My 2021 New Year's Resolution

The waking fever dream that was 2020 is now in the rearview mirror. While I’m keeping tempered expectations heading into the new year, it’s difficult to imagine a year as difficult as last year was given that a new president and a vaccine are on the way. I hope to not regret that sentence. To make the year better instead of just hoping that it is, I’ve decided to do something I usually choose not to: Make a New Year’s resolution.

I’m not going to ruthlessly and relentlessly hold myself to some impossible standard in hopes to accomplish an outlandishly difficult goal in 2021. Instead, my resolution is a simple one: Self-care. This next year is extremely exciting, but also dauntingly overwhelming in some ways. I will soon graduate college and begin “real” adult life, continuing to work full-time and manage expenses on my own. To make that process less stressful and more sustainable, I am going to make an effort to practice different methods of self-care. These include getting enough sleep, taking breaks from work (both professional and school), doing fun things with loved ones, eating well, and not beating myself up for any shortcomings, which is a tendency of mine occasionally. I often treat myself much more harshly and abrasively than I do anyone else, which is something I would like to fix this year. While I know that this “resolution” can’t really be measured empirically, I will feel better viewing the changing of the calendar year as a reset on mental health and practicing good habits.

I’m not usually one to make or stick to New Year’s resolutions, but I feel good about this new approach. Instead of making a hyper-specific goal to accomplish, I’m adjusting my frame of mind to better take on the challenges I face day-to-day. Do you have a New Year’s resolution? If so, what? If not, why not? Thanks for reading.

Top Songs Of 2020

Earlier this month, I revealed my top favorite albums of 2020. Luckily, in an otherwise tumultuous year, we were able to turn to music for relief. To hone in on these impressive releases in more detail, I will now be ranking my favorite songs of the year. These tracks all offer something different and unique, and there is a good variety of genres included here. Let’s jump right into it.

10. “Soul Control” - Jessie Ware

Jessie Ware’s infectious, ‘80s inspired dance anthems are what made What’s Your Pleasure? so special. “Soul Control” synthesizes all of the fantastic elements from this album into one track with Ware’s excellent vocal performance, an upbeat instrumental backing, and synth-pop inspiration, making this track instantly-lovable. How could you not dance along?

9. “WAP (feat. Megan Thee Stallion)” - Cardi B

Both an instant meme and an empowering statement for women around the world, the release of WAP took the internet by storm. Cardi B and Megan Thee Stallion let it all hang out on this track, bringing some of their strongest and most confidence verses to the table. Wonderfully vulgar and hilariously explicit, I had to recognize WAP’s significance on this list.

8. “Only The Strong” - Laura Marling

Laura Marling’s beautiful singer-songwriter album Song For Our Daughter is made up of one compelling track after another. Though I could choose many from this project, “Only The Strong” meant the most of them all to me this year. Marling’s delivery is more blunt and to-the-point than usual here, and the ambient acoustic and piano-backed folk instrumental is a feather in the wind. Fantastic song that reflects on a variety of topics.

7. “The Adults Are Talking” - The Strokes

The opening track to The Strokes’ most recent album The New Abnormal is exactly what I wanted from this band. Sonically similar to the fan favorite “Reptilia”, “The Adults Are Talking” utilizes Julian Casablancas’ recognizable vocals perfectly. The backing instrumentation is impressive, and the post-chorus call-and-response guitar riffs are simply addictive.

6. “Blinding Lights” - The Weeknd

This smash hit will define The Weeknd’s current era for years to come. Sparkling synth progressions, a bouncy and playful beat, and echoing vocals make for a return to popular ‘80s sounds. It’s no wonder why this track is as popular as it is. Abel’s vocal performance is up to his high standard, making this one of my favorite tracks off of After Hours.

5. “Aries (feat. Peter Hook and Georgia)” - Gorillaz

Gorillaz’ album release this year left me satisfied that they had finally returned to the sound that I fell in love with when I was younger. While a track like “Pac-Man (feat. ScHoolboy Q” follows the band’s formula more closely, I selected “Aries” because of its relaxing aura and genius feature implementation. Peter Hook, of New Order fame, brings his signature sound to this spectacular track, and Damon Albarn’s vocals are distorted perfectly. Great stuff.

