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This is a band I was a little late to get into, but they really are only the most important indie rock bands of the last few years. There’s not much bad I can say about this band, so I’ll just let you read for yourself about what this band does that moves me. enjoy the list, Thanks for reading!
10. GHOSTS OF BEVERLY DRIVE: KINTSUGI By the time this record came out, the band had firmed their position as one of the biggest risk takers in modern indie rock, if you can even say DCFC is still Indie rock. Either way, “Ghosts'' has that familiar DC feeling to it, but the instrumentation is more kingly than many of their other tracks. For all intents and purposes, that musical element makes a nice contrast to the odd lyrical content of the song. Gibbard's lyrics have the tendency to be either very clear or very symbolic and metaphorical, with this song falling in the latter category. For all those previously stated reasons, “The Ghost of Beverly Drive'' opens our countdown at number ten. 9. BIXBY CANYON BRIDGE: NARROW STAIRS The guitar part here twinkles and shines just like the stars do at night. Then the crunchy guitar section comes in and the song completely changes course. I’m not exactly sure what the song is about, but it’s pretty rocking and very out of the ordinary for this band. Again the lyrics are an added compliment to the music, with this track being more youthful and optimistic than some of the other selections on this list. As the song progresses we get thumping drums and soon the rest of the band follows along. It’s important to always try to push yourselves to try new things, and in this number, they succeed very easily. 8. CATH…: NARROW STAIRS One of the best things about DCFC is their ability to make freeing and often reflective songs that are also really fun to sing along to. That’s what Cath is to me. It has many good elements working in unison, and while the lyrics aren’t exactly uplifting, it’s still a fun song to listen and dance to while you hold your partner close. The drums are clutch here, as they literally guide the song from one section to the next. The imagery is again expertly painted lyrically by Gibbard, but really the song is more interesting from a musical standpoint rather than a lyrical one. 7. BLACK SUN: KINTSUGI I’ve always felt like this was an exploration of songwriting after Gibbard's divorce, and the more I think of the lyrics the more relevant it seems. Once strong emotions now torn and ravaged by sadness and finality are presented casually but sullenly during the duration of “Black Sun.” Signs of a tainted conclusion are littered through the song, but it’s the voice of Gibbard that makes you feel as though you can get through it. “Black Sun” paints a picture we all know, of the difficulty of partners who aren’t really in it for the unit as much as they are for themselves. It’s a sad song full of regret and sadness but in its pain it also shows us truths we’d rather not address until we have to. 6. CROOKED TEETH: PLANS I just love the imagery they present us with. The tune itself is jolly and carefree, no real surprise there. While I do love the imagery, I’d be lying if I said I knew what the song was actually about. It’s pretty all over the place, but I like it. It’s an upbeat track that uses the band's whimsical effects to the benefit of the song and the lyrics. I feel the regret seeping through the song, but the lyrics are sung in a way that makes it seem less dark than it actually is. There might be people who hear this song and think its just your average indie song, which it might have been, but I argue the success of Death Cab makes it easier to refer to this song as average, simply because the groundwork laid out by the band sets the stage for many indie artists to follow their path. 5. THE SOUND OF SETTLING: TRANSATLANTICISM Another good sing-along. To me this song is about not knowing where life is going to take you, and trying to just enjoy the ride and learn from everything you can. Like the song says, “ Old age is just around the bend.” I have known quite a few people in my brief time on earth who I’ve felt never truly lived. I’ve always felt sorry for the people who chose to live that way. The song reminds us to always live in the moment, and to experience life for all the treasures it holds. 4. I WILL POSSESS YOUR HEART: NARROW STAIRS This album was the biggest departure from the bands earlier records, and brought about a more experimental sound for the band. That’s why this song makes the list. It works in regards to developing a new sound, but it also works with the older songs from the earlier records. The winding and meandering of the opening minutes set’s the stage for what becomes a pretty dark song, at least to me. At first I thought it was pretty romantic, but once I started to hear the lyrics, I’m now convinced it’s about a psychopath who can’t truly understand what love is, and how one day he get’s fed up with trying to get women to like him, and more than likely start’s kidnapping those same women and forces them to be involved with him. 3. WHAT SARAH SAID: PLANS At number three, we have “What Sarah Said,” a song seeped in the heartbreaking traditions of the band and some if theur best songs, but it's also an interesting juxtaposition in how the track came to be. Many of Death Cab’s work because of their autobiographical nature, but ‘Sarah' comes straight from the mind of Gibbard. Which is to say none of this ever happened as it is presented. The song was inspired by Gibbard's brain as he thought about the loneliness and sadness that are often associated with hospitals and places of healing. In truth the song breaks the tension effortlessly, as the protagonist has one of the worst conversations you could ever have, all as he watches his loved one die. This is not a happy, well meaning song, but in its brutal reflection of death, you feel the strength of life and love. At number three, may i present to you “What Sarah Said 2. TRANSATLANTICISM: TRANSATLANTICISM The opening lines of this song set the tone and high caliber for the rest of the remaining minutes. Ben Gibbard’s voice, soft and sweet, looks over a valley, and reminisces about the world coming to an end, or at least that’s what I like to imagine. The sky overlooking us is hazy, with mixtures of pink and purple. The waves are enveloping everything around us, and for a brief moment, we understand how meaningless we are in terms of the grand scheme of things. This song captivates the listener in a way many songs simply can’t. Death Cab has always had a way to move emotions and spirits in a small, restrained beauty, and this song is one of the best examples of the band gradually building and adding little things until all members of the band are not only sharing the load, they’re being rewarded for the struggles that make up the song. 1. I WILL FOLLOW YOU INTO THE DARK: PLANS There are times in one’s life where nothing feels right, but for those times there are always songs that bring you a sense of closure and peace. This is that song for me. It could be about a romantic relationship, or a friendship that has weathered storms, or it could be about a family member who’s left your world to join the other. For me it’s a little bit of all three. I’m reminded how amazing it is to share your life with someone who understands you perfectly, and who will always be there. It’s also about the loss of my grandmother, who was a shining light in me for the first three decades of my life, who unfortunately had to exit this world. People come and go in life, in varying stages of importance, but for everyone who gives something to someone, you get value in love and meaningfful gifts in every day of life. “I Will Follow You Into The Dark” is a testament to the struggles of life and also to the joy in finding people who complete you and who will always take the leap and will happily follow you in the dark, hand in hand, just as they joined you. Follow us for more content at @thedeathofthemixtape on instagram, facebook and Spotify. Thanks for reading.
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As a group in their third decade, there’s not much the band hasn’t accomplished. Sure it hasn’t been one perfect ride, there's been suffering amid successes, but through it all the core of the band: Vedder, Gossard, Ament, & McCreedy have consistently stuck to their guns, often at their own peril. Don’t get me wrong, they’re still a hugely popular band, but in the mainstream current atmosphere of trendy music for trendy sake, they’ve been reduced to a dad band of sorts, even though the music is still evocative, emotional and sharp tongued both in its orientation but instrumentation as well. As we conclude our unofficial “PJ” month, I wanted to take an untraditional route in discussing the bands history, so today we discuss the bands top five albums, that I believe have had the most positive influence on the band's success. Enjoy.
