Hull quartet bdrmm have dropped ‘Infinity Peaking’, a new single from their forthcoming album Microtonic, arriving February 28 on Mogwai’s Rock Action label. “And it feels like I’m losing my way/ And it feels like I’m losing the way,” Ryan Smith sings on the track, which is gloomy but really a joy to get lost in. Check it out below.
“‘Infinity Peaking’ perfectly encapsulates the band we were and the band we are now, that careful balance of shoegaze and electronica,” Smith said in a statement. “It was written when I was in Malaga, and is the first track I wrote that wasn’t in some dingy bedroom. I feel like it captures the location that is reminiscent on The Durutti Column’s Hotel of the Lake, 1990.””
“It’s a track that is full of true joy (despite the lyrics) and it was a pleasure to work on in the studio,” he added. “bSIt’s one that we felt we could really get into the experimentation on, especially in the long spanning mid-section. We’re always happiest when we’re sat on the floor of the studio surrounding the latest pedal we bought, each dying to have a pass on it.”
Florist have announced a new album called Jellywish. The follow-up to the New York indie folk band’s 2022 self-titled LP is due out April 4 via Double Double Whammy. It includes the previously released ‘This Was a Gift’, as well as the entrancing new track ‘Have Heaven’, which comes paired with a video animated by Kohana Wilson. Check it out below, and scroll down for the album artwork (by V Haddad) and tracklist.
“It’s a gentle delivery of something that is really chaotic, confusing, and multifaceted,” singer/guitarist/songwriter Emily Sprague said of the album, noting that it’s purposefully complicated. “It has this technicolor that’s inspired by our world and also fantasy elements that we can use to escape our world.”
Of ‘Have Heaven’, Sprague added: “We enter an observational fever dream about floating through liminal space between lifetimes, individual perceptions. There is reflection on our connectedness in joy and suffering through the wish for a peaceful place for our spirits to live and land. ‘Have Heaven’ establishes the world of the album to be not quite always lucid, but rather a perspective that is blended into the worlds of the magic and death realms swirling around us. The chorus is a chant that pleads for a better symbiosis between these worlds, and between our earthly forms trying to survive alongside each other, bound to the systems we must exist within.”
1. Levitate
2. Have Heaven
3. Jellyfish
4. Started To Glow
5. This Was A Gift
6. All The Same Light
7. Sparkle Song
8. Moon, Sea, Devil
9. Our Hearts In A Room
10. Gloom Designs
The advent of mobile technology has revolutionised many aspects of contemporary culture, none more so than gaming. As mobile gaming ascends in popularity, it seamlessly integrates into our daily lives, influencing our entertainment choices and social interactions. This article delves into the cultural shift brought about by mobile technology in casino gaming.
In recent years, the evolution of mobile technology has had a profound impact on various cultural facets, reshaping how we interact with digital content. One area where this impact is particularly evident is in gaming, where mobile platforms have opened up new avenues for engagement and participation. The rise of mobile gaming not only highlights technological advancements but also underscores its growing significance in modern culture. By offering a more accessible and immersive experience, mobile gaming continues to redefine how we view leisure and entertainment.
The Rise of Mobile Casinos
The emergence of mobile casinos marks a significant transformation in the traditional gaming experience. With smartphones becoming ubiquitous, players now have the opportunity to enjoy their favourite casino games on-the-go. This shift from physical casinos to digital platforms allows for unparalleled convenience and accessibility, empowering gamers to play anytime and anywhere. As a result, the notion of pay by mobile casino has become an integral part of this evolution, offering seamless payment solutions that further enhance user experience.
Mobile casinos provide a host of advantages that appeal to both seasoned players and newcomers alike. The ability to access a vast array of games at your fingertips means that users can explore new titles and trends without the constraints of location or time. This flexibility extends beyond just gameplay; it also influences how individuals perceive and engage with gambling as a whole. By integrating easy-to-use interfaces and diverse game selections, mobile casinos have successfully broadened their appeal to a wider audience.
Additionally, these platforms offer unique features such as live dealer games and interactive bonuses that mirror the thrill of being in a physical casino. Such innovations not only capture the essence of traditional gambling but also enhance it through advanced graphics and real-time interactions. For those seeking an authentic yet convenient casino experience, mobile casinos represent an ideal solution that fuses technology with entertainment.
Cultural Impact of Mobile Casino Gaming
The influence of mobile casino gaming extends beyond individual enjoyment; it permeates popular culture and alters societal perceptions. From media portrayals to social media discussions, gaming has cemented itself as a staple in contemporary entertainment narratives. This integration highlights cultural shifts where gaming elements are now embraced across various platforms, blurring the lines between different forms of media.
Mobile casino games often serve as inspiration for movies, TV shows, and even music videos, showcasing their widespread appeal and cultural relevance. As these games become more ingrained in popular culture, they contribute to evolving societal norms around leisure activities and digital interaction. This cultural assimilation reflects broader trends towards digitalisation and the acceptance of technology-driven experiences.
The impact is further amplified by the growing community of gamers who share their experiences online through streaming platforms and forums. These interactions foster a sense of belonging among players while simultaneously influencing broader perceptions about gaming culture. As more individuals participate in these digital communities, the boundaries between virtual entertainment and real-world cultural phenomena continue to blur.
Responsible Gaming and Cultural Awareness
As you navigate this evolving landscape filled with opportunities for excitement and engagement through mobile casinos, it remains essential to emphasise responsible gaming practices amidst these technological advancements. Ensuring safe habits protects not only individuals but also preserves the integrity of online platforms themselves.
