#this is a playlist my friend and i made collaboratively to represent our relationship

[juliaisabellphoto]

My 2020 Albums of the Year

Never requested, always provided. Here are my favorites of 2020. Here’s the playlist. 

The Secret Sisters, Saturn Return

As soon as I saw “Water Witch, featuring Brandi Carlile” on this tracklist I knew that the Secret Sisters would be a favorite of 2020. In February, I was staying with a friend in Nashville and she mentioned them as a local favorite, and when I stopped at Grimey’s to shop for records I came upon a signed copy of “Saturn Return.” I had never heard the Secret Sisters before, but there is nobody I trust more to recommend music than this Nashville friend of mine, so I bought it. I made no mistake here: this record blew me away. The soft, soulful, lullaby of “Healer in the Sky” pulled me through the pain of the first month of quarantine and soothed me as the world was turned upside down. In reading more on the record, this seems to have been the point: they say, “this album is a reflection of us coming to terms with how to find our power in the face of an unfair world… our hope is that women can feel less alone in their journey through the modern world.” There is something in the caramel-thick sweetness of these sisters’ voices that makes a listener feel as though they’ve been bewitched into calm. When I think of this album, I think of the cross-country drive I took at the beginning of the pandemic to make my way home and the happy moments that can be found in darkness. No album touched my heart this year in the way that “Saturn Return” did. 

Taylor Swift, Folklore and Evermore

Taylor Swift… can even be said? Somehow, while we all sat on our couches in quarantine, this woman created not one but two musical masterpieces. She begins “the 1” by stating “I’m doin good, I’m on some new shit,” and that says a lot about the album as a whole. She created the 2020 we all wish we experienced: soft, sweet, and gentle. Listening to Folklore feels like visiting a cabin in the woods, with a fireplace well lit. Swift tells winding stories of love, hardship, and mystery and tenderly walks us through the forest of her imagination. This magical feeling was amplified by her release of The Long Pond Studio Sessions, a film in which Swift, Jack Antonoff, and Aaron Dessner finally play the album together for the first time after recording it entirely remotely. The setting matches the sound: they play in an album in the middle of the woods, cozy and hidden from the snow. Evermore cuts through the delicate ice of Folklore: it is the color to Folklore’s black and white. Swift combines the soft folk sound of “willow” with some of her country and Americana roots in “no body, no crime,” drawing us in once again. She includes Bon Iver singing in his lower register in Folklore and then in his falsetto in Evermore: two sides of the same magic coin. The work in these two albums is Swift’s strongest ever, and solidifies the fact that no modern artist can really reach her. 

Chris Stapleton, Starting Over 

Following a three-year hiatus, all lovers of southern rock deeply needed a Chris Stapleton album. In “Starting Over,” Stapleton yet again does what he does best: combines his unique whiskey-tinged growl with the best lyricism present in country music today. This record can’t be captured in any singular fashion, neither musically nor emotionally. The title track sets a high bar for the rest of the record with a reflection on re-remembering what really matters, a message certainly relevant for this turbulent year. Stapleton’s typical outlaw-country brand is present in full with “Devil Always Made Me Think Twice,” “Arkansas,” and “Hillbilly Blood,” but other songs take him in a completely new stylistic direction. “Maggie’s Song” takes on a very classic old-time country feel, as Stapleton weaves sweet and simple stories as he processes the loss of his pup. He harnesses the energy of the Chicks as he angrily lambasts the perpetrators of the 2017 mass shooting at Route 91. The song is a Stapleton-sponsored judgment day reckoning, including the cacophonic sound of a crowd in panic and the shrieks of a gospel choir. In contrast with this energetic high, Stapleton goes deep into his blues side by finally releasing “You Should Probably Leave,” a song he has been sitting on for six years. This one feels just right to sway around the kitchen to. With each listen to “Starting Over” I find new lyrics to write down and remember, new sounds to love. 

Bad Bunny, YHLQMDLG

Bad Bunny. Our unproblematic reggaeton prince. In the wake of his many popular features and his collaborative album with J Balvin, Bad Bunny makes it clear that it is time for Balvin to share the throne of popular reggaeton. He features the original reggaeton king Daddy Yankee in “La Santa,” paying tribute to the very classic reggaeton style before mixing it and transcending beyond the classics in the following tracks. “Yo Perreo Sola” is the album’s standout track, accompanied by my favorite music video of 2020. The song is an ode to gender equality and the destruction of the patriarchal norms contributing to gender-based violence. “Yo Perreo Sola,” meaning “I twerk alone,” sets the overarching theme of consent present throughout the song’s lyrics. In the video, Benito’s backdrop references the Argentinian-born “Ni Una Menos” movement, a now global movement against gender-based violence. As if this wasn’t enough to make you adore him, the video further extends its activism to the LGBTQ community, with Benito appearing in full drag, in his normal attire, and at some points held in chains by women. He makes a statement about sexuality and gender expression in the video, twerking solo. The other jawdropper track on YHLQMDLG is Safaera, a perfect display of Bad Bunny’s skill in expanding the scope of reggaeton as a genre. In the same thirty seconds of the song, he subtly samples both “Could You Be Loved” by Bob Marley and the Wailers and Missy Elliot’s “Get Ya Freak On” - a segment I just can’t get out of my head. Bad Bunny’s prowess on this record is rounded out with the aggressive and prideful “P FKN R.” What a masterpiece. 

Mac Miller, Circles 

A posthumous record that never should have been posthumous. A companion-piece to Mac’s 2018 record “Swimming,” Circles takes a similar tone, one of resilience through pain. The title track serves as a somber introduction, followed by the funk energy of “Complicated” and the GO:OD AM energy of “Blue World.” The song that really got to me, and many other fans of Mac, was “Good News.” It is the pinnacle of Mac’s musical insight and talent. The melody matches the melancholy of the track, as Mac sings of his desire for time and space. The melancholy is matched in “Everybody” with the lines about death feeling particularly haunting in the wake of Miller’s accidental overdose. Somehow, Miller wrote the perfect eulogy for himself prior to his passing, one that will live in the hearts of his fans forever. 

Kali Uchis, Sin Miedo (del Amor y Otros Demonios) ∞

I’m not quite sure what to call this record. If I just listened to “la luna enamorada,” a cover of a classic Cuban bolero, I would call it gorgeous. If I just listened to “fue mejor” featuring PARTYNEXTDOOR or “quiero sentirme bien,” I would call it sexy. If I just listened to “vaya con dios,” I would think she wrote the theme music for the next James Bond film. The bottom line of the record is Uchis’ absolute stunning use of her upper register. She hits notes that “Isolation” never would have foreshadowed, painting a dreamland for any listener. She slides back into the energy of her sophomore album in “telepatia,” but adds in moments of her new sound. She incorporates a slower reggaeton beat into no eres tu (soy yo), and dives into a heavier reggaeton sound in te pongo mal (prendelo.) My personal favorite of the record is “aqui yo mando!” with Rico Nasty: it is the perfect display of Uchis’ unique upper register combined with Rico’s trap style. Anyone passing this record up for another “Isolation” listen is missing out. 

FLETCHER, The S(ex) Tapes

This record has a story like no other, coming from a woman like no other. This EP was recorded while Fletcher quarantined with her ex-girlfriend, who also happened to film all of the music videos for it. It is this messiness that makes The S(ex) Tapes absolute magic. Fletcher’s own description of the name of the release explains the situation best:  “A sex tape is someone being captured in their most vulnerable, wildest, rawest form, and my ex has always captured me that way.” She captures all of the feelings of a breakup with someone you still love deeply, and the relationship relapse that comes with moving past those feelings. Fletcher’s special ability comes in representing these deeply painful experiences in an uplifting manner: this is a sexy pop EP meant to be danced to. Fletcher simultaneously validates all of the emotional tumult, but subtly nudges the listener toward blissful reckless abandon. It almost makes me wish I had a breakup to go through! The abrasive apathy of “Shh… Don’t Say It” and the flippant, angry vulnerability of “Bitter” are paired perfectly with Fletcher’s raw brand of distortion. In an interview with Nylon, Fletcher speaks to this: “Listen, I've done my fair share of just straight-up sad, crying in your bed music. I'm still going through shit, but I want to bop to it. We can still be emo and want to twerk at the same time.” Yes, Fletcher, we do. 

Halsey, Manic   

Prior to 2020, I wasn’t Halsey’s biggest fan. I wouldn’t have even called myself a fan. I just wasn’t that excited by her music. “I’m Not Mad” was the song that triggered a 180 for me. The heavy, dissonant kick of the drums and her raw, angry lyricism drew me in without hesitation. I suppose this was just the push I needed to fall in love with the rest of her music: the songs with similar bite, “Without Me” and “killing boys,” and the more raw side of the record in “You should be sad,” “929,” and “Graveyard.” Her vulnerability is so much of what makes this record perfect. The album fully made sense to me when I listened to her podcast feature on “Armchair Expert” with Dax Shepard. In it, she talks through the time period covered by the record and gives context to her powerful lyricism. “Manic” is a story of chasing someone she loved into drug-fueled oblivion, and then finally finding the power to leave. The album is brimming with this power, and I just can’t turn it off. 

HAIM, Women In Music Pt. III

HAIM is THE soft rock band of the modern era.Women In Music Pt. III, their most mature album yet, solidified this opinion for me in a way that I didn’t expect. There is so much to be said for this record: it is innovative and skilled, with the perfect balance of softness and hardness. Though the record is one of pain and trauma, you wouldn’t know it purely from its melodies. “Don’t Wanna” is a very classic HAIM pop rock number, and “The Steps” follows suit making frustration fun to dance to. Though one may not notice at first, in this record HAIM dives deeper than ever before. “Now I’m In It” does a phenomenal job of sonically representing the feeling of being completely and utterly overwhelmed. “I Know Alone” is a beautifully intimate rainy-day account of Danielle’s struggle with depression. Then comes “3AM” - a lighthearted song about a booty call with Thundercat-type bass and an R&B vibe - just in case you didn’t already know how much range these three sisters have. Everything about this record is filled with talent. 

Phoebe Bridgers, Punisher

Only Phoebe Bridgers could write a song about murdering a skinhead and fill it with nostalgia. “Garden Song,” the leading single preceding “Punisher,” foreshadowed a record that is just so very Phoebe: melancholy, vulnerable, and heart-wrenching. The eagerly awaited album certainly followed suit, with typical sad ballads “Halloween” and “Moon Song” played alongside more raucous, Better Oblivion Community Center-esque songs such as “Kyoto” and “ICU.” She goes bluegrass on “Graceland Too” with banjo, violin, and layered harmonies from boygenius collaborators Lucy Dacus and Julien Baker. In “Punisher,” Bridgers shares with us the wistful catharsis that she is so very talented at creating.