5. VITALOGY: 1994 We start our countdown with a record from the early days when Pearl Jam as a unit went to war with Ticketmaster and all the chaos and change that forced. Essentially during the touring cycle of this record, with its success carried by mega hit “Better Man,” the band was seeking better arrangements for fans and artists alike. As you probably know ticketmaster is still a price gouging monokey, but for the first time a major band was saying we’re going to play untraditional venues to get a better deal for everyone not working at ticketmaster. The tour, with Ramones as support, was a success, but the album in my memory became less of a focal point than the controversy itself, which is a shame because the album rocks throughout. Tracks like the hauntingly consistent “Tremor Christ,” nestled next to tearjerkers like “Nothingman,” with all its sorrow and regret. But then you get songs like the utterly odd “Bugs” thrown in while also including “Immortality.” Give it a listen soon, it's better than you remember. 4. RIOT ACT: 2002 Pretty much from the start of the band's career they’ve meandered occasionally into the world of political commentary, often to great success. This record is seeping with turmoil and unhappiness, and for the most part it's immediate in speed and intensity. Vedder is in fine form throughout, yet the band seems to steer the way more here than on other records in my opinion. “Save You,” the second track is as punk and angst driven as the band gets, but by the next track we’re serenaded with the romantic but apocalyptic sentiment of “Love Boat Captain,” which is a harsh departure but one that’s welcome. This type of versatility is consistent with the band from their first records. Never afraid to take a risk, mixing styles and rambles with genuinely heartfelt passages. This was made in part during the early Bush years, and as reflected in the albums title, it's an early call to action at times for a band that was vehemently against his candidacy and ultimate election. Just look at the not so subtle knock of “Bu$leaguer” and how Vedder dissects Bush’s “pathway” to success, as if it were earned. Either way, i feel like this often gets dismissed as not being as good as it is, when in fact it's better in many ways and shows a real emotional growth to the band. 3. YIELD: 1998 In 98 i was just figuring out my love of not just rock but metal and other varieties, but I’ll always remember getting this one random Sunday at a backwoods walmart i happened to be in with my mom. I loved “Brain of J” and the harsh reality of change it put in the forefront. The song obviously is a pointed look at the death of President Kennedy, but it's also written from the perspective of a person who grew up without seminal events happening just before his arrival, growing up in a different world than the one his parents mentioned. The album feels more sentimental than many of their others to me as well, with songs like “Given to Fly” being a sort of life affirming moment you can only get from good ole’ american rock music. The one two punch of “Given” and “Wishlist” also earmark the band as truly american in their attitudes, loves and philosophies. Next to Tom Petty maybe, I can’t think of a band better suited to address the woes of modern blue collar Americans, even if they are rich these days. “Yield” as a record has this ability to settle you while discussing the harsh realities of our world. It even knows when to be sarcastic in the form of a rant known as “Do the Evolution,” which again thumbs its nose at our constructs and institutions. Track after track is stellar, concluding with rockers like “MFC,” anthems in the way of “In Hiding,” and plenty of other memorables tracks. Also, having Matt Cameron of Soundgarden fame join the fold really helped things along in terms of creativity. 2. VS.: 1993 From the opening moments of “Vs.” all the way until the conclusion of “Indifference” there’s a certain gritty danger permeating through this record. That danger morphs and changes as the record goes, with “Daughter” being one of the more gentle sounding songs, even if it’s only musically tender and not lyrically gentle. Tracks like “Animal” and album opener “Go” both have that raw energy coasting through them, but then you have a track like “Elderly Woman…” which showcases the anger and reservations of never leaving a small town like so many others who gave up on experiencing the world. On the other end of that, there are songs like “Blood” and “Leash” that are as aggressive as the band gets during the 45 or so minute runtime of the record. Overall the record delivers in different ways than its blockbuster predecessor, but it’s way more immediate in movement than their debut was, and you can tell the time between records, albeit small, did help to make the band better than they were before, even if the record didn’t end up being as perfect or popular as “Ten.” When listening to songs like like the earlier mentioned “Blood” you feel vindicated in battle, as if you’re fighting with every fiber of your life, while during selections like the classic “Rearviewmirror” you feel the need to figuratively haul ass away from the dangers of the present, bracing for change. All of this encompasses the struggles and action among the band to strive to be their best. 1. TEN: 1991 What can you really say about “Ten” at this point that hasn’t been stated before? Mostly nothing, except that it’s just as good, Maybe better than you remember. When I began writing this, I was fairly certain my number two choice, “Vs.” was going to be the number one. That is, until I actually listened to “Ten” for the first time in god knows how many years. What I found was that not only have certain songs become more relevant than ever, but also songs that have more emotion running through them than your average rock band. From the start it’s clear Vedder wore his massive heart on his sleeve. Songs like “Alive” deal with the pain only family’s can provide, while opener “Once” flies above the real world Problems inherent in the lyrics. Then you have tracks like the ominous and heartbreaking “Black,” not to mention the now commonly occurring themes that make “Jeremy” all the more terrifying and eye opening. Many times listening to “Ten” I felt that familiar connection to the lyrical content simmering throughout “Tens” duration. It’s not only one of the best rock albums of the still getting farther away 90’s, but also the best collection of songs the five Piece of Seattle has ever conjured up. Thanks for reading! PROGRAMMERS NOTE: The planned posting of the Top 5 Pearl Jam albums will not be read today, as we commemorate the death of an interstellar star system as it left our galaxy on February 22, 2021.
Every now and then a band reaches you at the exact moment where you needed positivity and energy the most. This was the circumstances under which I fell in love with French duo extraordinaire Daft Punk. Around 1999 i was deep in with the metal of the era- Slayer, Slipknot, Nine Inch Nails and various other heavy as shit bands were consuming my life in the best way imaginable, but i was starting to notice other genres, other music and tons of things i normally wouldn’t be interested in. In 2001 I got “Discovery” and away I went. The music filling my car, house and various other spaces spoke to me in a way that metal never could. The record as a whole is a huge leap forward for the modern electronic era, combining the knowledge from their debut and the direction EDM ( as it eventually became known) was naturally going. With songs like “Aerodynamic,” the romantically tinged soulmate sharing of “Digital Love” and of course, the one song that would catapult them to another level. It's called “One More Time” is a disco explosion of beats and remixed vocals. The song, up until a point, was the band's best known selection, but in the years that followed plenty of things would change for the best electronic band of all time. In 2005 a new record emerged, this time titled “Human After All.” The album, while not as game changing as their predecessors, isn’t as bad as most people rememberBy this point the plotline of humans being destroyed and coming back as robotic programmers had been known for several years, but they still hadn’t played a show in the new millennium. That would all change come 2006, when the group would surprise everyone and be the talk of the music world with their dominating performance at the mecca of the music world, Coachella. The show itself is nothing short of perfect, and having been fortunate enough to see it three times, I can safely say that Daft Punk's music has been a tremendous motivator for me and how I navigate this world. Yes its bleeps and blops and not for everyone, but for me it worked, and made me better than i was before.That the strength of music. So, as we close this thing that i wasn’t aware I’d have to write today, thank you to Thomas, to Guy Manuel, to getting “Lucky” with friends while we escape our everyday lives, and to the everlasting memories of a giant glowing pyramid as it single handedly changes who musicians approach live performances. And while many assumed we’d already heard the last of the french robots, let us not forget all the music they’ve left behind, and how we got to witness the “Primetime of our Lives” through joyous inspiring music. Thank you guys for all the robot rock. \\During the game changing music scene of the 90’s, Britain's Portishead created a sound as imaginative as it is genre defining. They blur lines left and right,often combining genres that you wouldn’t automatically think would work. As a band in their “third decade”, Portishead has been less than prolific. Three studio albums, one live album, and a few one-off singles are all we’ve seen over the band’s twenty plus year career. Having said that you can’t really fault them for taking their time to correctly present their vision, when the ultimate vision ends up being so thoughtful, solid, and beautiful. Today, we’re talking about their first album, the modern masterpiece known as “Dummy”
Let me first say that in a world full of unoriginal bands with no impressive ideas, Portishead manages to sit atop a mountain with a few other vastly important bands still making music that is years ahead of anything the mainstream audience might experience. I mention that because their first album “Dummy” is the album that started the upward mobility. Released in the late summer of 1994, “Dummy” isn’t a typical album. It’s not a warm loving record. Instead, vocalist Beth Gibbons, Geoff Barrow & guitarist Adrian Utley took elements from the 30’s, mixed them with a new type of sound called “triphop.” From the opening of “Mysterons” you get the cold, harsh, but often calculated ambiance that the band created for us. An interesting tidbit about the band, before the recording of this album the band only consisted of Gibbons & Barlow, but after working well with Utley, he was brought on to be the third member, and that’s still the core lineup that the band uses today. If you think about the music of the times, a few things come to mind. One, does this album sound even remotely close to any of the modern more well-known music being released at that time? Of course not, but that’s why unknown bands are sometimes the best. They can survive and create without the restrictions of big level record companies, and in this case, it helps to cement a great band’s legacy. In the climate of today;s music industry, bands like Portishead wouldn’t even get the big label treatment. It’s too much of a risk to the record company, at least in their eyes, The second thought that occurred to me was what other now regarded classic alternative albums had come out that year. Nine Inch Nails “The Downward Spiral,” Soundgarden’s “Superunknown” and Tori Amos’ “Under the Pink” all were released in the same year. With all of those great albums, I’d be surprised if that didn’t help “Dummy” to get a little bit more attention than it would have gotten had it been released during a time where the thirst for “alternative” music wasn’t at an all time high. One of the best things about this band is the skill they have to combine sounds and textures. Gibbons' voice is reminiscent of a cabaret singer, quietly vocalizing in a dark, smoky red-lit bar at two in the morning. The sultry, painful voice, combined with the precise use of a drum machine and synthesizer make the overall sound of the band impressive. It’s especially obvious on tracks like “It Could be Sweet,” and the track that follows, “Wandering Star.” Having purchased this album on vinyl, it’s really the way it was meant to be heard. The album on its own has a very warm quality to it, but on record it’s even more undeniable. The wobbly but consistent beats on “Wandering Star” are probably one of the most electric beats on the whole album. The album has so many layers to it that it’s hard to focus on one at a time, but that’s what great bands do in a way that makes the music seamless and effortless when played for avid listeners. They add layers that might not work on their own, but together, it’s radiant and glorious. Most great bands are good at this gentle art, and Portishead is among those great activators of sound. One of the cinematic, epic songs on the whole album is “It’s a Fire.” The symphonic beginning quickly dissolves and gives way to the quiet of a piano behind Beth’s voice, until the other beats slowly bleed through, forcing you to acknowledge them. Her voice here is one of the more lovely parts of the whole album, and it’s also one of the few parts where you get a hint of positivity. Even with a hint of optimism, that’s not implying this is a happy record. One of the saddest, albeit most beautiful songs on the albums, “Roads” is the perfect foundation for the rest of the band’s work. It’s not only the best song on the album, but it’s my favorite song by the band. The song speaks to the listener from a solitary, desperate place. I can relate to this position of the speaker so much because sometimes in life you feel like you’re alone, and without a net to save you. The imagery set forth here is unbelievably powerful, and the music does just as much for the overall feel of the song than the vocals do, if not more. If it were up to me, this song would be put in a time capsule for the future children of earth to find two thousand years from now, if we even last that long. The song both begins and ends with a warm fuzz of a beat coming in and out. I’m not sure what instrument is being used to bring it to fruition, but it works wonderfully to propel the song to its ultimate apex. From the first time I was ever exposed to this album when I first heard the single “Sour Times,” to the years working my way through this collection of songs, so many of them have spoken to me in a personal, life-affirming way. Even songs that have a sinister undertone like “Biscuit” still work even twenty years after the album was released. That’s how you can tell a band knows what they’re doing. The music has only intensified in the time since it was unleashed. Album closer, and overall great song “Glory Box” is one of the better reminders of this. Like much of the rest of the album, “Glory Box” presents imagery that is both epic and mythological, while juxtaposing a quiet burlesque feel that is both haunting and a throwback to the times of the roaring twenties. Tell me you can’t see that in this world? Gibbons voice is perhaps at it’s best on this track, and the emotion pouring out of her is at the same time defiant and dependent on whoever she is talking to. It’s the perfect song to conclude this monster of an album, and it helps to permanently claim the trio’s spot among great bands. When the third album, “Third” came out, it was evocative of everything they had done previously, and it still worked. They had taken the basic idea experimented with on “Dummy” and had refined it and made it new and fresh. That’s what this band does. They evolve and change but they remain uniquely brilliant. Eventually they’ll make a fourth proper studio record, and when they do, I have no doubt it will be as important and interesting as the other three albums currently making up their discography. Thanks for reading Follow us for more content at @thedeathofthemixtape on instagram, facebook and Spotify. Thanks for reading.