4. “I Know The End” - Phoebe Bridgers

I said in my review for Punisher that “I Know The End” is one of the best closing tracks on any album in recent memory. Bridgers’ gentle vocal delivery haunts the first third of the track as the stage is set for the coming narrative: an apocalyptic reality. The second third of the song picks up tempo, and the narrative continues as Bridgers’ drives straight into the end of the world. The track crescendos into a loud and unsettling climax with multilayered instrumentation, as Bridgers screams quietly into the mic. Fantastic track.

3. “Shameika” - Fiona Apple

I recently upgraded Fiona Apple’s Fetch The Bolt Cutters from a 9 to a 10 as I’ve come to better understand the closing tracks, which were the only thing stopping me from calling this album perfect. Its raw and chaotic energy are still enticing and fascinating, and no track embodies that more successfully than “Shameika.” Spastic piano backing, an overwhelming drum presence, and unsteady but controlled vocals help portray childhood uncertainty and insecurity. I love the story being told here.

2. “Good News” - Mac Miller

The first posthumous single after Mac Miller’s unexpected death hit me, and many others, like a ton of bricks. The tasteful music video accompaniment chillingly complements the almost prophetic lyrics in which Miller reflects on life more clearly than ever before. “Why does everybody need me to stay?”, “Maybe I’ll lay down for a little”, and “I wish that I could just get out my god damn way” eerily haunt the listener who knows Mac is now gone. The plucky and flowy instrumental is gentle, and the chorus tugs at the heartstrings. Miss him.

1. “walking in the snow” - Run The Jewels

I knew this was my song of the year on its first listen. Released right around the Civil Rights protests that helped define 2020, this track, recorded in 2019, reflects on many of these themes preemptively and accurately. This is less of a prediction and more of an indication that these topics, such as police brutality, are perpetual and are just now getting public attention in the U.S. El-P’s verse about the nature of oppression is strong, especially with the hard-hitting instrumental backing, but Killer Mike’s verse is one of the best rap verses in the past decade for me. Every bar is meaningful, impactful, and layered. It covers intergenerational wealth mobility, the education system, news programming, police brutality, performative activism, and systemic violence among other topics. “Until my voice goes from a shriek to whisper “I can’t breathe”” is the standout bone-chilling line, but Killer Mike’s entire verse is spectacular. This timely and grimy track is so potent that it is my favorite song of 2020.

I’m excited to see what kinds of releases we get, both songs and albums, in 2021. Hopefully artists who are overdue to release projects come through with strong offerings. Until then, these songs and tracks from my favorite albums of the year are on repeat. Thanks for reading.

The Importance Of The Georgia Senate Runoff

After months of anticipation, campaigning, and voting, the 2020 Presidential election was finally decided in favor of Joe Biden. Despite countless and baseless disputes from the Trump administration questioning the validity of the results, the Electoral College officially selected Joe Biden and Kamala Harris as President-elect and Vice President-elect, respectively, last week. Although this victory was a massive win for Democracy in the face of an authoritarian candidate, the future of the United States’ government is still in the balance. Due to the nature of the Senate elections, it’s still undetermined which party will control this vital role in the system, as the Georgia Senate Election in November has led to two separate runoffs. These runoffs will end on January 5th, and Joe Biden’s ability to pass meaningful legislation will be determined. These are two incredibly important elections.

The standard election is between Jon Ossoff and incumbent David Perdue, and the special election is between Reverend Raphael Warnock and Trump-appointee Kelly Loeffler. Ossoff gained national notoriety for his campaign against Karen Handel, and Warnock picked up some popularity from the viral nature of his sermons. While neither of these candidates are legislatively progressive by any means, they are significantly more in-line with progressive sentiment than their Republican counterparts.

To put it simply: David Perdue and Kelly Loeffler both knowingly profited off of the coronavirus pandemic. Insider trading and intentional misinformation allowed these two to make money off of stocks related to COVID-19 related companies, all while downplaying the pandemic’s severity to encourage a premature reopening of businesses in Georgia, where the pandemic has run rampant. As coronavirus numbers continue to rise uncontrollably prior to the wide release of the Pfizer and Moderna vaccines, this election could allow a Democratic majority in the Senate, which would provide much-needed relief to families and businesses before the pandemic ends. The next stimulus package has left many bewildered and disappointed, as it will send only $600 after months of no government assistance - not nearly enough to call meaningful relief.