Noah Cyrus, THE END OF EVERYTHING 

I always underestimated Miley’s little sister, but here I am writing about her EP before I write about Miley’s in my end of the year roundup. Every piece in this record gave me chills: Cyrus’ lower register allows her to access a somber kind of ballad that I just can’t get enough of. The record starts off at a peak with the slow burn of “Ghost” and somehow manages to get even better with “I Got So High That I Saw Jesus.” This powerful song, even better in the live version where Miley joins her younger sister, builds into an almost gospel-like ode to the idea that everything will be okay. “July,” the single featuring Leon Bridges that pushed Cyrus into the national spotlight, stands as the most beautifully layered song of the EP. The soft guitar picking and choral sound complement Cyrus’ upper register. The whole record, extending through the closing title track, is a comforting, soft emotional analgesic for 2020. 

The Chicks, Gaslighter

This record is gorgeous. It is painful. The feelings Natalie Maines expresses in this record are feelings I have felt far too deeply in personal relationships, and they also are feelings everyone is feeling globally in 2020. “Gaslighter” is just straight up fun, a perfect extension of the Chicks’ energy found in “Goodbye Earl” and other older revenge numbers (but with an extra poppy Jack Antonoff twist this time.) “Tights On My Boat” is bitter, funny, and shows off Maines’ upper register with stripped guitar. “Sleep at Night” musically and lyrically embodies the pain of being betrayed. “Julianna Calm Down” is a stunning ballad of female resilience. “Texas Man” perfectly captures the bubbly feeling of moving on. “For Her” and “March March” fit in with the frustrated, betrayed, power-centered theme of the record in a very different way. The Chicks’ dualistic ability to discuss her ex-husband’s cheating alongside the band’s political views is what makes the record special: not only are we watching a woman try to move on and develop her personal strength, but we are also seeing this personal strength harnessed for political impact. They simultaneously denounce the abuse of power in both politics and relationships, while reclaiming that power for themselves in standing up for what they believe in. How very Chicks of them. 

Dua Lipa, Future Nostalgia

Dua motherfucking Lipa. This woman would have been the official owner of 2020 had we been able to dance to this record at bars and clubs. This was proven ten times over by the success of the album’s first single, “Don’t Start Now,” a song that is absolutely the MOST fun. Or so I thought… until I heard “Physical,” “Levitating,” and “Break My Heart.” What poor timing for such a phenomenal dance record, but at least she gave the people some great material for Tik Tok dances! All COVID-dance-related concerns aside, this is a really well done sophomore album for Dua Lipa. The funk elements of the album most clearly seen in “Levitating” elevate Dua’s brand of pop to a new level. The all gas no brakes nature of this dance-pop record works wonders for her - she knows what the people want from her, and she delivers. 

Megan Thee Stallion, Good News

THIS! RECORD! If WAP could be an album of the year, it would be, but it’s a standalone single and Megan Thee Stallion proceeded to release the next best thing. The explosion of Megan Thee Stallion has been a pleasure to watch in 2020, with both WAP and Savage leaving the charge. With an artist like her, it’s easy to get lost in the smash hits and ignore the prolific nature of her work. “Good News” is an immaculate rap album, brimming with sass and defiant bad bitch energy. “Shots Fired” kicks off the album with a Biggie sample and a diss to the man who shot her in the foot earlier in the year, personally my favorite track of the record. Other highlights of the record include “Don’t Stop” with a Young Thug feature, “Body” which is now a Tik Tok staple, and “What’s New.” Perhaps the most impressive work Megan does on “Good News” is “Girls in the Hood,” a rework of Eazy-E’s Boyz-N-The-Hood. She inverts the classic misogyny of the original song by emphasizing her control over men like Eazy-E in an indignant assertion of female power. This embodies Megan Thee Stallion’s essence: busting in on a male industry and making her presence known.

Rico Nasty, Nightmare Vacation

Nobody does it like Rico Nasty, and I’m convinced nobody ever will. I saw a New York Times headline titled “Can the Mainstream Catch Up to Rico Nasty?” the other day and I think the answer is a firm no. Rico is abrasive, rude, and outside the box in the absolute best way. Need an album to slap in the car when you’re feeling like a bad bitch? This. is. it. The record kicks off with “Candy,” a song with a wild beat and the iconic chorus line “Call me crazy, but you can never call me broke.” Following is a Don Toliver and Gucci Mane feature in “Don’t Like Me,” a song that truly should have hit the mainstream by now. She gets back to her signature scream-rap in “STFU” and “OHFR.” “OHFR” is the confident standout of the album, along with the reworked re-release of “Smack a Bitch,” making it clear that Rico Nasty is not a woman to be fucked with. In “Back and Forth” with Amine, Rico steps into Amine’s “Limbo” style and does it well. The record’s second single “Own It” is a more classic club banger that unfortunately didn’t get to see the dark of night in any clubs this year. Even if the mainstream never catches up to Rico Nasty, I’ll be following along with her self-labelled “sugar trap.” 

Ariana Grande, Positions

I mean, duh. Ariana just doesn’t miss. She surprised everyone with this album’s release in Fall 2020, displaying the bliss of her relationship with later-confirmed fiance. She goes dirtier than usual in the sex-centered “34+35” and “nasty,” rounding the record out with the Craig David-reminiscent “positions.” Ariana allows herself to lust for someone and even love for them in these three, but defaults to her brimming self-confidence in “just like magic” and “west side.” The album is more R&B than pop at times, with the peak of this style visible in the groove of “my hair” and the Mariah Carey ballad-like nature of “pov.” Each album, Grande shifts just a little bit, keeping us attached: “Sweetener”’s cotton-candy pop, the savage pop-trap of “thank u, next,” and the R&B conclusion of the spectrum with Positions. 

Miley Cyrus, Plastic Hearts 

This year I anticipated no record more than I did “Plastic Hearts.” Its leading single, “Midnight Sky,” described by Pitchfork as a “cocaine-dusted disco track,” channels Stevie Nicks’ eighties rock-pop era in the absolute best way. Apparently this opinion was even picked up by Stevie herself, as the two collaborated on a mash-up of “Midnight Sky” and Stevie’s “Edge of Seventeen” (the excitement from which nearly led to my passing away, by the way.) Cyrus’ voice is in the perfect place on this record, with “Plastic Hearts” emphasizing her rasp and making me want to spin around a room. She dips into the pop realm in “Prisoner” with Dua Lipa, a song that Lipa clearly influences with an unforgettably sexy music video. Every song is different on this record: “Gimme What I Want” channels the grinding rock sound of Nine Inch Nails, “Bad Karma” allows Joan Jett’s punchy style to run the show, and she slips on the shoes of Billy Idol in their collaboration, Night Crawling. Somehow, Miley manages to wear the shoes well, and 80s copycat record or not, I can’t stop listening. “Never Be Me” is where she shines most deeply, baring her soul, the complicated nature of her past few years’ journey, and her knowledge of who she is and always will be for the world to hear. I’m not sure if I’m blinded to the album’s flaws by my absolute and complete love for everything about Miley’s current persona, but I am a huge fan. 

Glass Animals, Dreamland

The sound of this album is such a blissful respite! Glass Animals gives us the fun and funky techno-pop that they always do, but dive into personal lyricism in a way that they never have before. Many of the songs actually have a storyline (an intentionally rare feat for Dave Bayley, first broken with the incredible “Agnes” on their last album.) This record explores trauma and pain in “Domestic Bliss” and “It’s All So Incredibly Loud,” Bayley using the soft sides of his voice to express pained desperation. The boisterous energy of the past two records is not forgotten in Dreamland’s intimacy, however: “Hot Sugar,” “Tokyo Drifting,” and “Space Ghost Coast To Coast” do the trick. “Space Ghost Coast To Coast” is the most intriguing song on the record: at first listen, I had absolutely no idea what Dave was discussing and assumed it was just his typical neuroscience-inspired ear-candy. Upon a deeper dive, the song addresses the factors that encouraged Dave’s childhood friend to bring a gun to school. He disguises a discussion of the risk factors involved in school shootings within his flowery, figurative linguistic excellence. This duality of blissful melody and solemn subject matter is the magic of Glass Animals. 

Empress Of, I’m Your Empress Of 

This album is an emotional electro-pop masterpiece. This record meditates on the feelings felt in the wake of a relationship’s end. She begins the album with a quote from her mother about the reality and value of struggle, then launching into a synth-filled storm of missing someone. “Love Is A Drug” is the album’s next fun dance track, addressing the addictive quality of touch after you lose someone you love and embodying the urgency of the feeling. She takes a more somber tone with the influence of Jim-E Stack in “U Give It Up,” incorporating quotes from her mother about the difficulty of womanhood and reminiscing on love lost. In “Should’ve,” the post-relationship regret is palpable in her vocal tone and production, and in “Maybe This Time” she contemplates this pain. In “Give Me Another Chance,” her emotions swing the other way, with a bouncing dance beat and pleading vocals. The album concludes with the heartfelt and pain-filled “Hold Me Like Water” and the dissonant “Awful,” leaving the listener to meditate on the mood swings of a broken relationship. 

Tame Impala, The Slow Rush 

This album came out so early in 2020 that it already feels like a vintage piece of music. Perhaps that was the point. Although “The Slow Rush” had a hard time living up to Kevin Parker’s last epic masterpiece “Currents,” it was the fix many fans like myself needed after five years without an LP. “Borderline,” the single that allowed anticipation of the album to build, stands out as one of the most essentially Parker tracks of the record. He introduces a little Toro y Moi style funk in “Is It True,” and highlights his voice more than usual in “Lost In Yesterday.” “Posthumous Forgiveness” builds in the wonderfully dissonant fashion that fans learned to love through “Eventually.” The bass track on “Glimmer” is so good that I never even noticed it had nearly no lyrics. This record is not groundbreaking by any standards in the way that “Currents” was, but it is intentionally jubilant and energetic in a way that still feels good. Even if he doesn’t shatter any expectations in “The Slow Rush,” Tame Impala’s tracklist still makes the perfect sunset companion. 

