega hook-laden doom tracks with an emphasis on simple lead guitar themes. Simple, melodic vocal lines draw you deep into the background haze. Seriously, it’s hard to describe this album without just spewing buzzwords… but here I am.

The album’s title describes the sound better than I ever could. 

Lucifer’s Dream. 

It has all that dark, satanic horror that you love from stoner doom with the dreaminess that comes from whatever shoegaze is.

This is the best pop doom metal album I’ve heard so far. Just take my fucking word for it, okay? It’s probably the most accessible doom metal will ever get without losing the spirit of the genre. GET IT!

The song: Nightmares

Best Albums of 2017

1. Mount Eerie – A Crow Looked At Me
I’m not quite sure, to this day, what this record truly is. In the words of Phil Elverum, the singer/songwriter behind Mount Eerie many different names over his long career, “This new album is barely music. It’s just me speaking her name out loud, her memory.” The Her refers to Genevieve Castree, his wife who just weeks before the recording of this album died of pancreatic cancer. So, in parts, this album is a living work, a moving epitaph to the late mother and wife, but also a cathartic expulsion of pure grief, suffering and anguish through spare instrumentation and hushed vocals. The stories progress as time passes and Elverum moves through the world with the ghost of Genevieve in the house he shares with their infant daughter, and the stories cover just about as much detail as could possibly be gleaned, from cleaning the bloody tissues from the floor to the passing of her clothes on to her friends and family. 

To say that this is a haunting listen is without a doubt an understatement, but is the single most beautiful, full, and poignant album perhaps ever recorded. As the listener is drawn into the torrent of raw emotion woven by Elverum, his pain is tangible, and when he must traverse living and raising an infant who may have no memory of her mother is, is more than enough to break any emotional walls you may have built to guard against the thoughts of mortality and legacy. “Death is real/Someone’s there and then they’re not/And it’s not for singing about/It’s not for making into art/When real death enters the house, all poetry is dumb/When I walk into the room where you were/And look into the emptiness instead/All fails,” intones Elverum on the opening track, “Real Death”. But what is most fitting for the tragedy that has befallen him, this anger and bitterness is transformed through the course of this work of art into something like life. I have never heard anything like A Crow Looked At Me and some part of me never wants to listen to it or anything like it ever again. But, here we are.

2. Big Thief – Capacity
Adrienne Lenker has lived more lives in her short time on Earth than many have, and thankfully, she has graced us with the ability to peer into these lives through her music. Capacity is the sophomore record behind this Brooklyn band, and is whatever the opposite of the sophomore slump happens to be. These stories, covering Lenker’s early life, her mother, and even her own conception, shudder with aching beauty, and the sonic palette envelops like a warm blanket of folk-rock guitars and direct drums. “Mythological Beauty” is one of the most electrifying vocal performances of this decade and driving songs like the title track and “Objects” propel the listener through this tour of motherhood, until Lenker delivers tracks like “Coma” and “Mary” that stop you dead in your tracks. I think what resonated most for me about this album, was the sentiment of understanding for the process of raising a child at a young age. “There is a child inside you who’s trying to raise a child in me,” sings Lenker in “Mythological Beauty” and for some reason I can’t get those words out of mind, and most of these stories have that same quality about them. A stunning album from one of the most interesting songwriters of our time, and I can’t wait to see what’s next.
“Pretty Things”, “Mythological Beauty”, “Mary”

3. Sampha – Process
Largely known prior to Process as a featured performer singing hooks and for collaborating with SBTRKT on his 2011 self-titled album, as well as releasing a mixed EP of songs called Dual in 2013. But, with this album, Sampha positions himself as the top alt-R&B artist currently working, even in the latter half of a decade rife with R&B projects. It is one hell of an achievement for a debut album to sound so polished, so focused and so expressive, but Sampha manages to make it look easy, and while the content of the album dwells on longing and loneliness, the soundscape takes off into the stratosphere. Softly glitching synths, airy piano, tight drum patterns, and brilliant samples serve to amplify and bloom the unique and clear timbre of Sampha’s voice, but it’s on the mid-album highlight “(No One Knows Me) Like the Piano” that he claims his rightful place at the top. “Under”, “Plastic 100c”, and “Incomplete Kisses” further show a talent as well-equipped for the charts as the underground, and it makes for the most well rounded and radiant albums of the last few years.
“(No One Knows Me) Like the Piano”, “Under”, “Incomplete Kisses”