As a band approaches their third, and even fourth decades, they usually start to dwindle in quality, surviving off the often vast catalog of hits they may have created during that time. For Pearl Jam, who’s long weird journey began in 1990, being a band in their 30’s has only made them more independent and aware of what works. They still play 3 hour sets each night, often with a drastically different setlist than the nights before and after. Today, a week before a post about the bands 30 year career, we discuss the bands Top 10 best songs. This list is sure to get people talking, with more than 11 albums featuring some truly remarkable songs. This list features some stuff you’ll immediately recognize, and hopefully plenty of others you’ll grow to enjoy. Thanks for reading! What are some of your favorite PJ Tracks? Share in the comments below, or join the conversation on instagram at @the deathofthemixtape.
10. LOVE BOAT CAPTAIN: RIOT ACT When I first encountered “Love Boat Captain,” it was the opening number of the now legendary first appearance by the band at the Bonnaroo festival. The song enters in a slow emotional manner, reminiscent of a road weary man marching himself towards a greater goal of love. The song speaks to the need for admiration, for love, for partnership, but it’s written with an earnestness you’ll find in plenty of stuff created by Vedder himself or the band. As we open the countdown, “Love Boat Captain'' shows the strength of knowing your place in the universe is meaningless at best, but for a certain few in our world, we get to share love and the craziness of the planet as we fight against being meaningless. 9. LIFE WASTED: PEARL JAM One of the best straight rockers in this list, “Life Wasted” comes from an album later in the band's career, but it spits with all the urgency of a band hungry for relevance, which they still had for many middle aged grey haired dads across the world. The guitars by (Gossard & McCreedy) are rushed and antagonizing, with Vedder's voice harping on the life you've abandoned, with the catch coming during the moments of the song you realize his attacks and pleading are all focused inward on himself. He’s trying to get his road straight, and with the urgency of the music under your wings and your ears, you’re transported to a place where pushing yourself is the only way to succeed. 8. NOTHINGMAN: VITALOGY Even though this is a band very often overlooked in terms of genuine, beautiful “ballads,” there still exists plenty of soul crushing slow tunes in the catalog. While most are amazing, tear inducing, and heartfelt, “Nothingman” is the most obvious choice for me. It’s slow, somber, and wonderful. The vocals are day dreams of an abandoned illusion consisting of what dreams we chose to forget and not pursue. It’s this emotional pull and push that makes the song so beautifully tragic. I’ve still never gotten to see this live, but hopefully someday I will. I’d like to talk more about this, but some songs are best left to let you hear, rather than for you to read about. 7. DO THE EVOLUTION: YIELD Even before we discuss the actual song, we shouldn’t forget the brilliance of the Todd MacFarlane video for this classic apocalyptic track. The animation presented in the clip ties in perfectly to the nihilistic approach permeating this journey through times and platitudes. The vocals are scratchy, while the guitars and drums both feature tinges of the garage rock days of the band's journey to the top. It brims with the intensity of a world undone by itself, and we’re all mammals trying to not be part of the next extinction. 6. JEREMY: TEN For me, this song is a sad reminder of wasted youth, and how we as humans are so quick to forget bad events, as long as they don’t interrupt our important lives. But then you still have to factor in the polarizing video. The video, which is still tough to watch, portrays a bullied teen, ignored by his self-important parents, and harassed by his peers, brutally taking the lives of the people he should have been feeling free with in the afternoons and weekends of his adolescence. It was a shocking video to say the least, but in the end it didn’t matter, because the mass population still overlooks shootings as something that just “happens.” 5. ALIVE: TEN Most folks hearing “Alive” believe it to be a song seeping with positivity at having made it through the difficult thing called life, but in reality it’s far more downtrodden. The song is indeed a roaring anthem, but buried in the subconscious of the song is the massive pain felt by Vedder at the early age of his father. The song, written in regards to the turbulent relationship between his step father, who for a long time he believed was his actual father. In truth. His dad died during his still developing years, and the impacting death made the creation of this song possible. Just remember, when we’re singing and hollowing to the “I’m Alive,” at your next Pearl Jam show that it was never about Eddie, but instead about the complicated relationships with his fathers. 4. ELDERLY WOMAN BEHIND A COUNTER IN A SMALL TOWN: VS Like the forgotten dreams of a teenager destined to be stuck in a shitty go nowhere town, “Elderly Woman…” tells the story of the long years gone by, the regret as we all carry with us, and the knowledge that we were meant for better things, if only we could escape. The song itself tells such a normal, painful story that it’s easy to forget that this came out so long ago, but it hasn’t changed the meaning and merit behind it. It’s not instrumentally aggressive like other tracks on their often overlooked second record, but it’s humility and. Eye opening regret make it worth the love it gets among long time PJ fans. 3. GIVEN TO FLY: YIELD Overwhelmingly optimistic once you get through the rough parts. That’s one way to start. Another would be to say It’s a quite beautiful song, and the music alongside Vedder's simmering, soaring voice really helps to bring me to a place where everything is right in the world. This song exemplifies so much of what life is really like. Darkness, murder, power, love and optimism. I can’t help but think that life is supposed to be experienced, and not to be ruined by pleasing other people, or how much money you have in the bank. Life is what happens when you’re busy trying to figure out what's next. At number three, with its call to soar and to be free, is “Given to Fly.” 2. REARVIEWMIRROR: VS Like a speeding car roaring away from a shitty relationship, This bad boy kicks all kinds of ass. It’s immediately in first gear, and the flow of the song never lets up, especially in the chorus. Musically it’s rooted in the heyday of the grunge era, but the emotions presented lyrically are the things we never share as they're happening, saving them for the inevitable meltdown. Musically it has everything a PJ fan would love. That bass line going underneath everything also helps to tie the song into a perfect bow. The vocals at the end are what ultimately makes it an amazing song. It’s clear whatever he’s dealing with, he wants to be done, or as he says it, he wants it in his “ Rearview Mirror.” 1.BLACK: VS. “Black” may be the band's darkest song, but more Importantly it might also be their best. This song is so emotional in so many ways. The song has so much sadness and desperation in it, but it still brings out pure raw emotions that ultimately make it a priceless song. As a listener I never feel at home in the world of “Black,” rather I feel lost and in the dark as the narrator fights for his redemption for all the damage he’s done. Again, as a listener, the song speaks to the turbulent life of the narrator, and when he speaks to the things “All washed in black,” you know the damage is done, but his heart is broken and full of regret. Moment after moment during “Black” leaves you reeling emotionally, even as you hope for the best outcome you’re certain won’t come. In fact, during the closing moments of the song you don’t get that repeal, instead watching that special one venture away from you and your “Black.” Even more meaningful for me was the first time I saw this performed, which ruled just as much as you might think. If you haven’t yet heard this song, please track it down. It’s the emotional core of not only that album, but the core of the band. Thank you for reading! Follow us for more content at @thedeathofthemixtape on instagram, facebook and Spotify. Thanks for reading. Since early 2004, Montreal based Arcade Fire have been (mostly) successful in bringing thoughtful, poignant indie rock laced with arena rock bravado to a scenethat wsn’t always open to that concept. In the more than decade since their debut, the band has released five quite different albums. Themes of abandonment, loneliness, and recklessness seep through them all. Truth be told, this list was difficult to make, if only because the band has so many worthy songs, but in the end I think it’s a full and complete list. 10. NORMAL PERSON: REFLEKTOR Starting the countdown at number 10, we get a haunting, slow burning track in the shape of “Normal Person.” On a first listen the song doesn’t stand out as the underrated gem it actually is, but with added listens it begins to click with the listener. “Normal Person” starts with an ease and reverb that both work well, but as the track sways behind Win’s hushed, slightly whispered voice, as all the pieces come together. It has an attitude that’s easy to spot, but it’s not a dick head attitude. It’s the confidence you get from growing from your art, and I suppose being praised by many many people. It’s a track that blends gothic rock and soaring chorus in a way that could only work for the Arcade Fire. 9. KEEP THE CAR RUNNING: NEON BIBLE The plucking of the strings, added with the more orchestral elements signal the arrival of the track much like the headlights of a running car announce an arrival. This symbolism is hard to spot, but the urgency of the song makes for a bold, yet unexpected brand of chase music.. The chanting by Win and company during the bridges gather like voices around a fire, and the agony of the beat aching to be free, sets your spirit. With the engine roaring, and the windows down, you feel free in the imagery presented. If the theme of the song is running from your problems, then the voices reminding you of the difficulties you face during the song are your call to arms for escaping. 8. MY BODY IS A CAGE: NEON BIBLE Win's voice comes out, and the sadness is not only palpable, but it's as if his life depends on getting these words out. The whole theme of the album really comes into extremely clear view here too. The choral atmosphere, along with the chamber music and organ makes the song thick. Early during the song the tension is built methodically by the use of the organ and the oldest Butler's voice until the moment the pressure can’t be contained. The song is the statement of defeat by a generation stuck between getting everything they wanted and not expecting anything at all. That in itself is a difficult world to navigate, but in these resounding moments of clarity, “My Body is a Cage” is a reminder that we are all still living, breathing, navigating this thing called Life. 7. HAITI: FUNERAL Named after Regine’s homeland and sung by Regine herself, “Haiti” is a love letter to her native land, with the instrumental leaning more heavily into island culture and rhythmic arrangements most average Americans take for granted, if we acknowledge it at all. The song borders on indie world music, but it never fully gets there. Regardless, Regine’s voice has a raspy yet purposeful pace to her delivery, and in moments like the Haitian language delivered finale,you allow yourself to get lost in it, which never hurts when you’re experiencing a song that comes from dueling lands and attitudes. 