Joji, Nectar

Joji’s “Nectar” is just that: sweet R&B nectar, from the minute the first track plays. Joji’s work here is not in the individual tracks, but in the sonic experience he creates with the album as a whole. This is not an album to pick out singles from: it is a full cinematic mood adjustment. Maybe it’s the weed I smoked when I first listened, but the record feels like a wonderful progression of gentle yet rhythmic R&B songs. The transition from the soft and contemplative “MODUS” to the more upbeat trap-infused “Tick Tock” to the full R&B ballad “Daylight” featuring Diplo raises the listener’s energy gradually to a crescendo. “Run” is a gorgeous and sad confessional of disappointment, and “Sanctuary” follows as a soft and uplifting analgesic to that pain. “Pretty Boy” and “777” mark the more upbeat section of the record, filled with Joji’s accounts of living far too fast. The tracks of this record all bleed into each other seamlessly, mixing pain and confidence in an emotional rollercoaster.

Amine, Limbo

My journey to being an Amine fan started with “Caroline,” ended with “Heebiejeebies,” and started back up again when he found depth in “ONEPOINTFIVE.” His 2020 release is exactly why I came around to his music yet again. The record is soulful and fun, with the flute and cocky lyrics in “Woodlawn” and the funky beat and Young Thug feature of “Compensating.” The two songs I absolutely can’t stop listening to however, are “Can’t Decide” and “Becky.” “Can’t Decide” highlights Amine’s singing voice and dips away from rap and trap into the more traditional R&B realm. “Becky” is an intimate account of the difficulties involved with interracial dating, both in public and in the family realm. The two sides of the album, one emphasizing rhythm and immaculate production, and the other lyricism and emotion, are found in these two songs. The punchy “Pressure In My Palms” (featuring slowthai and Vince Staples) and “Riri” round out the record’s light side. In “Limbo,” Amine finds the perfect balance. 

Fleet Foxes, Shore

This album is a wave of calm. Robin Pecknold’s soothing voice is exactly what we needed more of this year. Pitchfork described his mission as “turning anxiety into euphoria,” and that is how this record feels. Each song is dynamic and filled with what makes Fleet Foxes so special. There is a choral quality to the vocals of “Shore,” as always, adding to the calm aura of the record. “A Long Way Past The Past” takes the listener on a what feels like a long walk filled with serious conversation. “Going-to-the-Sun Road,” a song that takes its name from the famous cliffside road through Glacier National Park, oozes sunshine in its Tame Impala-Bon Iver crossover sound. “Cradling Mother, Cradling Woman,” truly feels like being cradled in sound. Fleet Foxes has a knack for beginning songs by hitting the listener with a wall of sound, and that is so perfectly represented in this track. This is a seriously beautiful album. 

Cam, The Otherside

Cam’s voice is irresistible. She showed her talent for sharing painful ballads in her breakthrough single “Burning House,” and in “The Otherside” she digs deeper. She writes this record in a period of change, and captures this change and dissonance in the nostalgia of “Redwood Tree.” She teamed up with Avicii for the title track before he passed away, and it shows. His signature building melodies and guitar breaks are clear, and they go perfectly with the range of Cam’s voice. She truly shows her range in this track and this record in general, from the highs in “The Otherside” and the lows of “Changes.” “Changes” is another standout of the album, co-written by Harry Styles. This record is a gorgeous account of outgrowing love and outgrowing people after the deep bliss that you felt with them in the past. “Till There’s Nothing Left” and “Classic” are the big love songs of the record, one that melts you and one that makes you want to dance in a field of flowers. The sisterly confessional “Diane” pulls Cam back to her country roots. She ends the record with what made her famous: a beautiful, sad ballad backed only by piano. Her unique vocals are on full display as the record concludes, and I couldn’t have asked for anything more. 

Omar Apollo, Apolonio

Omar Apollo had his breakthrough in this record. His work spans languages and genres in a big way in “Apolonio.” “Kamikaze” and “Staybacik” stick to his typical R&B style, better produced than it ever has been. “Dos Uno Nueve (219)” goes a completely different direction, a Mexican corrido track featuring Yellow Room Music, honoring the Latinx musical styles that he expressed admiration for. Apollo also explores his sexuality in this album, fluidly discussing his bisexuality in “Kamikaze” and “I’m Amazing” in an exploratory manner. The whole album is generally quite exploratory, a quality that makes me even more excited for the work that is to come from Apollo. 

Also worth mentioning: 

Diplo, Diplo Presents Thomas Wesley: Snake Oil

Thundercat, It Is What It Is

Sylvan Esso, Free Love

Lauv, ~how i’m feeling~

Niall Horan, Heartbreak Weather 

J Balvin, Colores 

Kelsea Ballerini, kelsea 

Dominic Fike, What Could Possibly Go Wrong

#music #2020

[voodoochili]

My Favorite Songs of 2019

2019 was a fantastic year for music, but then again every year is. We as listeners have been blessed with abundance, and tasked with the delightful work of sifting through freshwater to find gold. This year, the most reliably golden genres were West African pop and West Coast Rap. Go figure.

The following represents my favorite 100 songs of the year. My only rules: 1) one song per lead artist (a lucky few earned multiple placements through the “featured artist” loophole).

Below are the write-ups (everyone’s favorite part) and stay tuned for my albums list, coming next week. Don’t forget to scroll all the way down for a Spotify playlist of the full list!

25. Desperate Journalist - “Satellite” - A sweeping, emotional rock song by a veteran rock band that can uncork one of these in their sleep. What makes this one special? The dynamic changes in the pre-chorus, the soaring guitar solo, and the passionate performance from lead singer Jo Bevan.

24. Jacques Greene - “Stars” - A brilliant bit of ambient techno that evokes the seminal electronic classic “Little Fluffy Clouds,” by The Orb. Instead of desert clouds, the anonymous female narrator describes a pastoral dream about the night skies of her youth. A transporting piece of music that should’ve been twice as long--five minutes is a cruelly short lifespan for this kind of bliss.

23. Rosalía - “Con Altura” ft. J Balvin - After the brilliant and singular El Mal Querer demonstrated Rosalía’s singular talent, “Con Altura” announced her intentions for worldwide domination. Created with frequent Rosalía collaborator El Guincho and chameleonic superstar J Balvin, “Con Altura” contains two of the year’s most insidious hooks--the soft-spoken call-and-response chorus, and Rosalía’s snake-charming bridge, the strongest indication yet that global stardom won’t stop the Catalonian chanteuse from pushing music forward.

22. Faye Webster - “Room Temperature” – 2019’s answer to “Swingin’ Party,” the Replacements’ great anthem for introverts, the introductory track on Webster’s Atlanta Millionaire’s Club album drifts along with Hawaiian-flavored pedal steel and a palpable sense of regret, as the 21-year-old singer longs to escape her perfectly comfortable surroundings. 21. Yhung T.O. - “Lately” ft. Lil Sheik - Easy, breezy, beautiful Bay Area rap, carried by T.O.’s dulcet tones and Sheik’s unrepentant dirtbaggery. The beat by Armani Depaul is one of my favorite retro-facing rap beats in a while, complete with smooth digital strings and security-pad synths. 20. The New Pornographers - “You’ll Need a New Backseat Driver” - Every five years or so, A.C. Newman writes a melody so strong that it requires Neko Case’s ultra-powerful alto to properly do it justice. This year, that song is “You’ll Need a New Backseat Driver,” which strives for, and nearly approaches, the heights of previous Pornos stunners like “The Laws Have Changed” and “Champions of Red Wine.” 

19. Floating Points - “LesAlpx” - Surrounded by outré synth experiments and beatless soundscapes on Crush, the first Floating Points album since 2015, “LesAlpx” is Sam Shepherd’s gift to club-goers everywhere. It’s a lean and mean house track, foregrounding propulsive percussion and rubbery bass, but it’s also deeply cerebral, creating a sense of foreboding urgency with detuned synths and ambient sine waves. 18. Daphni - “Sizzling” ft. Paradise - Built around a sample of Paradise’s seminal single “Sizzlin’ Hot,” Dan Snaith’s “Sizzling” extends the best moments of the classic post-disco smash to create five minutes of pure euphoria. The song starts in media res, with the groove in full form, and peaks at the end, when Snaith finally allows Paradise’s June Ventzos to finish her thought atop jubilant trumpets. 17. J Hus - “Must Be” - The latest genre-blending collaboration between J Hus and genius producer JAE5 proves that no man is safe from Hus’s dazzling logic, as he stacks syllogism after syllogism over an irresistible, afropop-flavored groove: “If it walk like an opp/Talk like an opp/Smell like an opp/Then it must be.” 16. Vampire Weekend - “Jerusalem, New York, Berlin” - Ever indulging his literary ambitions, Ezra Koenig uses the final track on Father Of The Bride to examine his Jewish identity, and to reckon with a world that hasn’t made sense since World War I. The prettiest melody on an album dripping with pretty melodies, “Jerusalem, New York, Berlin” packs enough symbolism into three minutes to inspire a seminar at Koenig’s Ivy League alma mater. Supported by yearning, spritely piano, Koenig ends the song with a poignant plea for peace, within reason: “So let them win the battle/But don't let them restart/That genocidal feeling/That beats in every heart.” 15. Great Grandpa - “Bloom” - The highlight from Great Grandpa’s outstanding Four Of Arrows album, “Bloom” is two songs in one. Part one brings punchy acoustic guitar that recalls ‘90s adult alternative (think Matchbox 20) and prime-era Saddle Creek (think Rilo Kiley) in equal measure. The second par tcompletes the song’s emotional arc, slowing down for a hypnotic wordless chorus, backed by weeping violins,. The key line here: “Please say I’m young enough to change.” 14. Spellling - “Real Fun” – Gleefully dramatic and overflowing with evil-sounding synths, “Real Fun” synthesizes Neneh Cherry, Bauhaus, and Cabaret into something that sounds like a villain’s theme in an animated musical that hasn’t been written yet.   13. Earthgang - “Proud Of U” ft. Young Thug – There’s no straight man to ground this ATL trio, as all three emcees lean into their vocal eccentricities while expressing their thanks to the women in their lives atop a mutating, guitar-driven beat. 12. Stella Donnelly - “Tricks” – In which the young heroine attempts to rid herself of a particularly toxic ex, who isn’t just misogynist, but a potential white supremacist sympathizer (her subject’s “Southern Cross Tattoo” is like an Aussie version of the MAGA hat). Heavy stuff, but Donnelly delivers everything with a grin, as if she’s wondering in real time why the hell she ever bothered with this jamoke. 11. Jenny Lewis - “On The Line” - The title track and emotional climax of Jenny Lewis’ latest album, “On The Line” boasts one of the finest vocal performances in her long career, sweetly assassinating her cheating ex-lover with a lilting melody and wry smile.