4. SZA – CTRL
After what might be the most heavily anticipated waiting period since Franklin Q. Ocean released his latest, SZA dropped the instant classic of love, sex, black identity and female acceptance with CTRL. Although her feature list includes the top hip-hop artists of today, Travis Scott, Kendrick Lamar, Isaiah Rashad, SZA commands the record with a confidence and power that few other artists exhibit over their own work. The run of four tracks that begin the record is the strongest set of songs in sequence possibly since Good Kid M.a.a.D City in 2012, and the rest of the album absolutely does not disappoint. The trippy, subdued bass-heavy beats continue over from her first record, but have deepened and expanded to accommodate a huge beautiful sound. The lyrics explore an unapologetic and proud black woman navigating relationships in the precarious social times that has metastasized around us, and I can’t think of a more prescient hip-hop record for this year. SZA has a massive hit on her hands, and following her success, I can only sit patiently and wait for the next one, which I will happily do.
“Love Galore”, “Drew Barrymore”, “Doves in the Wind”

5. Fog Lake – Dragonchaser
Okay, this one is gonna be kind of a screwball. Fog Lake is an unsigned Newfoundland, Canada slowcore/shoegaze that operates out of Bandcamp and is masterminded by Aaron Powell. His songs have been well received by music publications, and his albums have a relatively small following, and in listening to this record, Dragonchaser, hearing the clattering guitars and layered harmonies, letting the sound wash over you, I can’t imagine that Powell will remain in the underground much longer. Drawing from a long lineage of shoegazers like Slowdive and Cocteau Twins, the guitars drive the songs, and sometimes the discordant noise feels just like the title of the song (“Novocaine”) and sometimes can lead a galloping rock song like on the lead single and highest profile track, “Rattlesnake”. If you have been looking for something new and lush with deep feelings wrapped in an elegant pace, Fog Lake has created the perfect record for you.
“Rattlesnake”, “Side Effects”, “Roswell”

6. The National – Sleep Well Beast
The National is a band that likely needs little introduction, being that this record is their seventh studio album in a nearly 20 year music career. Matt Beringer and company have a reputation as the most under-stated of their 00’s contemporaries, lacking in the dance beats of LCD Soundsystem and the raw theatrics of Interpol. But, what they lack in aggression, they have always made up for in their earnest and sweet tales of love. Sleep Well Beast bucks these trends and unleash an anachronistic set of dark and sweeping songs. ”Day I Die” and “The System Only Dreams in Total Darkness” hum along marking the rockingest this band has ever sounded. It comes together with more of their standard slower-paced numbers, “Carin at the Liquor Store” and the majority of the latter half, but even these manage to harness the energy of the singles and reel the listener into songs that wrestle with love and growing older.
“I’ll Still Destroy You”, “Guilty Party”, “Carin at the Liquor Store”

7. Dent May – Across The Universe
This is a criminally underrated record that came out this year, coming as no surprise at the number seven spot on this list. Dent May, the most original lounge-pop provocateur of the present age, has been making saccharine hits for the better part of a decade, using a variety of instruments and sounds, but Across The Universe shows off his most polished and confident sound yet. The songwriting has a light touch, and has the sort of cavalier charm one can expect from May, but with the added synths and pristine production, the songs zing with droll efficiency. Indie darling Frankie Cosmos joins May on the title track, and it may be one of the strongest indie-pop singles in a long time with both artists pulling out all the stops to croon an opine to their intergalactic love. After this record ends, you can’t wait to turn it back on again, and it was my go-to good time album this year, so please enjoy.
“Picture on a Screen”, “90210”, “I’m Gonna Live Forever Until I’m Dead”