A Republican-controlled Senate would create gridlock for the first two years of the Biden administration. A Democratically-controlled Senate would protect Civil Rights, work toward solving the coronavirus pandemic, and help Americans move toward progress and equality. Any Georgians who have not yet voted should do so, as high voter turnout has historically helped the Democratic Party. Polls are indicating a slight Democratic lead, but I'll believe it when I see it. We must win this thing. Thanks for reading.

Album Review: evermore - Taylor Swift

Just a few short months after releasing her critically-acclaimed and best-selling folklore, Taylor Swift has surprised fans yet again by unexpectedly releasing her next full-length album evermore. This spiritual successor to her newest project, which was an artistic change of direction from the star’s usual country and pop offerings, continues the acoustic folk aesthetic that folklore introduced. I’m glad that Swift’s creativity seems to be at an all-time high, but I’ve found that these two albums unfortunately fall victim to the same problem many lengthy back-to-back albums have. If you were to combine their best parts, the result would be damn near perfect. Instead, both are good, but have a decent amount of “filler” - evermore more than folklore. All of that aside, this is still an enjoyable listen with a few standout tracks.

“willow” just sounds like the opening of the second act of this pair of albums. The mysterious acoustic backing pairs well with the lyrical content here, as Swift is returning to subject matter she is most well-versed in: Relationships. I enjoy this track as an opener, but not as much as I enjoyed “the 1” on folklore. “champagne problems” changes pace rather abruptly and features a piano backing, which was largely absent from the previous album. Swift demonstrates her poetic abilities through beautifully written verses, but this track lacks a liveliness that I look for in tracks like these. “gold rush” is easily my favorite song on the album, as its twinkling and ethereal sound pairs perfectly with this album’s rollout. A more uptempo bass and catchy lyrics make this an instant radio-friendly hit. Props to Jack Antonoff for the wonderful production here.

“‘tis the damn season” is a reflective track revolving around previous relationships and the holidays, which is good but not great for me. “tolerate it” is a brutally honest piano ballad from someone whose love is starting to feel unrequited, and its songwriting is simply fantastic. It’s one of the more depressing tracks on the album, but that doesn’t make it a bad listen. “no body, no crime (feat. Haim)” is an insanely fun murder mystery track with country bluegrass and western roots. I thoroughly enjoy this new fictional storytelling Taylor Swift. The Haim sisters are featured perfectly here - great track.

“happiness” fills in Swift’s coveted track seven spot, and portrays the exact opposite emotion. This song laments a failed relationship but implies that happiness may return again one day, which is reservedly optimistic. “dorothea” tells the story of a girl who left her small town to chase her Hollywood dreams, but doesn’t do anything substantive or insightful for me. I can see “coney island (feat. The National)” impressing a lot of Swift’s fans, but I honestly didn’t enjoy this track much. Another track about lost love with the Coney Island backdrop just doesn’t entice me. Matt Berringer’s vocal contributions are similar to Bon Iver’s, which is an obvious compliment, but I can’t help but leave this track disappointed.

“ivy” continues the theme of infidelity that Swift has grown more comfortable exploring recently, and its simplistic acoustic backing sets up Swift’s vocal performance nicely. “cowboy like me” is eerily reminiscent of Swift’s earliest tracks. Its country influence unfortunately bleeds into its lyricism, causing this track to become generally surface level and forgettable. I respect “long story short”, because it wasn’t a track Swift had to release. On it, she’s basically owning up to her past and making peace with it - a commendable thing to do for someone who has been involved in as much drama as she has.

“marjorie” is a beautiful and heartfelt tribute to Swift’s late grandmother with poetic lyricism that continues her grandmother’s legacy. “closure” is more highly-produced and implies to me that this era may soon come to an end for Swift. This track sounds more like the music she was releasing a few years ago to me. On this track, Swift lays into an ex over the industrial-folk backing. Something doesn’t click for me on this track, though. “evermore (feat. Bon Iver) is the excellent closing title track that reflects on mental health and healing. This meditative and reflective ballad takes its time, eventually crescendoing into a beautiful final sequence. Bon Iver is the perfect vocal accompaniment to Swift’s delivery, and this track wraps up this album nicely.