10. Lucinda Chua - “Whatever It Takes” – Lucinda Chua makes languid art pop in the tradition of fka twigs, but I prefer her understated longing to twigs herself. Her main instrument is the cello, but this track foregoes that sound almost entirely, opting instead for resonant Wurlitzer keys and multi-layered vocal harmonies, and shunting traditional song structure aside in favor of one enigmatic verse, repeating at odd intervals throughout: “Wait/The demons I carry are fake/I will fight our fire, too late.” 9. ShooterGang Kony - “Charlie” – The year’s most cold-blooded mob banger starts with the line “fuck the police and your mama if you ask me” and only escalates from there. Rhyming without affect over hiccuping bass, Kony mercilessly ethers cops, R&B singers, and women named Ashley before threatening to shoot you with a gun that sounds like Fozzy Bear. 8. KEY! - “Miami Too Much” – My favorite Atlanta rap song of the year gets its power from its hilariously specific central conceit, with KEY’s impassioned vocal selling the bit: “If you seen that ass, you'd make a song too.” How often must someone visit Dade County before it becomes an irreconcilable difference in an otherwise healthy relationship? 7. Raphael Saadiq - “Something Keeps Calling” ft. Rob Bacon - Named after his older brother, Raphael Saddiq’s towering Jimmy Lee album examines the personal cost of the crack epidemic, and the outsized role addiction plays in the lives of the destitute. “Something Keeps Calling” is the album’s crushing centerpiece, painting substances as at once a seductive lover and a heavy burden, one that overrides all common sense and decency: “My friends say I can never pull it together/Well they might be right, at least tonight/My kids say I'll never come home again/And I know they're right, at least tonight.” The song climaxes with Rob Bacon’s wailing guitar solo, which tries in vain to reach out to those beyond hope. 6. Bad Bunny & J Balvin - “La Canción” - Nestled in the middle of Balvin and Bunny’s summer smash OASIS, “La Canción” takes a break from the party to dwell on the inherent emptiness of their hedonistic lifestyle, as a mournful trumpet echoes the Reggaetoneros’ longing for meaningful connection amidst their chaotic lives. 5. Polo G - “Pop Out” ft. Lil TJay – Only Polo G would interrupt his own robbery to examine the sociological causes of his behavior: “We come from poverty, man, we ain't have a thing.” But on the rest of “Pop Out,” Polo leans into the dark side of his persona, before 2019’s most unlikely guest verse assassin Lil TJay brings the pathos: “If I showed you all my charges, you won't look at me the same.” In contrast to how effortless the two rappers sound atop the dramatic piano loop, listening to Lil Baby and Gunna wheeze through the remix hammers home the high degree of difficulty of such nimble melodics. It’s a testament to how fast rap music moves these days that Polo and TJay can make last year’s It Duo sound like geezers. 4. Octo Octa - “I Need You” – It starts as an intoxicatingly minimal expression of dancefloor lust, but halfway through, “I Need You” morphs into a sincere and moving tribute to everybody who helped Octo Octa become the woman she is today. It’s a moving moment tucked within an epic club track that works equally well as build-up or comedown.

3. Purple Mountains - “All My Happiness Is Gone” - It’s hard to find the words for this one, a matter-of-fact documentation of a man slowly losing his will to live--which became heartbreakingly clear when David Berman committed suicide in August. But because it’s Berman, “All My Happiness Is Gone” is packed with genius-level wordplay and devastating observations, and enough gallows humor to truly emphasize the gravity of his situation: “Friends are warmer than gold when you're old/And keeping them is harder than you might suppose//Lately, I tend to make strangers wherever I go/Some of them were once people I was happy to know.” I’ll keep going: “Ten thousand afternoons ago/All my happiness just overflowed/That was life at first and goal to go.” And one more: “Where nothing's wrong and no one's asking/But the fear's so strong it leaves you gasping/No way to last out here like this for long.”

2. Big Thief - “Not” - A torrid, slow-burning rocker, “Not” showcases lead singer-songwriter Adrienne Lenker’s skill with oblique imagery and wild-eyed intensity. Lenker rattles off a long list of poetic observations, trying to get to the heart of something (everything?) without ever finding a satisfactory answer, as the music morphs from a controlled simmer to a cacophonous freakout. “Not” climaxes with a riotous guitar solo from Lenker herself, one that reaches towards the cosmos and echoes her frayed vocal. As always with Big Thief, though, the song soars in the smallest moments, like when guitarist Buck Meek enters with plainspoken backing vocals, and at the beginning of the second verse when the guitars drop out and Lenker’s voice stands alone.

1. Burna Boy - “Anybody” - Sometimes the best song of the year is the one that makes you feel the best, and no song this year made me feel better than “Anybody.” “Anybody” is both inviting and aloof, urgent and relaxing. Riding an irresistible groove defined by syncopated keys, driving percussion, and an eager-to-please saxophone, Burna Boy slides between Pidgin English and Yoruba chasing a feeling that resonates beyond the capabilities of language. It’s a song about demanding and receiving respect, dripping with the contagious confidence of an African Giant. And for three minutes, you’ll feel like a giant too.

THE REST: 26. DaBaby - “Intro” 27. Perfume Genius - “Eye On The Wall” 28. Yves Jarvis - “To Say That Is Easy” 29. Doja Cat - “Cyber Sex” 30. Mannequin Pussy - “Drunk II” 31. Better Oblivion Community Center - “Dylan Thomas” 32. Shoreline Mafia - “Wings” 33. Kehlani - “Footsteps” ft. Musiq Soulchild 34. Obangjayar - “Frens” 35. Ariana Grande - “NASA” 36. Mustard ft. Roddy Ricch - “Ballin” 37. Baby Keem - “ORANGE SODA” 38. Jessie Ware - “Adore You” 39. 03 Greedo x Kenny Beats - “Disco Shit” ft. Freddie Gibbs 40. Martha - “Love Keeps Kicking” 41. Lucki - “More Than Ever” 42. Park Hye-Jin - “Call Me” 43. DaVido - “Disturbance” ft. Peruzzi 44. The Japanese House - “Worms” 45. Spencer Radcliffe - “Here Comes The Snow” 46. Dawn Richard - “Dreams And Converse” 47. ALLBLACK & Offset Jim - “Fees” ft. Capolow 48. David Kilgour - “Smoke You Right Out Of Here” 49. Sandro Perri - “Wrong About The Rain” 50. Nilüfer Yanya - “In Your Head” 51. Julia Jacklin - “Don’t Know How To Keep Loving You” 52. Miraa May - “Angles” ft. JME 53. (Sandy) Alex G - “Gretel” 54. Kelsey Lu - “Due West” 55. glass beach - “classic j dies and goes to hell, pt. 1” 56. Peggy Gou - “Starry Night” 57. Cate Le Bon - “Home To You” 58. Busy Signal - “Balloon” 59. NLE Choppa - “Shotta Flow” 60. Dee Watkins - “Hell Raiser” 61. Ari Lennox - “I Been” 62. The National - “Not In Kansas” 63. Shordie Shordie - “Both Sides” ft. Shoreline Mafia 64. Alex Lahey - “Don’t Be So Hard On Yourself” 65. Angel Olsen - “New Love Cassette” 66. Young Dolph - “Tric Or Treat” 67. Koffee - “Throne” 68. Freddie Gibbs & Madlib - “Half Manne, Half Cocaine” 69. Noname - “Song 32” 70. Anthony Naples - “A.I.R.” 71. Samthing Soweto - “Omama Bomthandazo (feat Makhafula Vilakazi)” 72. KAYTRANADA - “10%” ft. Kali Uchis 73. Moodymann - “Got Me Coming Back Right Now” 74. Drakeo The Ruler - “Let’s Go” ft. 03 Greedo 75. Teejayx6 - “Dark Web” 76. Cass McCombs - “I Followed The River South to What” 77. Gunna - “Idk Why” 78. Sharon Van Etten - “You Shadow” 79. Tresor - “Sondela��� ft. Msaki 80. E-40 - “Chase The Money” ft. Quavo, Roddy Ricch, ScHoolboy Q & A$AP Ferg 81. Spielbergs - “Running All The Way Home” 82. 24kGoldn - “Valentino” 83. Quelle Chris - “Box of Wheaties” 84. Emily King - “Go Back” 85. AzChike - “Yadda Mean” ft. Keak Da Sneak 86. Club Night - “Path” 87. Zeelooperz - “Easter Sunday” ft. Earl Sweatshirt 88. Kim Gordon - “Murdered Out” 89. YS - “Bompton” (Remix) ft. 1TakeJay & OhGeesy 90. Future - “Never Stop” 91. Lowly - “baglaens” 92. SAULT - “Masterpiece” 93. Earl Sweatshirt - “TISK TISK/COOKIES” 94. Fireboy DML - “Energy” 95. Rio Da Young OG & Lil E - “Buy The Block” 96. Sacred Paws - “Write This Down” 97. Wilco - “Everyone Hides” 98. Black Belt Eagle Scout - “Real Lovin” 99. Sleepy Hallow - “Breakin Bad (Okay)” ft. Sheff G 100. Aimee Leigh & Baby Billy - “Misbehavin’ (1989)”

Here’s a Spotify playlist of the full list: 

#burna boy #big thief #purple mountains #octo octa #polo g #bad bunny #j balvin #raphael saadiq #jenny lewis #shootergang kony #key! #lucinda chua #stella donnelly #earthgang

[najblazingstar]

22 Questions About My Current Book & Future Projects

Can you share with us something about the book that isn’t in the blurb?

Most of the major characters have secrets to hide and there is more to them than meets the eye—-especially that Milan Rose.

Are there any secrets from the book (that aren’t in the blurb), you can share with your readers?

One secret is: that there are tongue-in-cheek little messages and a kind of "Where's Waldo?" game except it's "Where's Joli?" In my first novel, I make an appearance but you have to look for me.

Also, Diamond’s relationship with her mother will evolve and more revelations are being shared in Book 1 and then in Book 2 which I expect to come out soon.

Can you share a snippet that isn’t in the blurb or excerpt?

There are many excerpts of my novel featured on my Instagram and Facebook author pages. Also, you can find them on my website.

Does one of the main characters hold a special place in your heart? If so, why?

Diamond and Milan hold a special place in my heart.

I think it’s pretty obvious why Diamond is so special. We’re both native Harlemites, ambitious and upwardly mobile. Her family ancestry and history mirrors mine (part of my family is Creole coming from Louisiana and Mississippi), my family is Baptist and serious about education and our faith in God.

Some of our differences are that I didn’t grow up in a fabulous townhouse owned by my grandparents; my mother and I lived together in our apartment in Harlem and she was very much present and involved in my life.

Milan is special because she is completely fictitious. She lives my dream New York City life—the loft in SoHo, the chauffeured Rolls Royce and the luxurious Jaguar, the homes in Paris and the Hamptons. Milan is the “it-girl” and she knows it. But she’s also very down-to-earth and relatable—-which is rare for people like her.