8. Kelly Lee Owens – Kelly Lee Owens
There are self-assured debuts, and then there is the new self-titled project from Kelly Lee Owens. Sonically, Owens has put together a deep, dark, and infectious set of semi-ambient electronic songs that take hold of every sense and to create such a diverse and controlled group of songs shows an early mastery that positions her at the top of her class. From the beginning of the track list, the songs dully roar with a spacious tension that doesn’t release you for one second, and Owens soaring beautiful vocals over these tracks cut like a knife. Jenny Hval, whose album Blood Bitch is a master piece in its own right, joins Owens for “Anxi” one of the early album highlights, but Owens goes even further into the electronic sound with the nervous dance track, “Evolution” that pulses with bass and trance-like vocals. This is not one to miss, and 2017’s anxiety hasn’t been put better than this. To see such a strong emerging female voice in the electronic music field is a very exciting prospect, considering the sound was pioneered by female voices, and now with torchbearers like Kelly Lee Owens, the future may in fact be female, and more power to it. “S.O.”, “Evolution”, “Cbm”

9. Grizzly Bear- Painted Ruins
2017 was a weird year for the indie rockers of the previous decade, who seemingly all made their returns to the mainstage for another shot at leading the pack. I was initially wary of these so-called “comeback” albums, considering a lower-tier story from this year involving Ed Droste of GB, Robin Pecknold of Fleet Foxes, and David Longstrieth of the Dirty Projectors decrying the new crop of popular alternative stars, like Mac Demarco and Angel Olsen. Any Angel Olsen slander is unforgivable in my opinion, but Droste and the rest of Grizzly Bear have turned in a very strange and very good album in Painted Ruins. The sonic choices here are all over the board, but have been arranged like a weathered mosaic, a relic of styles gone by, leaving a disparate but interesting image behind. The indie rock of yesteryear is here, certainly, but the choices made on songs like “Neighbors” and “Three Rings” are too interesting to be labelled as such, and non-singles like “Losing All Sense” and “Wasted Acres” are just as, if not more, interesting than their higher profile tracklist-mates. It seems the prodigals sons have returned, and have brought a brilliant missive back with them.
“Four Cypresses”, “Neighbors” “Losing All Sense”

10. Father John Misty – Pure Comedy
Despite having maybe the most successful year an indie artist could possibly have in a harsh, harsh industry, with near-constant press coverage, multiple profiles in the top publications, and a smash single used to promote seemingly the entire west coast, Josh Tillman’s new record is a nihilistic and unforgiving album filled with all the pain and suffering he can reflect at us. But what the most popular misanthrope in the music scene has to saw past the shock and awe of doom and gloom really sticks with you. The singer/songwriter has written big and bombastic ballads detailing the end of civilization as we know it “Things It Would Have Been Helpful To Know Before the Revolution”, a hedonistic pleasure machine that numbs the world to death with visions of sex with pop stars “Total Entertainment Forever”, and unstoppable aging at a theme park “, but in his troubadour style, you can’t help but understand his anguish at the present context. There is, through all of this heavy content, a winking eye to save the record from being a sermon on a thoroughly scorched mount, and that comic sensibility has captured the times we live in with a cynical joie de vivre that is unmatched. The end of the world never felt so fun, and with the caricature minister J. Tillman strumming, we’ll dance our way to the grave.
“Ballad of the Dying Man”, “Leaving LA”, “So I’m Growing Old on Magic Mountain”

11. Tyler, The Creator – Flower Boy
I am surprised that there isn’t more controversy surrounding this record, given this year’s crackdown on sexual violence, and given Tyler’s unfortunate musical history with the genre. But, perhaps, the story of Tyler’s success can be attributed to a new sort of coming-of-age story, where a violent misogynist culture that has bred a hero of youth whose musical characters vividly depict the sort of acts that few are able to stomach even the thought of, is able to raise itself through the confusion and pain that spawned those characters into a future where kids aren’t forced to consider themselves the monsters that they wish they were. Tyler’s previous music is a cry for help, and while he has grown lyrically more confident, and grown with leaps and bounds musically, he has found an outlet for the angst that once drove songs like “VCR” and “Tron Cat”. On Flower Boy, Tyler has found a bright R&B sound that has fit him, and created a genuinely great album detailing the loneliness and boredom that growing up has created. It’s catchy, fun, and bold, showing a mature and adult side of Tyler’s impressive talent, talent that he has always displayed, even in creating the vile tales that populated his earlier works. What has always been the case with Tyler’s music, is that past the bombast and explosive energy lies a guarded heart, and those moments on Flower Boy allow us to glimpse Tyler like we haven’t seen him before, and, for me, that view is thrilling and validating being that I have been a fan for a long time. This is a good record, with no caveats. And I am so glad that I get to say that and feel this way. Good luck, Tyler.
“Foreward”, “Pothole”, “November”