6. NO CARS GO: NEON BIBLE In contrast to the other song with “Car” in the title, “No Cars Go,” a song nestled near the end of “Neon Bible” reverberates in a rushed manner throughout its nearly six minute duration. The drums from Jeremy Gara beat like your life depends on it, while the xylophone and other instruments move the track along in a way that hookes the listener while also making it easy to digest the nature of the lyrics. Those lyrics, again speak to an escapism of sorts that only Arcade Fire specialize in creating. “Between the click of the light and the start of the dream,” isn’t just a beautiful line, but in fact is everything that is possible when your mind is clear and open to what if. That’s what “No Cars Go” is to me, all the possibles and places we can go and things we can do if we separate from the contest hustle and bustle. 5. MONTH OF MAY: SUBURBS Probably the most intense, blink and you’ll miss it song on the list of the Top Ten Arcade Fire Songs, “Month of May,” finds us at number six. It’s always reminded me of an angry version of an Arcade Fire song if surf punks had recorded it. It’s full of folded arms being disobedient, but that only lasts until it’s time to put your fists in the air and chant “First they built the roads, then they built the town.” That moment is important, but it’s made even better by the drum beat that precedes it. From the first listen until now, it’s remained a stark example of how different this band can be when the moment calls for it, and that they can in fact write a very intense, gut wrenching track. It’s unimpressed in your likes and dislikes, and it wants you to feel it. 4. REBELLION (LIES): FUNERAL Everyone by this point should have seen the epic performance of this song at AF’s first Coachella appearance. One could even argue it’s the performance that poised them for the major success that was yet to come. It’s still really incredible. Anyway, the track is one of the last on the all around perfect “Funeral,” and over the course of five minutes and eleven seconds the band proves what’s now clearly obvious, and has been for years. That is simply, that they rock in many ways. The album itself reeks of death and mourning, and on “Rebellion(Lies)” the band drill that concept of life and recklessness into existence. The backing vocals are well placed, as is the powerful yet subtle drumming by Jeremy Gara. The song builds and builds until the climax, and everyone is urged to joyously sing and dance to the “Rebellion” happening all around us. 3. READY TO START: SUBURBS Another song in the top five that is largely remembered as part of a landmark, historic performance at Coachella. The third time the band played, finally landing the headlining spot, the encore started with this track. By this point the balls that had fallen from the stage were turning lights in sync with the music, and of course the crowd lost their mind. The track itself though has this mysterious hue over it, and the energy surrounding the track is dark and foreboding in the best way the band knows how to deliver. Clearly a great song off another nearly perfect album, “Ready to Start” not only stands as a dark reminder of what “The Suburbs” may have in store for us, but it also comes in at number four on the Top Ten Arcade Fire songs. 2. WAKE UP: FUNERAL Without a doubt, there wasn’t any other song that could have been number one. At the top of the list, “Wake Up,” from the seminal “Funeral,” presents us with chants galore which are able to allow us to free ourselves from complicated lives, if only just for a moment. Everything soars here, quite simply. The guitar riff at the outset sets the pace, then the drums add a little bit of force to it, but then the real magic happens when the iconic chant occurs nearing the thirty second mark. The songs on the album speak to the truths of life, and that all things must come to an end, but I think “Wake Up” stands up as a reminder that sometimes life is dismal, but it’s the unfortunate events that truly make us better people. It’s also a sobering look at the world we live in, and how important it is to stay positive as “our hearts get torn up.” 1. SPRAWLS II(MOUNTAINS BEYOND MOUNTAINS): SUBURBS The choice between number one and two was difficult, but in the end it had to be done. “Sprawl II (Mountains Beyond Mountains)” not only reaches nearly to the top of the pile, but it helps to tie all the themes running rampant on “The Suburbs” into one spectacular and beautiful bow. Regine’s voice again shines through, but through it all the song's success lies not just with her gorgeous rendition of a monotonous life, but in fact with all the members of the band who excel at writing music that people can relate to. That idea of “We can never get away from the Sprawl” is a real, complicated feeling that many people have with their hometowns, whether or not the grow up in “The Suburbs,” but it’s in that moment you realize the world is one big Sprawl, and over Mountain lies the potential to exist a Sprawl that’s perfectly weird in the exact way we are, and we can make the best of what the world has to offer. PUBLIC SERVICE ANNOUNCEMENT: HUGE SPOILERS AND INFO REGARDING CHARACTERS, DEATHS, ETC. ENJOY!
As we approach the two year anniversary of the beginning of the final season of Game of Thrones, I thought it a good time to go back and discuss. As you’ll find out during the course of this piece, the confusion didn’t just start in the final six episodes, but as the series began to wound down in season seven. By season 6, the show had a very clear path towards its finale. Cersei had just destroyed everything that stood in her way during the finale of “Winds of Winter,” which stands among my own and many others’ favorite episodes of the series. Even so, King in the north Snow has defeated Ramsay Bolton, and Daenerys Targaryen has completed her conquest and restructuring of Mereen, and the army of the Dead is heading down south. In season 7, things begin slow, but purposeful. It’s dragging more than most thought, especially with the explosive opening of Arya killing the male Freys, but eventually the plan begins to pull away from anything other than the Others, or White Walkers as they're called in the show, as the decision is made to head North to prove their existence to Cersei in King's Landing. This is where the timeline starts to bend, as well as the narrative idea the series had had from day one, which is “no one is safe.” While traveling north on their reconnaissance mission, Jon Snow, or Aegon Targaryen as we’ll soon find out, are joined by Tormund, the Hound, Beric Dondarion, and of course Jorah Mormont and some others as they navigate the harshest elements the North has to offer. That essentially means blue eyed dead attacking bears, or dead attacking blue eyed ice men, or just normal blue eyed zombies, whichever you prefer. Anyway, they get the zombie but are seen and heard, so the escape becomes paramount. They break ice, create some time, and send for help. Now this is where things get screwy with the time. For years it's been established as a slow moving show, that gradually ramps up and expandas over entire episodes and sometimes seasons, like the Littlefinger arc that gradually grew in notoriety and mischief for seven seasons before finally being resolved. It’s established also that while Jon and company march north for the White Walkers, he’s been gone for weeks, but in their time of peril the bastard of King Robert Baratheon, Gendry, manages to run in bitter temperatures with creatures everywhere, at least days away, and then they manage to get a raven from the Night's Watch to Stormborn and then the Dragon Queen flies north and saves them, all in less time than it takes literal arctic temperatures to fill in ice? I’m no scientist here, but it seems doubtful. Even a more plausible approach here would have been to have the Hound break the ice, but then to have many of the zombies fall in, creating more tension and dramatically impacting the area of the ice and the time it would take to freeze over. If done right, the time can seem long but also compact, based on the amount of time in the episode. This would also help change the haste of the next episode, in which the wall falls, a Lannister lies to protect her family, and Littlefinger meets his end. It all feels rushed with the still fresh images of Jon Snow again nearly dying and or freezing to death immediately after seeing him standing up and marching into negotiations in the next episode in King’s Landing, only to then go back to the North the next episode. These trips, up until this season were discussed in terms of weeks, and chunks of episodes were sometimes spent on the road, going from one place to another. Many times it was the setting of some fantastic fight or twist you never saw coming. But now, with the urgency of finishing a series that only two people actually wanted to end, they cast aside all allusions of gradual travel with choices that defied logic and the concept of time entirely. Much has been made of the rush to be finished by D&D, otherwise known as David Benioff & D.B. Weiss, but at least from the outside, with the full breadth of the internet at my disposal, this much seems at least optimistic: The duo were burnt out and ready to move on, and with the promise of the next Star Wars trilogy offered to them, they decided to bow out. Many of the stars of the show have even mentioned no one wanted to end, and everyone else thought that with this story line trajectory, it could go for ten seasons, with some saying even more could have been possible. Even so, with the pieces they have in the show, with some simple shuffling around and rearranging, it still could have worked. With the opening of the season, The Dragon Queen and the king of the North arrive in Winterfell, and the rest is mostly formality, with the various roads over the years finally converging on all the Starks finally being together again. After all, they are the first family we see in the opening episode. Beyond that, news of the Lannister betrayal makes its way north, and plans are beginning to take form. All of this seems appropriate, but again, the time crunch makes you question just where the conclusion is heading. The second episode, while interesting and filled with moments that are poignant and entertaining (the Knighthood of Brienne of Tarth and Tormund’s story about the milk come to mind) lacks things most expected. One of