While I enjoyed this album, I was left with the feeling that it could have offered a lot more both sonically and lyrically. I should have tempered my expectations after enjoying folklore as much as I did. In the end, I’ll chalk this up as another example of why artists should release sparingly and refine their projects down to the very best content, because if done correctly, great albums can be born. evermore is still an enjoyable listen, but not one I’ll return to as frequently as folklore.

Favorite tracks: “willow”, “gold rush”, “tolerate it”, “no body, no crime (feat. HAIM)”, “ivy”, “long story short”, “marjorie”, “evermore (feat. Bon Iver)”

SCORE: 6/10

Top Albums Of 2020

This agonizingly difficult year is finally coming to an end. Twelve months of worldwide struggle, strife, and angst does have a silver lining, however, which was the great music that resulted from the tumultuous chaos we’ve been navigating. Today, one of my most highly anticipated days of the year, is when I’ll be listing my top albums of 2020.

I need to first list the honorable mentions that didn’t quite crack my top ten. These were all great records that stood out for one reason or another but were just slightly outshined by some of their competitors. SAWAYAMA - Rina Sawayama (8/10) is able to add her own twist to a somewhat oversaturated pop genre, offering sometimes aggressive instrumentation that fits her confident attitude. Future Nostalgia - Dua Lipa (8/10) is one of this year’s most innovative pop albums with back-to-back futuristic hits. Shore - Fleet Foxes (8/10) is a wonderfully complex and textured album that reflects on the times we’re living through beautifully. Starting Over - Chris Stapleton (8/10) proves why this famed country singer has established himself as the king of country music. Alfredo - Freddie Gibbs and The Alchemist (8/10) is a stellar and smooth rap record that drips confidence, but remains self-reflective. Reunions - Jason Isbell and the 400 Unit (7/10) provides hit after hit of country blues tracks that highlight Isbell’s lyrical abilities. Folklore - Taylor Swift (7/10) takes this pop megastar into completely uncharted territories, which she navigates swimmingly. Positions - Ariana Grande (7/10) shows a matured yet playful side of Grande that I can’t wait to see grow even more. Saint Cloud - Waxahatchee (7/10) is a Dylan-esque country meditation with hypnotic melodies. Finally, The Slow Rush - Tame Impala (7/10) demonstrates yet again the kind of musical genius Kevin Parker proves himself to be. All of these albums are a part of my permanent library, but the next ten are the albums that defined this year for me. With that being said, let’s get into it.

10. The New Abnormal - The Strokes (8/10)

Manhattan’s own beloved indie rock band The Strokes return to form with their most exciting release in years. The New Abnormal aggregates the band’s best qualities into a compact track list that doesn’t disappoint. Julian Casablanca’s signature vocal delivery returns me to the band’s classics like “Reptilia”, and tracks like “The Adults Are Talking”, “Selfless”, and “At The Door” are some of the group’s best ever. A great album that just cracks the top ten for the year.

9. What’s Your Pleasure? - Jessie Ware (8/10)

Riding the disco synthpop wave that has ingratiated itself into the genre, coming full circle from the 1980s, Jessie Ware jampacked this album with excellent tracks. I’m not much of a dancer — who am I kidding? I never dance — but songs like “Ooh La La” and “Soul Control” do just what their titles suggest. The production, lyrical performance, and instrumentation are impressive, but more importantly consistent, all throughout this spectacular and glamorous record.

8. how i’m feeling now - Charli XCX (8/10)

I knew it would be an uphill battle for Charlie XCX to top last year’s magnum opus Charli, which was my second favorite album of 2019. When I found out that she was not only releasing another album so soon but doing so in quarantine made me apprehensive. how i’m feeling now, while not as squeaky clean as its predecessor, does exactly what it set out to do by creating a playlist for partying in isolation. This optimistic album reinforces that Charli is continuing her reign as one of my favorite artists right now. Great stuff.

7. Punisher - Phoebe Bridgers (8/10)

Punisher is an emotionally complex album for me. Bridgers’ dry sarcasm and heartbreakingly relatable insights glide over largely ambient instrumentals. This pent up emotion culminates in the album’s closing track “I Know The End”, though, one of my favorite closers in the past few years. This is often the album I have turned to for times of quiet contemplation, and because of that, it’s one of my favorite albums of the year.