What was the inspiration for the story?

I started writing this book series in college. I wasn’t rich and I was lonely and bored out of my mind whenever I wasn’t attending classes or working. I was not living the life that I wanted to live. I started out my first year in a school in Upstate New York but I left and transferred because I felt isolated and homesick.

Once I came back to the city, I transferred to the City College of New York. It was great academically but socially, it was difficult because it was a commuter school. Almost no one lived on campus and most of my classmates were adults and returning students.

This book and this series came about because I imagined what life would be like if I had more money, more options, a group of fabulous friends and a lot more drama in my life.

What is the key theme and/or message in the book?

There is more to life, people and situations than meets the eye. And it’s important to be true to yourself no matter what the world thinks or how it looks to other people.

What do you hope your readers take away from this book?

I hope that readers take away my love for Harlem, the history and the beauty of my hometown and all of New York City. Also I want readers to appreciate my storytelling and the characters that I’ve created because I really put my heart and soul into my writing.

What is the significance of the title?

It is inspired by the show tune, Smoke Gets In Your Eyes, from the musical, Roberta in 1933. The song has been re-recorded by many singers including Nat King Cole, Sarah Vaughan, Eartha Kitt and of course, the Platters. I had heard a jazz rendition of the song by Michael Carvin from a 32 Jazz compilation. And I remember feeling the vibe of the song and thinking that my book should have the same feeling. I didn’t even know the name of the song that was playing at that moment ! But when I saw the title of the song on the back of my CD, I knew it was the perfect title for my book.

Tell us about the process for coming up with the cover.

I collaborated with a graphic designer, Jewel, through an online company (Fiverr). He nailed the cover design perfectly and really worked with me to create the perfect cover.

What is the future for the characters? Will there be a sequel?

Smoke Gets In Your Eyes is the beginning of the Diamond La Rue series. There are more books to come. I can’t wait to share more of Diamond’s story, but also the stories of Diamond’s family members and friends. I have big plans to expand this series as well.

Do you write listening to music? If so, what music inspired or accompanied this current book?

Yes, I write to music. I will write to one of my favorite musical playlists usually. But if I am trying to capture a particular mood or time period, then I will chose to listen to music that is more reflective of that.

If you had to describe Diamond La Rue in three words, what would those three words be?

Pure. Natural Beauty. Harlem Jewel.

Your story is set in 2000. Why did you choose that as the setting for your book?

I wanted to show Harlem and its culture before gentrification began and also to show Harlem’s evolution throughout the series.

If your book was to be made into a movie, who are the celebrities that would star in it?

There are too many to name. Besides, I don’t want to jinx anything. I am currently writing an adaption for television right now.

Was the writing process different and what challenges did you face writing this novel?

I think that I established my writing process with this novel. It was a lot of trial and error and learning what methods worked for me. I expect that it will get easier as I continue writing. I think the biggest challenge I had to overcome was belief and confidence in my writing voice. Once, I got over that, I was able to stop procrastinating and to stop trying to be the perfect writer. That really freed me up to do the work and to get it out to the public.

Can you give us some insight into what makes Diamond La Rue tick?

Love and ambition makes Diamond tick. She is an ambitious young woman but she also believes deeply in love.

What were the key challenges you faced when writing this book?

Confidence, Time Management and Commitment.

As much as I love writing, I struggled with having the confidence in my writing voice and teh story that I was telling. I knew that not everyone would know about my community before it became trendy. I wanted to represent us well. At the same time, I wanted to show the diversity of the black community in New York City as a whole. Something that isn’t always shown in novels.

Secondly, find the time to write between work and school was difficult. I had to really learn that my love for writing wasn’t going to be enough. I had to really commit and get disciplined to my writing. Which meant that I had to give up a lot of extra-curricular activities to make time for my writing when I was not working. So, that meant cutting down on my television watching and even reading other people’s books. When I did that, I found that I made the progress I had been looking for! And it prepared me for the publishing process—which was exponentially harder and a more daunting process.

What was the highlight of writing this book?

The highlight of writing this books was writing all of the scenes that had been rolling around in my head all of this time. The second highlight was finalizing the copy of my book and receiving the correct edition in print. After so many trials and errors, getting it right felt priceless!!

Are you working on anything at the present you would like to share with your readers about?

I am currently working on a few different projects. But the main project I am focusing on is completing Book 2 of the Diamond La Rue series.

Where do you draw inspiration from?

I can find inspiration anywhere. I am fascinated by life, the human experience and perspectives, but especially telling a good story.

How many plot ideas are just waiting to be written? Can you tell us about one?

There are too many to tell. You’ll have to wait and see.

Do you have any new series planned?

Yes, I am also working on a new mystery-thriller written from a male lead perspective. I’m really excited about that and plan to release it sometime in 2020.

Looking forward to more writing,

Naj

#22 Questions #smoke gets in your eyes #Nascha Joli #Interview

[onestowatch]

PREMIERE + Q&A: Indie-Pop Duo EXES Struts Romance & Vulnerability in  ‘Before You Go’ EP

Photo: Sarah Elly

EXES is a bicoastal duo fronted by Allie McDonald and producer Mike Derenzo. Driven by post-youth nostalgia and people of their past, the duo offers a unique experience to every listener, inviting you to their whimsically romantic world. McDonald’s carefully crafted lyrics and Derenzo’s sonic soundscape allow the duo to evoke a detailed indie-pop sound. In anticipation for their new material, EXES is giving us an exclusive look at their new project Before You Go.

With swirling melodies and chill-inducing production, EXES delivers the next phase of their artistic careers. Going through the EP, “Arrival” is powerful tune with floating synths and filling vocals, while “Peckham” is a soft track that recounts the enchanting moment you fall for someone in the most unexpected way. The title-track, “Before You Go,” ignites your imagination and acts as the perfect escape for any day-dreamer. Speaking on the whole project, the duo said,

“As we’re growing, our sound is also maturing. ‘Before You Go’ feels like a great next step for us. We’re still creating music based on our real life struggles, heartbreaks, fears, and joys -- but the sounds and the ideas are more unique and explorative. We weren’t afraid to try new things this time around.”

Creating music that’s equal parts affectionate and vulnerable in production, lyrics, and melody, Before You Go gives listeners a second chance to go after the one that got away. Peep the EP here before it’s available everywhere this Friday, Oct. 5, and learn a little bit more about the rising indie pop duo as Ones To Watch catches up with them below.

OTW: Since both of you hail from two different coasts, how did you find each other?

Mike: Alllie and I went to college together and met via a mutual friend my senior year, her junior year. We would hang out occasionally but really started working on music together after we both graduated. After making numerous songs in a variety of styles we suddenly stumbled upon a group of songs that felt like were cohesive and so EXES was born!

Allie: Yeah it’s actually kind of funny. I think we had at least one class together. We both were communications majors. Turns out we’re best at communicating through music.

OTW: Allie, you’re in Brooklyn, and Mike, you’re in Venice. What’s it like to create music together considering that you both are based on opposite sides of the country?

Mike: Luckily we are able to meet up in person on a pretty regular basis through writing trips, but when we aren’t together we send ideas back and forth over email until we can get together in person to finish them!

Allie: We’ve been doing this for a while now. Being cross country doesn’t actually bother us. We’re familiar with each other’s creative processes. I don’t think this could have worked 10 years ago, but today it’s quite easy. Plus I’ve sort of become the queen of any and all long distance relationships.

OTW: How did you both settle on that name to represent your music?

Allie: We came up with the name EXES pretty early on. We had a few songs already written, and most of them had a strong nostalgic theme. Basically, we are inspired by the people, places, and things of our past. Whether they haunt us or keep us warm at night. Whether they burn our hearts or hold our hands. We write songs about our exes.

OTW: Let's discuss your project Before You Go, which comes out this Friday, Oct. 5. You’re truly delivering a body of work. What would you like fans to know about it?

Mike: This was by far the most work we’ve ever put into a project before, and it feels great that it’s finally coming out! The first song dates back to January of 2017 and the rest chronicle our time up until now. We traveled to New Orleans to work with our friend Christoph Andersson for the song “Talk.” Collaborated with our two live bandmates Peter Martin (on “Bones Break”) and Jonathan Sim (on “Arrival”). In general our live shows helped to shape the record, we were able to play some of the songs live and make changes to them afterwards. Sonically we tried to push this body of work to be more expressive and cohesive while continuing to grow our sound.

OTW: Talk through your collaborative process. Do you give each other notes on each element of a new song? Or do you stay out of each other's way?

Mike: Our ideas start out either as voice memos of Allie’s or beats that I’ve made on my own. We tend to gravitate towards the same themes, lyrics, sounds, melodies, drums, etc etc so our initial efforts are the ones we often end up using. We tend to work rather quickly so we’ll get about 75% of a song in one day and then sit with it and exchange notes with each other and go from there. I try not to give too much input on things like lyrics until after Allie has melodies that she really likes.

OTW: “Bones Break” is a lovely dream pop tune and the first single from the project that I found myself getting lost in. What kinds of experiences do you like to create for your fans in your music?

Allie: I love that you find yourself getting lost in that tune. We sort of got lost in it when we wrote it. For me, it’s important to be brutally honest in my songwriting. It’s scary to spill your guts, knowing that people might judge you for it -- not to mention your exes will know how you truly feel about them. But what I’ve found is that people need it more than I had originally realized. Songs help us all feel a little less lonely especially when they’re honest and real. It’s therapy for me to write about my personal struggles. And we’ve gotten messages from fans saying they too have been through similar situations. That means everything to me.

OTW: What does it feel like to have had a song featured on one of Taylor Swift's playlists?

Allie: Surreal mostly. In high school I used to go on long runs and listen to her album Fearless. I know, strange running choice, but I’ve always been inspired by her songwriting. That girl can write a pop hit. It feels amazing to be recognized by someone like that.

OTW: How did each of you discover music was the path for you? 

Allie: I’ve been playing music for most of my life. Classically, for the majority. My mom is a piano teacher, so I grew up overhearing her lessons on a daily basis. I started taking violin lessons in 4th grade and was an orch dork in high school. I did it all -- Shoreline Youth Symphony Orchestra to All State and All New England. When I was about 16 I picked up the guitar we kept in our living room as decoration and started teaching myself how to play. I became absolutely obsessed -- I had no friends, no social life. Was definitely not too popular in high school. As soon as I could play 4 chords, I began writing songs. They were pretty terrible, but for some reason I kept going with it. I posted my original songs on YouTube and eventually grew somewhat of a following. I think it was then that I knew. Through the years I’ve deleted or kept hidden most of those videos, but it’s fun to look back and see that fire in my eyes.