those, especially when how amped up the storyline was, was the little info we ever get regarding the Night King or anything else regarding their history or beginning. Which takes us to the much discussed “The Long Night.” At this point, we know the truth of Jon and his patronage, and how it relates to the ongoing, some would say self created, plight of the Mother of Dragons. She’s a powerhouse throughout the later years of the series, but in season eight, especially in the last two episodes (as we’ll talk in a bit) she begins to question and kill anyone that threatens her, even if the argument is somewhat valid. The reasons for the split to her role as the Mad Queen makes sense, but once again, it rushes itself. This sub-plot should have been sprinkled among the last ten to twelve episodes, with the doubt slowly filling her. What we get feels squeezed in to just get it done with, and not at all something that works in this new rushed setting. Which brings us back to the “Long Night.” which for all the complaints, still stands to me as a shining achievement in execution and sheer terror. The episode itself is a fast paced, thrilling ride, and for my money, the best action the series ever produced. The fear and the sense of dread are abound on the first watch, with the White Walkers finally showing the full force of their carnage. The opening scene is masterful, and brutal, but those aren’t complaints. However, the visuals don’t completely line up with the outcome, which brings us to the point of “no one is safe.” Earlier in the series, this was paramount, with huge deaths like Ned Stark, or Joffrey, or even the barbaric events of the “Red Wedding,” being almost routine in how they divided the audience and impacted the show's future. In “the Long Night” no one on the front line with any prominence dies, with the major losses only coming from the Dothraki storming into the night as their torches vanished into the endless Winter approaching. Brienne, Jamie Lanister, the Hound, Jorah and everyone else we know and love makes it out. Now maybe it's sensible storytelling, but to me it speaks yet again to a rushed pace. Now, the episode is great,and I still get pumped watching it play out, but I think yet again D&D made a fatal flaw in how the episode is laid out. For years, and YEARS, we’ve been told the White Walkers were the big bad, the ultimate threat, but we rarely get insight into them, and one of the few episodes devoted entirely to them and the fight for survival, ends up being the middle episode when it should’ve been the series finale. They build up a threat for literal years, insisting to us time and again that death comes for anyone who crosses the path of the WW, and then we get some good deaths, but nothing like the bloodbath we’ve been trained to expect. Theon gets his great redemption arc (which oddly works in a season muddled by wrong moves), but Melissandre and her “Lord of the Light” quest comes to end with basically no questions answered, and well, Jorah dies defending his queen. That moment is poignant and would have been better placed somewhere else in the final episodes, but in the heat of the episode the death scene works, even if it means the death of all the Mormonts during the Long Night. Lets jumped forward a bit while also going back. In the later episodes we see the siege of King's Landing, the death of the second dragon, and the death of many other people. Some of the final moments of the seventh season also take place in KL, which brings me to my next question- Why wasn’t there a set up by Cersei waiting for them? They couldn’t defeat the armies, sure, but Cersei and company could have left the negotiations with all their enemies in shackles below the Red Keep. This would have created a very moving, and, in my opinion, more believable series of events. The Breaker of Chains, Daenerys Stormborn, Jon Snow & Tyrion Lanister all imprisoned by Cersei. This action leads Jaime to feel ultimately betrayed at the knowledge that this was planned and executed behind his back. Here’s where the big reveal should’ve come. Jaime, ready to kill Cersei and help the prisoners in the Long Night, finds Cersei, with him… except it's Arya, obviously. Cersei rips off the mask, pushes Arya away, and runs to Jamie, who embraces her. Then he takes her life, fulfilling the prophecy offered by the witch. During this, we’d find out about the real relationship of Targaryen King & Queen, Aegon and Daenerys. We’d also see the much hyped and, to me worthwhile, CleganeBowl, except having the Hound end the life of the Mountain, cutting his head off and pushing him into the fire below. If done correctly, this gives the final episodes more meat in more important meetings and encounters, but it also ties up the Lannister threat in a way that gives the great villainy of Cersei one more chance to shine before the demise we've been waiting for since the opening episode of the series. As I said earlier, the pieces are there and can be solved optimistically, but the lack of direction from the creators, not to mention the personal choices they made for the characters themselves, leaves much to be desired. In my eyes it's so simple: You have the war with the Lannisters, you conquer Westeros, and Daenarys, still gradually sinking into her paranoia, but she isn’t able to pull it together enough to rule confidently. If done right the slow descent into the Mad Queen has been happening for many episodes, and when she finally turns it becomes a terrifying moment where everyone has to band together. Imagine going into the Long Night, with vastly more men than what they had initially. Killing Cersei, Eurion and all the others in the Lannister camp would have resulted in deaths, but much less than what we saw. They also wouldn’t have to make the destruction of Kings Landing as big of a centerpiece. The battle over the sea and beyond the gates could happen intact, same as before, except with the ending finding us at the point of the Mountain's death, as well as the death of Jaime and Cersei, with Jaime killing his sister moments before a recovering Arya nails him as she takes the final names off her list. By this point Jaime has killed Euron Greyjoy, same as in the episode. Before we continue, I’d like to also mention the choices that strayed from the books more and how they affected the outcome. Let’s just say it, show Euron was terrible, and lacked any of the viciousness we see portrayed in the novels. He’s more used as a snarky side kick who only wants to kill and fuck and make shitty jpkes. They never seem to know exactly what to do with Euron, and he quickly gets old. Another one worth mentioning is the sudden turnaround in Tyrion's intellect. Smartest guy in the world turns into a second guessing idiot in the last episodes, and while the acting is still great, you can see the choices not making sense. In any other show nothing would have changed, but yet again it paints an idea in my head that the choices made weren’t made in service to the story, instead serving as a means to tie up loose ends quicker, whether or not they make sense. Finally, here we should have been. The world's remaining forces make their way to Winterfell, to defeat the ultimate threat. In the final episodes the world saw, and which most left unsatisfied, a major disservice was done not only to Clarke as an actress but to Daenerys as a character. Sure, we all knew the chances of her becoming the Mad Queen seemed decent, but as I’m about to explain, maybe it didn’t need to happen at all. Allow me to pose a question: did having the Breaker of Chains, the Mother of Dragons, Daenerys Stormborn, first of her name going mad really make the end of the series any better? In my opinion, the answer is no. Instead, wouldn’t it be better to see her take the crown, sit atop the Iron Throne, thus fulfilling her prophecy? We could have had that leading up to the final episodes in Winterfell, with our Queen meeting her fate at the hands of the Night King. This would have worked in a few ways. One, it gives the Queen and the character a satisfying death while still giving Jon Snow and company a reason to fight til the end. Honestly, nothing much about the episode would even have to change. Jorah can die still protecting his Queen, Theon can still get his redemption arc, and we get a major death near the end. It also works in how the finale could end. All along the Queen has made difficult choices but always with an eye toward freedom for anyone who wants and deserves it. With Daenerys dying, it gives everyone a reason to continue to create the world she helped envision and shape. This act makes the battle worthwhile, and all the deaths before it worthwhile. The Queen and Drogon die in battle, as her Nephew Aegon, son of Prince Rhaegar Targaryen and Lyanna Stark continues on with Rhaegal, their dragon's blood bonded between them. During the closing moments, the deaths are observed, with many prominent faces being laid to rest from the devastation. We see Brienne, Gendry, the Hound, only defeating his monstrous brother to help the Brothers without Banners and company one more time as they fought the White Walkers, and died for it. During these segments, plans are made, mass funerals and burnings are held, and Tyrion, speaking to the now King Aegon “Jon” Targayen as he takes his seat on the Iron Throne. Sansa takes over in the North, Arya begins to build her legend, and Bran rests, as the darkness is temporarily sidelined after the defeat of the Night King. Sure it’s a little bit of fan service, but sometimes people should get what they want. Very rarely in life do events happen that you still remember every aspect years or even decades later. For me and others I know, seeing Daft Punk in concert stands as one of those experiences. For me it first happened at Coachella 2006, alone in a crowded tent losing my mind for 80 riveting minutes. Then came Miami, a two day drive from Louisiana to Florida, then back as soon as the show ended. Finally, what brings us to the subject of this article, the Alive 2007 tour, which then helped birth the live record of the same name This time myself, sister, mother and then girlfriend got to see one of the most legendary acts of all time, at one of the most incredible venues in earth, Red Rocks. Live albums as a whole tend to be tricky. You don’t want to overdo and select only hits, but you also want to give the people a certain amount of what they want. After absorbing the record countless times, it's fair to say they balanced it brilliantly. This show, along with most of the shows it helped to spawn, doesn’t really follow a traditional song pattern. Throughout the 12 segments presented here, each one has at least two songs constantly intertwining. Sometimes, a beat from a song will disappear entirely from a song, only to make itself known again down the line. When you witness the show, it’s a type of energy that makes the moments blur. “Robot Rock,”the opener, gradually builds you up continuously untuk rge energy bursts, with the ending notes of the returning “Human After All” coming in, you don’t really stop moving. It's infectious, there's no doubt about it. By this tour, I had gotten the chance to see this tour twice, so going in you are pretty aware of what you’re about to see. This is both true and untrue. Since the show was unveiled 14 months earlier, the show had been tweaked in small but very noticeable ways. The “Fuck it” coursing through track two “Touch It/Technologic” wasn’t presented at the previous shows, but that’s the kind of thing you can do when you spend a year or so making a perfect show even better. As the story goes the duo only accepted the Coachella offer because the amount of money was enough to put on the stage show they had envisioned for years. This idea became known as the pyramid, and it essentially changed how live shows are approached. ESPECIALLY for dance acts. Remember shows? Ah, yeah me too.  