12. Sylvan Esso – What Now
I was not expecting to love this record as much as I do, and I was not expecting it out of a band whose hype grew to enormous proportions after what was, in my opinion, a lackluster and derivative debut. Sylvan Esso has grown into their own sound, and carved out their own corner of the glitch-synth-electro-pop market, and not many are doing it better than they are. I think what makes this record especially exciting is the light touch they seem to have on the production side of things, that even heavier tracks like “Die Young” still zap with an electricity that leaves you tapping your feet if not jumping around like a crazy person. It’s a fun record, and to see that a heavily backed band focus down on their sound and make something as interesting as it is chart-topping is a rarity, an achievement which I think Sylvan Esso has hit in spades.
“Die Young”, “The Glow”, “Radio”

13. Fleet Foxes – Crack-Up
There is really no way this was going to be a bad record. Sure, it could have been derivative and retread of the baroque celestial folk that had made them so incredibly popular in the late 00’s, but it wasn’t going to be bad. What I was unable to predict is that when the band had nowhere to go but up, Robin Pecknold and company step back, creating one of the most personal statements they have ever made, and a largely understated one at that. Detailing Pecknold’s time at Columbia University, the album traverses duality and inner turmoil in the verbose and dense manner that one comes to expect from the folk outfit, but has focused on a wider array of sounds and structures this time, and while some may find the moseying and introspection tedious, Crack-Up provides a moment of self-actualist energy for an aching world. Also, they may have created the best song they have ever made in “Third of May/Odaigahara”, featuring the soaring expansive sound and harmonies that made them famous, but sporting a twisting song structure and lyric sheet that make it an incredible listen from the first time to the fiftieth.
“Kept Woman”, “Third of May/Odaigahara”, “Mearcstapa”

14Sound of Ceres – The Twin
I can’t understand where the hype was for this album. Is it that the world has turned its back on shoegaze? No, that can’t be, Slowdive, Ride, At The Drive-in, and Jesus and Mary Chain all had records of varying approval ratings this year! Whatever the reason, Sound of Ceres has created something far out, in the most stellar sense of the phrase. When I say that this record sounds like it was recorded by a more advanced civilization who returned it to us through the band is not hyperbole, it is fact. The band has created an incredible range of synth sounds and a beautiful explosion of noise that I can’t get out of my head. It envelops you, it’s inescapable and it’s unlike anything I have ever heard, with its shimmering keys and sweet soft wail of the lead vocals sending you to another world. Do me and them a favor and put this on. Then buckle up, and enjoy the trip.
“Humaniora”, “Io Scenic A/B”, “The Trance”

15. BrockhamptonSaturation Trilogy
Bar none, this is the greatest rap project of 2017, a trio of incredible records from some of the most talented creators in the game today. Kevin Abstract, Ameer Vaan, Merlyn Wood, Joba, Matt Champion, and the rest (there are a lot of members of brockhampton) are the brightest and sharpest of their contemporaries, and the team has dominated the internet’s rap world with their open, brash, and honest storytelling, as well as some of the most killer verses of the internet age. You can track their chops getting progressively more fine-tuned as the trilogy progresses, culminating in Saturation III, the tightest and more adventurous of them all. It’s hard to overstate the footprint they have left, and I am finding hard to work the words out of how much I am enamored of these guys. I love you, Kevin. Please continue to rap and be gay, because not enough rappers rap and be gay. I love you. Forever. Please listen to this project, guys, oh my lord.
“SWAMP”, “BOYS”, “RENTAL”