6. After Hours - The Weeknd (8/10)

I’ll address this once: It’s complete and utter bullshit that The Weeknd received zero Grammy nominations for or related to this album. After Hours is inarguably, to me, Abel’s best work by far. Instead of trying something completely new, he was able to refine his sound down to its essence, utilizing the best aspects of each of his eras to create a matured, nostalgic, and just plain catchy album. Every song has something unique to offer, and tracks like “Blinding Lights” and “In Your Eyes” are smash-hits. Looking forward to his Super Bowl performance - he earned it with this record.

5. Visions of Bodies Being Burned - clipping. (9/10)

A perfect sequel to the psychological thriller that was last year’s There Existed an Addition to Blood, Visions of Bodies Being Burned is another stellar offering from Daveed Diggs and company. Incorporating horror movie elements is magnetizing to a Halloween-head like me, and they do it so well on this album. In some ways, this record is better than the first installation. The continually developing instrumental backing is thoroughly impressive, and Daveed Diggs continues to become one of my favorite Jack of all trades rappers. Fantastic project.

4. Song Machine, Season One: Strange Timez - Gorillaz (9/10)

At long last — a damn near perfect Gorillaz album. Damon Albarn has finally recaptured the essence of the Gorillaz who I grew to love and appreciate with albums like Demon Days and Plastic Beach. Features are implemented amazingly, pairing dissimilar artists together seamlessly. Some of the songs here, like “Pac-Man (feat. ScHoolboy Q)” and “Aries (feat. Peter Hook and Georgia)” are some of my favorites in Gorillaz’ entire discography. I hope there’s more where this project came from because it is dynamic and reawakens the spirit that makes this band who they are.

3. Song For Our Daughter - Laura Marling (9/10)

Laura Marling’s gentle but potent delivery makes Song For Our Daughter one of the most emotionally resonant listens of the year for me. Fun at times, sad at others, and impressive from beginning to end, this singer-songwriter record is magnificent in its composition and execution. Marling’s vocal performance here is one of my favorites of the year. Heartfelt and touching, this is a fantastic project that I imagine will age very well in the coming years.

2. RTJ4 - Run The Jewels (9/10)

Killer Mike and El-P are the epitome of a dynamic duo. They’re certainly no strangers to hard-hitting and timely bars, and RTJ4 is no exception. A lot of the subject matter written here, particularly relating to racial tensions and relations, is unsettlingly relevant, especially since it was written before this year’s racial protests. This proves that these issues have been long-lasting and systemic, not simply a new trend. A track like “walking in the snow”, my favorite song of the year, is so effective because it speaks to the moment. As soon as Killer Mike’s verse started for the first time, I knew I was in for something bone-chilling and masterfully crafted. Most of this album is just that. Any other year, RTJ4 would likely take home the top prize and number one spot. This year, however, there was one record that outshined this stellar project…

1. Fetch The Bolt Cutters - Fiona Apple (10/10)

Truly incredible music meets the moment and brings something new to the table. On Fetch The Bolt Cutters, Fiona Apple is able to reach a place in my mind that had gone untouched up until that point. On this record, we are reminded to put one foot in front of the other no matter how challenging and insurmountable the circumstances may seem. The unabashed vulnerability of Apple’s vocal performance on this album, both aggressive and submissive at different times, are examples of pure artistic expression. The curtain is pulled back, and I am able to witness Apple’s reality as if it were my own for this album’s 51-minute runtime. Released at the height of the COVID-19 lockdowns, the sentiment of cutting one’s self out of their imposed box was perfect for the moment. That time allowed for vast introspection, too, which this project doesn’t shy away from indulging in. There simply is no music that sounds like Fetch The Bolt Cutters, and there may never be again. Nearly perfect from beginning to end, this is my favorite album of the year.

I grappled with this year’s rankings almost every day until recently coming to a final list I am satisfied with. Music was one of the best things to come out of an otherwise very challenging year. This is just my opinion and preference, but I highly suggest that you check out the albums I discussed here, including the honorable mentions. Thanks for reading! Also, here’s a Spotify playlist of my favorite songs from the albums featured in this post.