Probably my favorite section comes within the first few movements of the show. The beats from “Television Rules the Nation'' burst out of the speakers, while “Around the World” gloriously rips through on the audio vocal end of the music. The music, on top of the accompanying visuals really do the job of capturing human existence in its primal exchange.The buildup is something to behold. Relentlessly, like the train from the Dark Tower, “Crescendolls'' joins the fun created by the first two tracks and things get wild. The build up and explosion is maybe the best thing I’ve ever seen in my entire life. Even at the shows, I remember being torn between filming it or enjoying the moment. I think in the end I filmed maybe 5 seconds and chose to lose myself to dance(see what I did there?). There’s a reason these two men are supremely important to the electronic music scene. Much like Kraftwerk were instrumental in the 70’s and 80’s, Daft Punk have taken similar risks in bringing their unique style of “Robot Rock” to mainstream audiences. The contribution is incalculable and utterly important. I picked this album specifically because while I do have a favorite stand alone album, the sheer talent and skill represented in this live album brings everything to the table. It has tracks from every album up to that point, mixed and arranged in a way to make them their own unique tracks. The cut it up, slice it, and transform these songs to work in the live setting. One of the best examples comes when Steam Machine” enters at the end of one section of a beat and carries the tone and elements over to the next section where “Around the World” returns and is joined by the beat of one of the better songs in their catalogue, “Harder, Better, Faster, Stronger.” It stops abruptly, but slowly a singular thump lays down under the vocals and gradually brings the tempo back up to a party atmosphere. The band had mentioned that this show felt like an opera to them, in the way that opera’s have movements that flow effortlessly, and little things in each movement are allowed to change as long as the end goal remains the same. You can really see the motivation on this track. It seems like a mess at times, but it might just be because no one was used to hearing so many elements from so many songs happening at the same time. Music then, and even now, hasn’t caught up to some of the things they accomplished and produced during these shows. From this point, the show keeps on going in the same way it has been. Which is to say unabated. Over the next three songs we’re treated to re-workings of at least 7 songs. I imagine if you had only seen or heard this album, you might not be aware that these aren’t the album versions, but it’s totally understandable. That’s a testament to what great producers Guy-Manuel de Homem-Christo and Thomas Bangalter are that as two individuals they can mix multiple things and bring an incredible stage show and have the end result be a seamless mix of beautiful visuals, gorgeously layered sounds, and leave the crowd still wanting more after a full concert. This is where the set begins to change a little bit compared to the Coachella show from a year earlier. Nothing leaves, but more is added, which we’ll get to in a moment's time. The familiar bells of “Aerodynamic,” with their foreboding wail, give way to the unmistakable ding of hopefulness that is the mega hit “One More Time.” I swear I’ve heard this song hundreds of times and it’s still as awesome as it was the first time it ventured into my life. If there’s a single part or song that captures the full message of the show and the energy it delivers, it’s easily “One More Time.” During this segment of the record, things dial down again only to do what theyve done before and get everyone listening re-energized. The double whammy of vocals provided from “Primetime of Your Life,” interlaced over the rough scratching of “Brainwasher '' make it a deliberate entry into the set. On traditional records both of these songs are super heavy in terms of rocking bass, but in the live setting, it’s pretty killer. The beat also only ramps up as the song goes on, but at a full on dance party, you kinda have to do it.  With two songs left, we find the group doing something that they’ve perfected by now: Very quietly inserting segments from the next song into the mix in such a way as you can barely hear it until it’s at your door ready to party. This time, the track in question is maybe the song with the best beat to it, “Da Funk.” How they do it though slightly varies. You can hear the intro in the previous song, but it ends mid way through, only to have it re-emerge in full force on this track. It’s one of the few parts of the show where this song is the only one on display, even if it’s for a brief moment. “Da Funk'' is clearly an incredible song, and the placement here is quite appropriate.
This, unfortunately brings the last segment of the record, and as far as show closers go, it doesn’t disappoint. We open up with the heroic vocals from “Superheroes,” but that isn’t the only thing prevalent here. The beat from “Human After All” is also there, and that’s where the song really soars. If you’re trying to make a complete show, it’s logical for a band who opens with “Robot Rock” to then close with “Human After All.” I like to think it’s to demonstrate that while they have been performing for the crowd, in a way we’ve been performing for them, and making them feel good. We’re gifting each other with a legendary experience.This band is likely the most important electronic band every to make music, and this collection of songs proves why. It’s timeless, fun, and thoughtful all at the same time. This is also a band that has been a part of a few awesome memories involving people I care about, and in the end, “Music Sounds Better With You.” Follow us for more content at @thedeathofthemixtape on instagram, facebook and Spotify. Thanks for reading. The year had just started, 2020, and what a year it was going to be. In a little over a month, my wife and I, along with our dog and cat would load everything we own into a car and make our way out west, to glorious Denver. We had just landed jobs, with me finding a freelance gig at what I thought would propel me to a more prominent local role of covering concerts, reviewing albums, and everything else that comes with it. Life was exciting, and we had tons of plans for our new lives. For Ashley it was a chance to get to settle into a new place with her best friend and others, but for me I was looking forward to one thing- Red Rock shows and seeing what Denver had to offer my music devouring soul.
Regardless, the year started out amazing. We had tickets to see Tool the first month of February, right before we left Louisiana. For me, it was my 24th evening spending it with maybe my favorite band, but it was also more than that. Sharing something like that with a spouse is a big deal to both of us, not only because it's frankly awesome, but because we get to share in something very special. For me that's what shows, festivals and life experiences have always been about. I’m never been swayed by money in the way many people are, it just wasn’t as important to me as making a dream become a reality, whether it's venturing to a show that cost too much(Tool tickets were about $300 for us both) or making it to a music festival across the country, experiences propel happiness and creativity alike. It's with all of those and many more thoughts that I entered 2020 with. I wanted to take what I had learned in New Orleans and use it to get even deeper into the world I'd always felt called to. It's nearing March now, and I've just interviewed the lead singer of one of my recent favorite bands, Pup. It goes well, Stefan Babcock is an absolute gentleman and extremely open and easy to talk to, and finally it feels like this might be something I can make something out of. In Denver, Pup played and although it was great to finally be seeing a show in my new home city, the year was just beginning. If you’re reading this and you know me, you know how crucial music and concerts are to my general well being. I stopped talking to some family this year, all for the best, and i’ve dealt with not only the drastic impact of the pandemic, but also the diagnosis of my strong as fuck wife wit breats cancer. Any other year, concerts and festivals would’ve been there to help us navigate stress and live life, but not only did the communal nature of our world disappear, but with it came venues closing, bands unable to tour or make money, and oh so many exciting moments for millions of people, gone in an instant. That's the virus dictating our lives, and music was one of the great sufferers of this pandemic. It's estimated that the general music industry lost somewhere between 2-4 billion in 2020, but that's only one side of the loss of live music. Artists like U2, Taylor Swift and other mega hitters will obviously be fine, but what of the venue workers, or the the middle of the road opening bands with day jobs, or the sound engineers, light techs and every other person who helps put a performance on? They can’t afford to wait around as we argue over $600 checks and asshoiles who refuse to wear masks because of their “constitutional rights.” My point is, everyone fucking suffered tihs year in one way or another, but its still a loss of uncalcuble lengths when you factor in not only music but entertainment as a whole.Just think about your plans for the year. Any concerts included? For me, 2020 was to mark the first time I'd take my sister to Bonnaroo, where we’d spend four blissful days off the grid doing something we almost never get to do. Tool was gonna play, as was Lizzo and Lana Del Rey, who my sister loves. There were even rumors of a King Gizzard late night set that was sure to be transcendent and utterly bonkers. Nick Cave was coming to Denver, as was Pearl Jam, and i was hoping to do a story on it, but alas we know how that ended. I could go on and on, and this really wasn’t meant to be the first official post of the year, but the weight of creative endeavors that were not to be was just too deafening for me to ignore. After all, music had saved me, and plenty of others. This year at home, we needed it more than ever. I can’t speak for everyone, but my vinyl collection more than