Mike: I’ve loosely played guitar and piano since childhood, but it wasn’t until I took a music tech class in high school that I realized entire songs could be made on the computer. I experimented and made many terrible tracks throughout college until I met a few vocalists (including Allie), and I started to make listenable music lol. After that I sort of stumbled into an actual career and have been amazed that I get to do this everyday!

OTW: What artists are your Ones To Watch?

Mike: Cautious Clay, JOME, Satica

Allie: Mitski, Soccer Mommy, Phoebe Bridgers -- though I know she’s had a big year. Also Mike and I are big fans of the new Now, Now album.

OTW: Any other words you’d like to share with your fans? 

Allie: “Thank you” comes to mind first. Honestly though, we’ve been blow away with the love and support. We read every twitter message and Instagram DM and it truly means the world to find out that people are listening. We’re on a bit of a roll at the moment. Lots of new music, and news coming soon. And we can’t wait for this next chapter.

Mike: Thank you!!! First and foremost. It blows my mind that people all over the world listen to music we make at my house. Can’t wait to continue to share our journey!

#exes #interview #indie #pop #premiere #before you go

[iowamusicshowcase]

One year ago... http://ift.tt/2bSSdBq Monday, September 5, 2016 Other Sources: Four Recent Iowa Compilation Albums Iowa has a pretty good history of supporting its music. Could obviously be better and could have been better. But we've always had people who were strong supporters of our state's music, and did their best to promote it! In this regards, Iowa has quite the history of compilations albums, The earliest one I can remember is "The Iowa Compilation Album" from 1987 featuring alternative artists from across the state. I have no doubt that there were earlier ones. (And if you know about them, feel free to write to me about them at [email protected]!) So for this article, we look at three recent examples: the brand new recently released Iowa Music Project, plus from 2012, The Iowa City Song Project and Sonic Harvest. Other IMSC articles and podcasts featuring compilation albums: http://ift.tt/28TRCKT IOWA MUSIC PROJECT This is an album put together by The Iowa Music Project, "a James Gang endeavor that supports music produced throughout Iowa and increases access to instruments and music education among low-income families in the state". "The Iowa Music Project (IMP) is a 501©3 nonprofit organization that supports live music and musicians in the state of Iowa. IMP is currently running a songwriting showcase to promote new and unique Iowa voices. IMP also has plans to provide free instruments and music education to low-income youth, and is developing a podcast series to highlight music venues and venue owners throughout the state." (from their website) This release "is the debut album of Iowa Music Project (IMP) and a statewide compilation album inclusive of all genres of music. Featuring 20 different Iowa artists who were given an opportunity to record their original songs at Flat Black Studios in Lone Tree, Iowa, the IMP album offers a small window into the diverse genres of music being made in our state, ranging from folk, hip hop, international, experimental jazz, and more." (from the album's website) "After fielding more than 200 submissions, curators at the Iowa Music Project have narrowed their list down to 25 finalists (plus two bonus tracks from Halfloves and Middle Western...). The 25 finalists ... (received) one half-day recording session at Flat Black Studios. A selection of these 25 tracks (are also) included in a vinyl pressing released by Maximum Ames Records. The compilation includes two Listeners’ Choice honorees, Matt Van and Mason Greve & the Pork Tornadoes. Music aficionados across Iowa cast more than 14,000 votes in the poll, which featured hundreds of submissions by Iowa-based artists." (from the Little Village website) https://youtu.be/C_UxXo1pUqI?list=PLAy_OxanQN_JZnG0r9kE6buJCiBX-GQ8N Album website: http://ift.tt/2bzy9BY Digital download with 7 bonus tracks: http://ift.tt/2bSgCtC Iowa Music Project's (the organization) home page: http://ift.tt/1K3n3i7 Iowa Music Project's (the organization) Facebook page: http://ift.tt/1UsNOCp Iowa Public Radio's "Talk of Iowa" on the album: http://ift.tt/2bSfiHb Live sets from album artists from Studio One: http://ift.tt/2c6EyX2 IOWA CITY SONG PROJECT Maximum Ames Records has done it again. Perhaps Maximum Ames’s most ambitious LP release to date, the Iowa City Song Project has taken 31 musically disparate tracks and woven them into a single beautiful fabric of Iowa music history. The Iowa City Song Project was commissioned by the historic Englert Theater, which has hosted American and Iowa legends alike in its 100-year history. Performers on the record include folk legends Greg Brown and Bo Ramsey, who both hail from Iowa City, and twenty-nine other acts ranging from soul to punk-pop to experimental. Mumford’s, the Poison Control Center, Pieta Brown, Christopher the Conquered, William Elliot Whitmore, Brooks Strause, and the Emperor’s Club are some current Iowa staples who recorded a track for the album. Although simply growing familiar with this album takes time (it’s over 2 hours long with the eleven bonus tracks) and careful listening, it is well worth the effort. For those who have lived in Iowa City, it’s a priceless snapshot of one of the most vibrant cultures in the Midwest commissioned by its foremost performance space. For listeners like me who are less familiar with Iowa City, it’s yet another manifestation of the unusually collaborative and multifaceted Iowa music scene. Though Iowa City is the record’s common thread, the album isn’t a cheesy, tasteless tribute. In fact, Iowa City isn’t even directly mentioned in some of the songs (although there are some explicit references in a few of the song titles; “Iowa City, Make Love To Me” probably wins). But you know it’s there, watching, a constant in an ever-changing musical landscape that continues to raise and inspire those who live and perform there. Some tracks reflect the quintessential Iowa City experience (“Old Capital City”), while others are delightfully introspective, as though the artist was in the process of unraveling his complex relationship with the city (“Summer Sun”). At times exhilarating, moving, and even bizarre, the Iowa City Song Project seems to contain all the ingredients of artistic life, from disappointment to passion to joy. (from a DMMC {Des Moines Music Coalition] review by Zoey Miller) I try to collect as much Iowa City music as I possibly can. When I can’t buy a record at a show, I scour Bandcamp pages for the ones I don’t have yet. I spend hours creating and editing mixes of my favorite songs for my friends and family—people who aren’t familiar with the Iowa City music scene, but should be. Everyone should be. That’s my attitude, and apparently the Englert Theatre feels the same way. Instead of dragging songs into an iTunes playlist, the Englert commissioned 31 artists to write songs for a compilation album about Iowa City. The appropriately named Iowa City Song Project features an eclectic track listing of original music by some of the most respected Iowa-rooted talent, including William Elliott Whitmore, Greg Brown, Pieta Brown, The Poison Control Center, Wet Hair, Brooks Strause and many more. (from Steve Crowley's On The Beat column on the Little Village website) The Englert Theatre, Iowa City’s 100-year-old performing arts venue took it upon itself to craft a sonic tribute celebrating one of the most diverse and culturally vibrant communities in the Midwest. By commissioning 31 musicians and bands and handing them the task of creating songs inspired by experiences or impressions of Iowa City, the result is the sprawling Iowa City Song Project, an all-encompassing artistic reaction to the influential community constantly on the frontline of musical expression. The album strikingly matches the diverse selection of musical tastes that can be found in Iowa City on a day-to-day basis. Perhaps appropriately, a strong selection of grass roots Americana is present here while its oppositions fall more toward the avant-garde side of the spectrum that fit perfectly with the numerous forms of experimentation and forward thinking that springs from a college town. With a CD/LP release consisting of twenty stand-alone tracks in addition to eleven more digitally downloadable tunes, the Englert has successfully managed to turn a potentially daunting task into a seamless assembly of songs that merge into a comprehensive representation worthy of this great city. (from a Kelli Sutterman review on the Hoopla website) A video about the album... http://www.youtube.com/watch?v=F1IX1xjwBko http://ift.tt/2gHnCvr https://www.youtube.com/playlist?list=PLvWeWX_0n-BiR-TEdVWeNHg5mruhtIYPV The album doesn't have a website of its own anymore. Maximum Ames no longer seems to be selling it. But I did find it for sale on a few sites... Itunes: http://ift.tt/2bSg9rp CD Universe: http://ift.tt/2c6EI0p Microsoft: http://ift.tt/2bSfm9Y IOWA COMPILATION: FOR HENRYVILLE Found this album just from googling for Iowa compilation albums. All I could find out about this album is what it says on its BandCamp page. It features bands from the eastern half of Iowa, mostly along the indie, alternative, and folk genres. It's a charity album to help the victims of a tornado in Henryville, Indiana. http://ift.tt/2gHnDzv The BandCamp website for the album: http://ift.tt/2c6DToB SONIC HARVEST This albums seems to have vanished off the face of the earth... and the internet! I coundn't even find it on Spotify anymore! I have asked around at Maximum Ames, but they just said it's out of print and they no longer sell it. And I couldn't get a hold of the Sound Farm studios, who were the ones who put the album together. So your best bet, if you want it, is to find it secondhand or burn and download it from a friend! There are a few tracks on some of the artists' BandCamp sites. I've included those below. And I made a YouTube playlists of the songs I could find on YouTube. Though I don't guarantee they are the same version as the album's. "As great as I think I am at giving focus to Iowa artists, there is no better way to discover new music than to actually listen to them. well the good folks at Sonic Harvest has given you all a chance to do that in one nice neat little package. Featuring 1 track from 30 different bands, all recorded at the now world famous Sound Farm in Jamaica, IA. "The album features lots of my favorites like Christopher the Conquered, Poison Control Center, Why Make Clocks and Mumford’s to name a few. But luckily for me it features acts I’m not as familiar with like Sean Huston and Pocket Aristotle. So there really is something for everyone." (from the Iowaves website) "Aside from representing the sounds of 30 Iowa bands, the compilation also represents the work of seven engineers: Ryan Martin, head engineer at Sound Farm, Logan Christian, owner of Midday Studios, Isaac Norman, engineer and owner at Righteous Dog Recording, Phil Young, engineer and owner at Liberty House Studios, Tyler Held, engineer at Sound Farm, R.B. Brummond and Alex Evans. "Patrick Tape Fleming, guitarist and vocalist of The Poison Control Center, said working on the compilation was a great experience and PCC’s track 'Looking Back' is one of his favorite recordings the band has done. He said the fact that Sound Farm gave artists the opportunity to record for free really shows the connection the studio has to the music community and how passionate they are about promoting it. “'It’s amazing that they invited all these bands to come that would probably never have the chance to record at that facility. For your everyday average rock-n-roll band, or even for a band like us that has toured a lot and released a bunch of albums, it was a really big deal to record in such a good studio where Grammy-award winning bands have recorded,' Fleming said." (from the DMMC [Des Moines Music Coalition] website) https://www.youtube.com/playlist?list=PLAy_OxanQN_JohNBcEVcaMEWbHq_fN3hH http://ift.tt/2gHQVxQ http://ift.tt/2eYi0Jg http://ift.tt/2gI8SMQ http://ift.tt/2eZ3pxe The album's Facebook page: http://ift.tt/2c6GwGG The album's Twitter page: https://twitter.com/sonicharvestia Labels: Bandcamp, compilation albums, folk (genre), folk music, Indie (genre), indie music, Iowa City Song Project,Iowa Compilation: For Henryville, Iowa Music Project, Other Sources, Sonic Harvest, various artists http://ift.tt/2bSSdBq