16. Slowdive – Slowdive
“Sugar for the Pill”, “Go Get It”, “Falling Ashes”

17. Priests – Nothing Feels Natural
“Jj”, “Pink White House”, “Nothing Feels Natural”

18. Kendrick Lamar – DAMN.
“LOYALTY.”, “LOVE.”, “DUCKWORTH.”

19. Girlpool – Powerplant
“123”, “your heart”, “fast dust”

20. Protomartyr – Relatives in Descent
“A Private Understanding”, “The Chuckler”, “Male Plague”

21. Beach Fossils – Somersault
“This Time”, “Tangerine”, “Social Jetlag”

22. Ryuichi Sakamoto – Async
“solari”, “disintegration”, “andata”

23. Chastity Belt – I Used To Spend So Much Time Alone
“Different Now”, “It’s Obvious”, “5am”

24. Zola Jesus – Okovi
“Exhumed”, “Siphon”, “Soak”

25. Jonwayne – Rap Album Two
Very underrated rap project, please listen. “LIVE from the Fuck You”, “Rainbow”, “Blue Green”

26. LCD Soundsystem – American Dream
“oh baby”, “american dream”, “black screen”

27. King Krule – The Ooz
Dude, the whole thing. But, here. “Biscuittown”, “Dum Surfer”, “Cadet Limbo”

28. Marika Hackman – I’m Not Your Man
“Boyfriend”, “Time’s Been Reckless”, “My Lover Cindy”

29. Code Orange – Forever
“Kill The Creator”, “Bleeding in the Blur”, “Spy”

30. Mac Demarco – This Old Dog
“Baby You’re Out”, “One More Love Song”, “Still Beating”

31. Perfume Genius – No Shape
“Slip Away”, “Just Like Love”, “Sides”

32. Gucci Mane – DropTopWop
“Hurt a Nigga Feelings”, “Met Gala”, “Both Eyes Closed”

33. Kesha – Rainbow
“Woman”, “Praying”, “Boogie Feet”

34. Xiu Xiu – Forget
“Queen of the Losers”, “Wondering”, “Jenny GoGo”

35. Bjork – Utopia
“The Gate”, “Body Memory”, “Tabula Rasa”

36. Jesca Hoop – Memories Are Now
“Cut Connection”, “Pegasi”, “Songs of Old”

37. Alvvays – Antisocialites
“Dreams Tonite”, “Plimsoll Punks”, “Not My Baby”

38. Jamire Williams – EFFECTUAL
Experimental jazz drummer record, best enjoyed all the way through.

39. Jay-Z – 4:44
“The Story of OJ”, “Moonlight”, “4:44”

40. William Basinski – A Shadow In Time
It’s an ambient record, listen to the whole thing.

41. Benjamin Clementine – I Tell A Fly
“The Phantom of Aleppoville” The Rest Of It, Oh My God

42. Queens of the Stone Age – Villains
“The Evil Has Landed”, “Head Like A Haunted House”, “Domesticated Animals”

43. Thundercat – Drunk
“Show Me The Way”, “Tokyo”, “Friend Zone”

44. Arcade Fire – Everything Now
“Creature Comfort”, “Chemistry”, “Electric Blue”

45. Forest Swords – Compassion
“Raw Language”, “The Highest Flood”, “Arms Out”

46. Feist – Pleasure
“Wish I Didn’t Miss You”, “Century”, “Lost Dreams”

47. Run The Jewels – RTJ3
“Legend Has It”, “Hey Kids (Bomaye)” “Thursday in the Danger Room”

48. Dirty Projectors – Dirty Projectors
“Keep Your Name”, “Up in Hudson”, “Winner Take Nothing”

49. Street Sects – Rat Jacket
The whole fuckin’ thing, nerds (“Blacken the Other Eye”)

50. Four Tet – New Energy
“LA Trance”, “Two Thousand and Seventeen”, “SW9 9SL”

a couple seconds of Bad Blood accidentally gets recorded into the final mix of my post-rock/ambient shoegaze album while I work on it at Starbucks. later that night the taste of cold metal in my mouth wakes me. the last thing i see is Taylor Swifts dead lifeless eyes before she pulls the trigger