doubled this year, due in large part to not really being able to do anything. We were stuck at the house, Ashley was suffering for much of this year, and we needed something new to help us get through. Again music had helped me and others I know navigate through multiple impossible situations at once. So even though “Roo and Rage and Pearl Jam, along with the Killers and xenu knows who else weren’t meant to be experienced this year, i hope we all are aware of how music and the arts helped us this year, and how great it will be to (safely) venture out to venues and festival grounds alike as the world (hopefully) can keep itself same. Lastly, welcome to 2021! There’s tons of cool stuff planned for this year, with weekly posts planned and plenty of awesome mixtapes that will be available on spotify, as well as the instagram page, which brings plenty of off the wall music fun and plenty more. Follow us for more content at @thedeathofthemixtape on instagram, facebook and Spotify. Thanks for reading. What a goddamn crazy year this has been. Between cancer, covid, and so much more, music has really been a guiding force for many this year, myself included. Below are my top 20 albums of the year, as well as the honorable mentions list, below. This lsit has everything from goth rock, avant garde metal and R&B, good old rock, hip hop and everything in between. I hope you enjoy the lost, and i look forward to hearing your thoughts! HONORABLE MENTIONS: JASON ISBELL: SOUTHEASTERN THE KILLERS: IMPLODING THE MIRAGE MEGAN THEE STALLION: GOOD NEWS MR BUNGLE: RAGING WRATH.... OTHER LIVES: FOR THEIR LOVE 20 PEARL JAM: GIGATON Over the years Seattle legends Pearl Jam have had their share of successes, critical and in popularity, but they haven't always knocked it out of the park. Gigaton is at times both inventive, exciting, and still feels like a genuine PJ record. It's seasoned but fresh, with Vedder as usual adding his signature views to biting and sharp guitar parts, and a rhythm section as good as any rock band. One song “Quick Escape'' has a very familiar sound that grunge fans will recognize, but it seems more organic and less forced, which is good. Overall the band delivers one of the best of their catalog in recent memory, and it proves that you really can just get better with age. 19 LIANNE LA HAVAS: LIANNE LA HAVAS Even before I checked this album out I knew I’d like it. Her first release in 2015 was transcendent, and though this one isn’t quite as perfect, it’s more mature, easier on the ears, and really dives in lyrically to her mentality and thought process. “Read my Mind'' is a breezy day song if ever there was one, but it's sensual in its honesty about motherhood. Even her cover of Radiohead’s “Weird Fishes'' can at times rival the original. Her voice just evokes so much depth and emotion in those two tracks it's hard to ignore. It’s romantic cuddle music at its best, incredibly personal and beautiful. 18 THE CHICKS: GASLIGHTER Having not been greatly exposed to country music before meeting my wife, I never really gave these ladies a chance, mostly because I was just never exposed to it, and out of sight often means out of mind. Regardless, this family themed record, documents all the nasty dark spots of Natalie Maines’ horrible sounding divorce. It's raw in its criticisms for sure, but it's extremely honest, and the band really brings it together in a way that just connects with the listener. It's not a full blown country, more in sync with rock anthems at times then their past. Either way it works, especially tracks like the opening title track. 17 JULIANNA BARWICK: HEALING IS A MIRACLE Rarely is a release from Barwick something that doesn’t bring me joy. The exact opposite tends to happen in fact. Time after time her atmospheric yet blossoming songs can captivate a listen to old and new. Her vocals are harmonies that intertwine themselves with the background notes. Think of a garden choir serenading you at sunrise and you'll have a pretty accurate picture of the vibes of this record. It's only 33 minutes, but it's enough to make any day better just by sheer presence. Perfect for early morning while your ears adjust, or even cleaning or work background music. She really is a treasure, you just have to discover her. 16 KING GIZZARD & THE LIZARD WIZARD: K.G. On their 1700th record since 2015, Stu McKenzie and his King Gizzard cohorts continue to drill deeper down a weird but often fascinating rabbit hole that has helped cement them as one of the best rock bands of current times. The album lifts from various genres and jumbles them all together to make a sound that’s anything but boring. You can hear maracas sprinkled through songs like “Ontology” but then you get a song like “Intrasport'' which mostly feels less like a King Gizzard song and more in line with strange European dance music. Like I said, it’s a rabbit hole of random sounds that shouldn’t work but do. This 9 piece never falls to elicit excitement when they release something, but on “KG” it seems like their weirdness is finally making sense to a bigger audience. 15 MARILYN MANSON: WE ARE CHAOS Just to show you how crazy this year has been, I'm writing about the frankly amazing eleventh album from Brian Warner, aka Marilyn Manson. Early in his career he made a name as a shocker, but lately, we as an audience find Manson turning in on himself in terms of style, making something new and exciting but often familiar much in the way Pearl Jam does, as I mentioned earlier. The album and tracks like the dark and captivating title track, or the sinister country twang of metaphorical attention with “Paint You with My Love” really shows his strength as a creator and a writer. It's often upfront and personal, in a way he often hasn’t been. Produced and envisioned alongside producer Shooter Jennings, it's a masterful return to form that should have convinced audiences he still has it, at least when it comes to making an album. 14 BIG MOON: WALKING LIKE WE DO On their second album since 2017, Juliette Jackson and her Big Moon band members have taken a natural progression forward in the quality and craftsmanship presented on “Walking Like We Do.” The London quartet paint a picture of upbeat indie rock while also showcasing the word play and melodies that give the band an edge up on their indie counterparts. Jackson's voice is throaty while still gentle and tracks like “Holy Roller” and the gradual build of “Your Light” both show different sides of the same coin. Jackson and the rest of BM can be anything they need to be for the sake of their art, and they prove it here with an album that’s very different from its predecessor but engaging throughout. 13 SAULT: UNTITLED (RISE) Truthfully in my eyes there hasn’t been a more mysterious band since I learned of the Knife, or maybe even Godspeed You! Black Emperor. Even then though there was at least information on the members somewhat available. SAULT is unique because of the mystery; but also because after 3 very good records recorded and released over the last several years no shows have been okayed, no interviews conducted, nada outside of records. The albums though, speak for themselves. It’s never just one thing, and often is several different energies combining into one that you quickly get used to. The rhythmic qualities remind you of a lone tribe outside of the technological world, while other moments have you feeling like you’re in a dance club, or a speakeasy. The mystery surrounding SAULT is enough to get you interested, but the funky bass lines and sultry vocals and drums will keep you coming back. 12 HAZEL ENGLISH: WAKE UP! Some music transports you to simpler, even more glamorous times, which is to say, Hazel English and her record “Wake Up” have all those qualities. The soft light of the verses, coupled with the brightly lit chorus, make even the opening “Born Like” worth remembering. “Shaking” is a glorious indie anthem just waiting for a big enough room to matter, The album is the type of record meant to be played live, and I'm sure it will connect when it gets that chance with audiences. Hazel’s voice is smokey and a little playfully deceptive at times. It’s all about attitude in those moments, and it adds some gusto to the scene. Really excited to see where she goes, as you should be too. 11 SUFJAN STEVENS: THE ASCENSION For longer than I can recall I’ve always loved Sufjan records, but never in that way that many others I know have. Even then, I wasn't upset when I learned of the long gestating new solo record coming out. Titled “The Ascension,” it's a densely layered electronic avant garde record, with Stevens’ low but deliberate vocals simmering just above the heavy synth tones filling up the space of sound. At 80 minutes it’s a slight commitment, but great for driving, or just zoning out on the couch, The opener “Make Me an Offer I Cannot Refuse” is great and darkly pulsating, while strangely enough “Ativan,” though dark lyrically, captivates the listener in quick burst of info that create a remarkable visual accompaniment, if you’re the type of person that enjoys that. 10 MOSES SUMNEY: GRAE Grae, with all its perfect touches, captivates the audience in a way that few others can. It’s calmly and respectfully triumphant, but it lets you figure it out throughout its sixty-five minute runtime. Somney creates the type of album he’s been searching for since seven years ago, and the bubbling of voices under him, accompany him with vocals, drums and other instruments. “Virile” is gorgeously elusive and extravagant, with what I believe to be a harp in some sections. It's also just got a great beat in the bridge that captivates and wows. It’s music as performance art in a way, but for Sumney’s type of art it works splendidly. Even the strange but incredibly seductive “jill/jack” track can make even the most calm person get hot and bothered. It's sensuous but also beautiful and fierce. Not to be trifled with. 9 TOUCHÉ AMORE: LAMENT Like many I've heard the name many times over the years, but for some reason I hadn’t given this type of punk a chance. Either way, this year the record got awesome reviews, and low and behold, it's one of the better records of the year. Energy is important, but honesty counts for a lot, and this one titled “Lament” is a big hard look in the mirror. From the beginning with “Come Heroine” to the high energy wake up call that is “Limelight” all ring true, especially in a year seeing so many different cultural and health risks. Those most poignant moments come during closer “A Forecast'' where singer Jeremy Bolm laments over the loneliness during a tragedy when no one reaches out. I feel that, and have felt that, but in that moment the sadness is real, He mourns his family “not to cancer but the g.o.p.” but its fucking powerful and a beauty, albeit messy end to a true triump of a punk record. 