#IFTTT #FacebookPages #Iowa #Iowa Music #Iowa Bands #Iowa Artists #Midwest #Midwest Music

[iowamusicshowcase]

One year ago... http://ift.tt/2bSSdBq Monday, September 5, 2016 Other Sources: Four Recent Iowa Compilation Albums Iowa has a pretty good history of supporting its music. Could obviously be better and could have been better. But we've always had people who were strong supporters of our state's music, and did their best to promote it! In this regards, Iowa has quite the history of compilations albums, The earliest one I can remember is "The Iowa Compilation Album" from 1987 featuring alternative artists from across the state. I have no doubt that there were earlier ones. (And if you know about them, feel free to write to me about them at [email protected]!) So for this article, we look at three recent examples: the brand new recently released Iowa Music Project, plus from 2012, The Iowa City Song Project and Sonic Harvest. Other IMSC articles and podcasts featuring compilation albums: http://ift.tt/28TRCKT IOWA MUSIC PROJECT This is an album put together by The Iowa Music Project, "a James Gang endeavor that supports music produced throughout Iowa and increases access to instruments and music education among low-income families in the state". "The Iowa Music Project (IMP) is a 501©3 nonprofit organization that supports live music and musicians in the state of Iowa. IMP is currently running a songwriting showcase to promote new and unique Iowa voices. IMP also has plans to provide free instruments and music education to low-income youth, and is developing a podcast series to highlight music venues and venue owners throughout the state." (from their website) This release "is the debut album of Iowa Music Project (IMP) and a statewide compilation album inclusive of all genres of music. Featuring 20 different Iowa artists who were given an opportunity to record their original songs at Flat Black Studios in Lone Tree, Iowa, the IMP album offers a small window into the diverse genres of music being made in our state, ranging from folk, hip hop, international, experimental jazz, and more." (from the album's website) "After fielding more than 200 submissions, curators at the Iowa Music Project have narrowed their list down to 25 finalists (plus two bonus tracks from Halfloves and Middle Western...). The 25 finalists ... (received) one half-day recording session at Flat Black Studios. A selection of these 25 tracks (are also) included in a vinyl pressing released by Maximum Ames Records. The compilation includes two Listeners’ Choice honorees, Matt Van and Mason Greve & the Pork Tornadoes. Music aficionados across Iowa cast more than 14,000 votes in the poll, which featured hundreds of submissions by Iowa-based artists." (from the Little Village website) https://youtu.be/C_UxXo1pUqI?list=PLAy_OxanQN_JZnG0r9kE6buJCiBX-GQ8N Album website: http://ift.tt/2bzy9BY Digital download with 7 bonus tracks: http://ift.tt/2bSgCtC Iowa Music Project's (the organization) home page: http://ift.tt/1K3n3i7 Iowa Music Project's (the organization) Facebook page: http://ift.tt/1UsNOCp Iowa Public Radio's "Talk of Iowa" on the album: http://ift.tt/2bSfiHb Live sets from album artists from Studio One: http://ift.tt/2c6EyX2 IOWA CITY SONG PROJECT Maximum Ames Records has done it again. Perhaps Maximum Ames’s most ambitious LP release to date, the Iowa City Song Project has taken 31 musically disparate tracks and woven them into a single beautiful fabric of Iowa music history. The Iowa City Song Project was commissioned by the historic Englert Theater, which has hosted American and Iowa legends alike in its 100-year history. Performers on the record include folk legends Greg Brown and Bo Ramsey, who both hail from Iowa City, and twenty-nine other acts ranging from soul to punk-pop to experimental. Mumford’s, the Poison Control Center, Pieta Brown, Christopher the Conquered, William Elliot Whitmore, Brooks Strause, and the Emperor’s Club are some current Iowa staples who recorded a track for the album. Although simply growing familiar with this album takes time (it’s over 2 hours long with the eleven bonus tracks) and careful listening, it is well worth the effort. For those who have lived in Iowa City, it’s a priceless snapshot of one of the most vibrant cultures in the Midwest commissioned by its foremost performance space. For listeners like me who are less familiar with Iowa City, it’s yet another manifestation of the unusually collaborative and multifaceted Iowa music scene. Though Iowa City is the record’s common thread, the album isn’t a cheesy, tasteless tribute. In fact, Iowa City isn’t even directly mentioned in some of the songs (although there are some explicit references in a few of the song titles; “Iowa City, Make Love To Me” probably wins). But you know it’s there, watching, a constant in an ever-changing musical landscape that continues to raise and inspire those who live and perform there. Some tracks reflect the quintessential Iowa City experience (“Old Capital City”), while others are delightfully introspective, as though the artist was in the process of unraveling his complex relationship with the city (“Summer Sun”). At times exhilarating, moving, and even bizarre, the Iowa City Song Project seems to contain all the ingredients of artistic life, from disappointment to passion to joy. (from a DMMC {Des Moines Music Coalition] review by Zoey Miller) I try to collect as much Iowa City music as I possibly can. When I can’t buy a record at a show, I scour Bandcamp pages for the ones I don’t have yet. I spend hours creating and editing mixes of my favorite songs for my friends and family—people who aren’t familiar with the Iowa City music scene, but should be. Everyone should be. That’s my attitude, and apparently the Englert Theatre feels the same way. Instead of dragging songs into an iTunes playlist, the Englert commissioned 31 artists to write songs for a compilation album about Iowa City. The appropriately named Iowa City Song Project features an eclectic track listing of original music by some of the most respected Iowa-rooted talent, including William Elliott Whitmore, Greg Brown, Pieta Brown, The Poison Control Center, Wet Hair, Brooks Strause and many more. (from Steve Crowley's On The Beat column on the Little Village website) The Englert Theatre, Iowa City’s 100-year-old performing arts venue took it upon itself to craft a sonic tribute celebrating one of the most diverse and culturally vibrant communities in the Midwest. By commissioning 31 musicians and bands and handing them the task of creating songs inspired by experiences or impressions of Iowa City, the result is the sprawling Iowa City Song Project, an all-encompassing artistic reaction to the influential community constantly on the frontline of musical expression. The album strikingly matches the diverse selection of musical tastes that can be found in Iowa City on a day-to-day basis. Perhaps appropriately, a strong selection of grass roots Americana is present here while its oppositions fall more toward the avant-garde side of the spectrum that fit perfectly with the numerous forms of experimentation and forward thinking that springs from a college town. With a CD/LP release consisting of twenty stand-alone tracks in addition to eleven more digitally downloadable tunes, the Englert has successfully managed to turn a potentially daunting task into a seamless assembly of songs that merge into a comprehensive representation worthy of this great city. (from a Kelli Sutterman review on the Hoopla website) A video about the album... http://www.youtube.com/watch?v=F1IX1xjwBko http://ift.tt/2gHnCvr https://www.youtube.com/playlist?list=PLvWeWX_0n-BiR-TEdVWeNHg5mruhtIYPV The album doesn't have a website of its own anymore. Maximum Ames no longer seems to be selling it. But I did find it for sale on a few sites... Itunes: http://ift.tt/2bSg9rp CD Universe: http://ift.tt/2c6EI0p Microsoft: http://ift.tt/2bSfm9Y IOWA COMPILATION: FOR HENRYVILLE Found this album just from googling for Iowa compilation albums. All I could find out about this album is what it says on its BandCamp page. It features bands from the eastern half of Iowa, mostly along the indie, alternative, and folk genres. It's a charity album to help the victims of a tornado in Henryville, Indiana. http://ift.tt/2gHnDzv The BandCamp website for the album: http://ift.tt/2c6DToB SONIC HARVEST This albums seems to have vanished off the face of the earth... and the internet! I coundn't even find it on Spotify anymore! I have asked around at Maximum Ames, but they just said it's out of print and they no longer sell it. And I couldn't get a hold of the Sound Farm studios, who were the ones who put the album together. So your best bet, if you want it, is to find it secondhand or burn and download it from a friend! There are a few tracks on some of the artists' BandCamp sites. I've included those below. And I made a YouTube playlists of the songs I could find on YouTube. Though I don't guarantee they are the same version as the album's. "As great as I think I am at giving focus to Iowa artists, there is no better way to discover new music than to actually listen to them. well the good folks at Sonic Harvest has given you all a chance to do that in one nice neat little package. Featuring 1 track from 30 different bands, all recorded at the now world famous Sound Farm in Jamaica, IA. "The album features lots of my favorites like Christopher the Conquered, Poison Control Center, Why Make Clocks and Mumford’s to name a few. But luckily for me it features acts I’m not as familiar with like Sean Huston and Pocket Aristotle. So there really is something for everyone." (from the Iowaves website) "Aside from representing the sounds of 30 Iowa bands, the compilation also represents the work of seven engineers: Ryan Martin, head engineer at Sound Farm, Logan Christian, owner of Midday Studios, Isaac Norman, engineer and owner at Righteous Dog Recording, Phil Young, engineer and owner at Liberty House Studios, Tyler Held, engineer at Sound Farm, R.B. Brummond and Alex Evans. "Patrick Tape Fleming, guitarist and vocalist of The Poison Control Center, said working on the compilation was a great experience and PCC’s track 'Looking Back' is one of his favorite recordings the band has done. He said the fact that Sound Farm gave artists the opportunity to record for free really shows the connection the studio has to the music community and how passionate they are about promoting it. “'It’s amazing that they invited all these bands to come that would probably never have the chance to record at that facility. For your everyday average rock-n-roll band, or even for a band like us that has toured a lot and released a bunch of albums, it was a really big deal to record in such a good studio where Grammy-award winning bands have recorded,' Fleming said." (from the DMMC [Des Moines Music Coalition] website) https://www.youtube.com/playlist?list=PLAy_OxanQN_JohNBcEVcaMEWbHq_fN3hH http://ift.tt/2gHQVxQ http://ift.tt/2eYi0Jg http://ift.tt/2gI8SMQ http://ift.tt/2eZ3pxe The album's Facebook page: http://ift.tt/2c6GwGG The album's Twitter page: https://twitter.com/sonicharvestia Labels: Bandcamp, compilation albums, folk (genre), folk music, Indie (genre), indie music, Iowa City Song Project,Iowa Compilation: For Henryville, Iowa Music Project, Other Sources, Sonic Harvest, various artists http://ift.tt/2bSSdBq