8 HUM: INLET One of the most endearing things about Illinois’ Hum is how evolved yet fine tuned they are in their blend of space heavy post rock. If you didn’t know any different, it would be easy to think they had only been gone a few years, not the 22 it had actually been since they had recorded an album together. Songs like the majestically heavy “Desert Rambler” live up to their supposed imagery and paint a picture of a windy sandy landscape on the edges of society. It’s densely crafted, with Matt Talbott’s shimmering shiny but distant vocals meandering and popping up here and there. This band is the reason I met my wife, and because of that they remain special to me, even if most have forgotten or are completely unseasoned in the genre. Either way, it's an excellent return to form, and with songs like “Cloud City” and the epic closer of “Shapeshifter,” it's hard not to be pumped that at least we got one more incredible Hum record. 7 IDLES: ULTRA MONO In 42 minutes, the members of Idles, Joe Talbot(vocals), Adam Devonshire (bass), Mark Bowen (lead guitar), Jon Beavis (drums), and Lee Kiernan (rhythm guitar) dismantle the mythos of patriarchy blue bloods, the obnoxious rich elites looking down their noses and the financial crooks casually giving among us. It's volatile, combative, and exactly what music needs more of, especially during a year of potentially huge changes in our world and equality for all. “Kill Them with Kindness” is bratty and defensive but it's also a remarkable slap in the face of the less idealistic popstars. Almost like they know this is in your face with no regrets or shame. I just feel invincible when I listen to Talbot rally for the common man, and the instrumentals are remarkably heavy and combative, it's great. 6 TAME IMPALA: SLOW RUSH At the start of the year, literally the night before my step-mom Babs passed away, my wife and I got this record. I didn't know it at the time, but yet again a Tame Impala record would be very much like my year. A slow rush of emotions, huge changes, massive decisions and plenty more unsettling news to grapple with. The album, while not the classic that many perhaps expected, is still powerful, albeit heavily produced and nuanced in its soundscapes. The songwriting is mesmerizing and beautiful, nothing new there, but the growing maturity of Kevin Parker has started to be reflected in his more precise but ultimately more groove oriented psyche-pop. It’s not perfect, but it doesnt deserve the lackluster response it's gotten from many. 5 PHOEBE BRIDGERS: PUNISHER Ever since I was introduced to her in the summer of 2017, Bridgers has stayed on my mind and musical palette only when the darkness falls, along with the loneliness of her music. On “Punisher” she’s just as blunt and honest as she's ever been. The picture painting starts early with the planting of flowers to commemorate the death of a racist skinhead neighbor. Kyoto touches on the loneliness and regret surrounding a father who among other things has forgotten some birthdays along the way, but in this tense exchange the song comes alive, as does the optimism on the album itself. Even then, songs like the remarkably well named “Punisher” pulls at every emotion about the art of disappearing in plain sight. Over and over Bridgers gives herself to the mercy of her art, and it pays off unlimited dividends, and carries you along to see the world through the eyes of our narrator. 4 TAYLOR SWIFT: FOLKLORE Maybe I’ll get slack for this, but I considered this, along with the next 3, all for the number one spot. “Folklore” is significant because Swift again subverted expectations with an indie dream pop, mostly solo created record during this year of the stay at home projects. Nearly every song has something positive going for it, and with Taylor reaffirming her identity in a more personal way, there’s almost no stopping her. The songs are soft, eye opening, metaphorically brilliant, and strangely closed off to a future now unsure. “Cardigan'' is a poignant yet potent reminder of the strength of being remembered after the loneliness of solitude and sadness. That type of feeling goes through “Folklore” in a way that's central and for the most part she succeeds. It's just as great with a song like ‘Exile” with Bon Iver, where she isn’t the center stage, but even that is perfectly mixed and layered. “Mirrorball” is a masterpiece; every time I hear it, I’m sucked back in. Towards the end we get the pleasing agony of “this is me trying,” which to me screams as a deep look in the mirror of perceived failures and wrongs. Its eye opening in terms of state of mind. She specifically speaks to her regrets, and in that moment, we all know what she's going through in the year 2020. Lastly, “Betty” fucking rocks and is a of classic. 3 RUN THE JEWELS 4 What a sobering record for a sobering new world. It’s as violent of a reaction as you can have in modern music, but it's a call to arms that's more than worth everyone’s time. It’s quick beated, loud and relentless, but it never fails to get its point across. El P And Killer Mike once again prove why they've been so successful, and this time they are squarely gunning for the throne, and soon they'll have it. It may have happened this year with their “What Could of Been” tour with Rage, but the excellence of the record is enough to keep re-starting the conversation. Lyrically, both members have never been better, and the time off to get even better and more experimental, both lyrically and musically, has paid off. “Walking in the Snow,” my song of the year if you’ve been keeping track, is brilliant and eye opening, but it's not the only holy shit moment. “JU$T'' is somehow more fun but more inherently evil because of how spot on it is. The smears and stains can never be undone, and plenty of people are sick of it. Both Willians and de la Rocha give inspiring and pointed verses, giving the song even more bump and energy. Even with a track like “The Ground Below” they manage to make a song picture perfect for a rabid arena crowd throwing down. By the time we get to Mavis Staples and Josh Homme guesting in “Pulling the Pin” you’ve been marveled by more logical and eye opening wordplay than a typical listener can handle, but it's critical of the masses, the world as a whole, if it's doing evil. Finally with the apocalyptic love letter of “A Few Words From the Firing Squad,” you know the stress of the situation and the direness for reflection and ultimate change. Like they say during the rtj4 team, if “you hate run the jewels you don’t love the troops.” 2 DEFTONES: OHMS I’ve been trying to figure out exactly how to explain this album in a rational way for awhile now, but sometimes you need to just buckle in and experience something. This is where I find myself thinking about the brilliance of the Sacramento purveyors of sonic metal and ethereal soundscapes. “Ohms” finds the band arguably more in line than they've been in years. As vocalist Chino Moreno gytterly claims “I finally achieve balance,” on the assaulting open of “Genesis,” you can tell the band is backing him up one hundred percent. Each song is mesmerizing in how easily you pick up on the energy of the band. The scope is also something of a pleasant surprise. Some albums veer more guitar, while others have been more concerned with seemingly thinking outside the box and seeing what the results are. “Ohms” does both, with tracks like “Urantia” having the classic Carpenter guitar riff long time fans will notice and appreciate. But then you have songs like “Pompeji” that are heavy and intense, but wildly beautiful. Even so, the lyrics are some of the darkest, and frankly adversarial in tone that the band has ever welcomed. Chino is in peak form here. “The Spell of Mathematics” sees Moreno wailing chaotically and one moment about the dangers of trusting in mythological terms, then bathing in the musical moonlight of a densely orchestrated bridge. Even the full on attitude and smug nature of “This Link is Dead,” feels like a band reborn. The time signature is unique, and the verses never fully feel like traditional ways. But you're also so captivated by the music that you don’t really care how the information is relayed, just as long as it is. “Ohms,” an incredible album for a band in their twenty-fifth year. 1 FIONA APPLE: FETCH THE BOLT CUTTERS “Oh you mean the record with all the weird drumming?” someone told me this year when asked about whether they had heard “Fetch the Bolt Cutters'' yet. While it is true that FTBC has a lot of unconventional drums congregating throughout, the album itself is way more than just a record with non-traditional approaches. The music and ideas are fleeting thoughts, gone with the same quickness they arrived. Apple’s quiet, in the background demeanor are present here, but the real stars are the lyrics, often nonsensical, at times hilarious, but always honest. That being said, the album is personal in the traditional Apple manner, with most of the songs being auto-biograpbiucal in varying degrees. Beyond the vocals and lyrics, Bolt Cutters showcases quirky, quick paced piano work. “Shameika,” a song about the trials of being a child desperate to convey strength and coolness, is a great xample of this. Sure thing lyrics paint an intimate poryaint to the mindset of a highly accomplished musician, but the piano’s meandering excitement offers just as much to the track. Much has been made of the perfect score obtained from Pitchfork months ago, but a number is just a number, whether its me putting this at #1 or pitchfork giving a rare and converted perfect 10. The point is, how many more people ventured to listen to this because of the score, or placement on a list. Yes it might be a number, but aside from a dedicated fanbase, Apple isn’t exactly headlining mega festivals or even doing what more traditional artists partake in. Now, Fiona probably doesn't care much about all this attention, but the album is a resounding success, both on a cathartic level, but also in the word of mouth way. Everyone I know has at least listened to this record, and that's where the beauty of the perfect score comes in- way more people listen. If you still somehow haven’t at least given this one a chance, I'd recommend doing so. The music is brilliant, often challenging, but the rewards from multiple listens is worth the price. And it's with that that I give my album of the year to“Fetch the Bolt Cutters,” a difficult but often brilliant album free of the confines of mainstream albums that feels years ahead of where we currently sit. What do you think is the best album of the year? Comment Below and let us know! PROGRAMMING NOTE: This year has been crazy, for all of us, and I thank you for venturing this way for weird music articles. Follow us for more content at @thedeathofthemixtape on instagram, facebook and Spotify. Next year we’ll be back with weekly posts, reworked ideas, new blogs, more mixtapes on spotify, and hopefully even some interviews, as well as a possible podcast(still working out logistics on that) .Thanks for reading. See ya next year! |
AuthorLandon Murray is a New Orleans native, who thrives on painting the world he interprets through the useful forms of all types of art he feels connected to. He's seen over 1000 bands, and had loved mostly every minute of it. He has an amazing 10 year old dog, and is loving life. Archives
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