#IFTTT #FacebookPages #Iowa #Iowa Music #Iowa Bands #Iowa Artists #Midwest #Midwest Music

[iowamusicshowcase]

One year ago... http://ift.tt/2bSSdBq Monday, September 5, 2016 Other Sources: Four Recent Iowa Compilation Albums Iowa has a pretty good history of supporting its music. Could obviously be better and could have been better. But we've always had people who were strong supporters of our state's music, and did their best to promote it! In this regards, Iowa has quite the history of compilations albums, The earliest one I can remember is "The Iowa Compilation Album" from 1987 featuring alternative artists from across the state. I have no doubt that there were earlier ones. (And if you know about them, feel free to write to me about them at [email protected]!) So for this article, we look at three recent examples: the brand new recently released Iowa Music Project, plus from 2012, The Iowa City Song Project and Sonic Harvest. Other IMSC articles and podcasts featuring compilation albums: http://ift.tt/28TRCKT IOWA MUSIC PROJECT This is an album put together by The Iowa Music Project, "a James Gang endeavor that supports music produced throughout Iowa and increases access to instruments and music education among low-income families in the state". "The Iowa Music Project (IMP) is a 501©3 nonprofit organization that supports live music and musicians in the state of Iowa. IMP is currently running a songwriting showcase to promote new and unique Iowa voices. IMP also has plans to provide free instruments and music education to low-income youth, and is developing a podcast series to highlight music venues and venue owners throughout the state." (from their website) This release "is the debut album of Iowa Music Project (IMP) and a statewide compilation album inclusive of all genres of music. Featuring 20 different Iowa artists who were given an opportunity to record their original songs at Flat Black Studios in Lone Tree, Iowa, the IMP album offers a small window into the diverse genres of music being made in our state, ranging from folk, hip hop, international, experimental jazz, and more." (from the album's website) "After fielding more than 200 submissions, curators at the Iowa Music Project have narrowed their list down to 25 finalists (plus two bonus tracks from Halfloves and Middle Western...). The 25 finalists ... (received) one half-day recording session at Flat Black Studios. A selection of these 25 tracks (are also) included in a vinyl pressing released by Maximum Ames Records. The compilation includes two Listeners’ Choice honorees, Matt Van and Mason Greve & the Pork Tornadoes. Music aficionados across Iowa cast more than 14,000 votes in the poll, which featured hundreds of submissions by Iowa-based artists." (from the Little Village website) https://youtu.be/C_UxXo1pUqI?list=PLAy_OxanQN_JZnG0r9kE6buJCiBX-GQ8N Album website: http://ift.tt/2bzy9BY Digital download with 7 bonus tracks: http://ift.tt/2bSgCtC Iowa Music Project's (the organization) home page: http://ift.tt/1K3n3i7 Iowa Music Project's (the organization) Facebook page: http://ift.tt/1UsNOCp Iowa Public Radio's "Talk of Iowa" on the album: http://ift.tt/2bSfiHb Live sets from album artists from Studio One: http://ift.tt/2c6EyX2 IOWA CITY SONG PROJECT Maximum Ames Records has done it again. Perhaps Maximum Ames’s most ambitious LP release to date, the Iowa City Song Project has taken 31 musically disparate tracks and woven them into a single beautiful fabric of Iowa music history. The Iowa City Song Project was commissioned by the historic Englert Theater, which has hosted American and Iowa legends alike in its 100-year history. Performers on the record include folk legends Greg Brown and Bo Ramsey, who both hail from Iowa City, and twenty-nine other acts ranging from soul to punk-pop to experimental. Mumford’s, the Poison Control Center, Pieta Brown, Christopher the Conquered, William Elliot Whitmore, Brooks Strause, and the Emperor’s Club are some current Iowa staples who recorded a track for the album. Although simply growing familiar with this album takes time (it’s over 2 hours long with the eleven bonus tracks) and careful listening, it is well worth the effort. For those who have lived in Iowa City, it’s a priceless snapshot of one of the most vibrant cultures in the Midwest commissioned by its foremost performance space. For listeners like me who are less familiar with Iowa City, it’s yet another manifestation of the unusually collaborative and multifaceted Iowa music scene. Though Iowa City is the record’s common thread, the album isn’t a cheesy, tasteless tribute. In fact, Iowa City isn’t even directly mentioned in some of the songs (although there are some explicit references in a few of the song titles; “Iowa City, Make Love To Me” probably wins). But you know it’s there, watching, a constant in an ever-changing musical landscape that continues to raise and inspire those who live and perform there. Some tracks reflect the quintessential Iowa City experience (“Old Capital City”), while others are delightfully introspective, as though the artist was in the process of unraveling his complex relationship with the city (“Summer Sun”). At times exhilarating, moving, and even bizarre, the Iowa City Song Project seems to contain all the ingredients of artistic life, from disappointment to passion to joy. (from a DMMC {Des Moines Music Coalition] review by Zoey Miller) I try to collect as much Iowa City music as I possibly can. When I can’t buy a record at a show, I scour Bandcamp pages for the ones I don’t have yet. I spend hours creating and editing mixes of my favorite songs for my friends and family—people who aren’t familiar with the Iowa City music scene, but should be. Everyone should be. That’s my attitude, and apparently the Englert Theatre feels the same way. Instead of dragging songs into an iTunes playlist, the Englert commissioned 31 artists to write songs for a compilation album about Iowa City. The appropriately named Iowa City Song Project features an eclectic track listing of original music by some of the most respected Iowa-rooted talent, including William Elliott Whitmore, Greg Brown, Pieta Brown, The Poison Control Center, Wet Hair, Brooks Strause and many more. (from Steve Crowley's On The Beat column on the Little Village website) The Englert Theatre, Iowa City’s 100-year-old performing arts venue took it upon itself to craft a sonic tribute celebrating one of the most diverse and culturally vibrant communities in the Midwest. By commissioning 31 musicians and bands and handing them the task of creating songs inspired by experiences or impressions of Iowa City, the result is the sprawling Iowa City Song Project, an all-encompassing artistic reaction to the influential community constantly on the frontline of musical expression. The album strikingly matches the diverse selection of musical tastes that can be found in Iowa City on a day-to-day basis. Perhaps appropriately, a strong selection of grass roots Americana is present here while its oppositions fall more toward the avant-garde side of the spectrum that fit perfectly with the numerous forms of experimentation and forward thinking that springs from a college town. With a CD/LP release consisting of twenty stand-alone tracks in addition to eleven more digitally downloadable tunes, the Englert has successfully managed to turn a potentially daunting task into a seamless assembly of songs that merge into a comprehensive representation worthy of this great city. (from a Kelli Sutterman review on the Hoopla website) A video about the album... http://www.youtube.com/watch?v=F1IX1xjwBko http://ift.tt/2gHnCvr https://www.youtube.com/playlist?list=PLvWeWX_0n-BiR-TEdVWeNHg5mruhtIYPV The album doesn't have a website of its own anymore. Maximum Ames no longer seems to be selling it. But I did find it for sale on a few sites... Itunes: http://ift.tt/2bSg9rp CD Universe: http://ift.tt/2c6EI0p Microsoft: http://ift.tt/2bSfm9Y IOWA COMPILATION: FOR HENRYVILLE Found this album just from googling for Iowa compilation albums. All I could find out about this album is what it says on its BandCamp page. It features bands from the eastern half of Iowa, mostly along the indie, alternative, and folk genres. It's a charity album to help the victims of a tornado in Henryville, Indiana. http://ift.tt/2gHnDzv The BandCamp website for the album: http://ift.tt/2c6DToB SONIC HARVEST This albums seems to have vanished off the face of the earth... and the internet! I coundn't even find it on Spotify anymore! I have asked around at Maximum Ames, but they just said it's out of print and they no longer sell it. And I couldn't get a hold of the Sound Farm studios, who were the ones who put the album together. So your best bet, if you want it, is to find it secondhand or burn and download it from a friend! There are a few tracks on some of the artists' BandCamp sites. I've included those below. And I made a YouTube playlists of the songs I could find on YouTube. Though I don't guarantee they are the same version as the album's. "As great as I think I am at giving focus to Iowa artists, there is no better way to discover new music than to actually listen to them. well the good folks at Sonic Harvest has given you all a chance to do that in one nice neat little package. Featuring 1 track from 30 different bands, all recorded at the now world famous Sound Farm in Jamaica, IA. "The album features lots of my favorites like Christopher the Conquered, Poison Control Center, Why Make Clocks and Mumford’s to name a few. But luckily for me it features acts I’m not as familiar with like Sean Huston and Pocket Aristotle. So there really is something for everyone." (from the Iowaves website) "Aside from representing the sounds of 30 Iowa bands, the compilation also represents the work of seven engineers: Ryan Martin, head engineer at Sound Farm, Logan Christian, owner of Midday Studios, Isaac Norman, engineer and owner at Righteous Dog Recording, Phil Young, engineer and owner at Liberty House Studios, Tyler Held, engineer at Sound Farm, R.B. Brummond and Alex Evans. "Patrick Tape Fleming, guitarist and vocalist of The Poison Control Center, said working on the compilation was a great experience and PCC’s track 'Looking Back' is one of his favorite recordings the band has done. He said the fact that Sound Farm gave artists the opportunity to record for free really shows the connection the studio has to the music community and how passionate they are about promoting it. “'It’s amazing that they invited all these bands to come that would probably never have the chance to record at that facility. For your everyday average rock-n-roll band, or even for a band like us that has toured a lot and released a bunch of albums, it was a really big deal to record in such a good studio where Grammy-award winning bands have recorded,' Fleming said." (from the DMMC [Des Moines Music Coalition] website) https://www.youtube.com/playlist?list=PLAy_OxanQN_JohNBcEVcaMEWbHq_fN3hH http://ift.tt/2gHQVxQ http://ift.tt/2eYi0Jg http://ift.tt/2gI8SMQ http://ift.tt/2eZ3pxe The album's Facebook page: http://ift.tt/2c6GwGG The album's Twitter page: https://twitter.com/sonicharvestia Labels: Bandcamp, compilation albums, folk (genre), folk music, Indie (genre), indie music, Iowa City Song Project,Iowa Compilation: For Henryville, Iowa Music Project, Other Sources, Sonic Harvest, various artists http://ift.tt/2bSSdBq

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