Numerous initiatives aim at promoting awareness around responsible gambling practices by educating players about potential risks associated with excessive playtime or spending limits—an important aspect given increasing accessibility through mobile devices today more than ever before!
Ultimately, as both society evolves alongside technological innovations reshaping our daily lives, it becomes imperative to maintain balance between enjoyment and responsibility within any form of recreation chosen. By doing so, we ensure future generations inherit a vibrant yet sustainable environment. This is one where everyone can partake freely and responsibly, no matter their preference.
Spending time outdoors can be invigorating, whether you’re hiking through the forest, enjoying a peaceful day at the beach, or simply relaxing in the park. However, to fully enjoy outdoor activities, it’s essential to be prepared and take the necessary steps to ensure your comfort and safety. From the right gear to mindful planning, here are six key steps to help you make the most out of your outdoor adventures.
Plan Ahead for Safety
Before embarking on any outdoor activity, it’s crucial to plan your trip carefully. Know your destination and understand the terrain, weather conditions, and any potential risks. Check the forecast to ensure you’re prepared for any changes in weather, especially if you’ll be far from shelters. Creating an itinerary and sharing it with someone close to you is also a smart practice. This way, others will know where you are in case of an emergency. Additionally, familiarize yourself with the local emergency services and the quickest way to reach help if needed. Packing a map, a compass, or a GPS device can be invaluable, especially if you’re venturing into unfamiliar or remote areas. It’s also advisable to check for any local regulations or advisories that may affect your plans, such as restricted areas or wildlife warnings.
Choose the Right Gear
Selecting the right gear can make all the difference in your outdoor experience. Whether you’re hiking, biking, or simply lounging in nature, make sure to choose equipment suited to the activity and environment. Comfortable shoes, proper clothing, and appropriate safety equipment are all vital. For colder temperatures, consider packing items like insulated jackets or water resistant puffy outdoor blankets that help maintain warmth even when the weather turns chilly. Puffy outdoor blankets are designed to be compact and lightweight, making them easy to carry on any adventure while providing excellent insulation. They are also highly durable and water-resistant, perfect for protecting against damp conditions during outdoor activities. Additionally, some puffy blankets are designed with an easy-to-clean surface, which ensures long-lasting use no matter the environment.
Dress for the Weather
Dressing in layers is key when engaging in outdoor activities. Start with moisture-wicking base layers that pull sweat away from your body, followed by an insulating layer that keeps you warm. Finally, top it off with a weatherproof jacket or shell that protects against wind and rain. Always be prepared for unpredictable weather, as conditions can change rapidly, especially in mountain or coastal areas. It’s also wise to bring extra layers in case the temperature drops unexpectedly, ensuring you stay comfortable throughout your activity. Don’t forget to protect extremities like your hands, feet, and head with gloves, quality trampoline socks, and a hat, as they are more susceptible to cold. By dressing appropriately, you can maintain comfort and avoid putting yourself at risk during your outdoor adventure.
Stay Hydrated and Nourished
Proper hydration and nutrition are crucial to maintaining energy levels during outdoor activities. Always bring enough water, and consider using a hydration pack for convenience. Snacks, such as energy bars or trail mix, can also be useful to keep your energy up, especially during long hikes or strenuous exercises. Be mindful of the temperature and drink frequently, even if you’re not thirsty, as dehydration can sneak up on you.
Protect Yourself from the Sun
Even on cloudy days, the sun’s harmful UV rays can affect your skin. To protect yourself, apply sunscreen with a high SPF to exposed areas, wear a hat with a brim to shield your face, and invest in UV-blocking sunglasses to protect your eyes. If you’re spending an extended amount of time outdoors, take breaks in shaded areas to give your skin a rest. Reapply sunscreen every two hours, or more frequently if you’re sweating or swimming, to ensure continuous protection. Choose clothing with built-in UV protection for additional coverage, especially when spending long hours outdoors. Being mindful of sun exposure not only helps prevent sunburn but also reduces the risk of long-term skin damage.
Be Prepared for Emergencies
Accidents can happen even in the most carefully planned activities. Carry a well-stocked first aid kit with essential supplies, including bandages, antiseptic wipes, and pain relievers. If you’re going on a more remote adventure, consider taking a first aid or wilderness survival course to equip yourself with the knowledge needed in an emergency. It’s always a good idea to have a fully charged phone, a portable charger, and a whistle to signal for help if necessary. Additionally, make sure to have a backup plan in case your primary route becomes inaccessible or you encounter unforeseen challenges. Familiarize yourself with the basic signs of heatstroke, hypothermia, and dehydration, as they can be life-threatening if not addressed quickly. By preparing for emergencies, you increase your chances of staying safe and being able to respond appropriately in critical situations.
Spending time outdoors offers countless benefits, from improving your mental health to strengthening your physical well-being. By following these six steps, you can ensure that your outdoor activities are not only enjoyable but also safe and comfortable. Whether you’re venturing into the wilderness or simply soaking up some sun in your backyard, proper preparation is the key to making the most of your outdoor experience.
The AVIF (AV1 Image File Format) is becoming a preferred format for image compression, known for its high-quality output with smaller file sizes. However, its relatively limited support across platforms and devices has led many users to seek out ways to convert AVIF to JPG. JPG (JPEG), on the other hand, is one of the most widely accepted image formats, making it a popular choice for everyday use. This guide will walk you through the easy steps to convert AVIF files to JPG, helping you ensure compatibility across various platforms and applications.
Why Convert AVIF to JPG?
AVIF is known for its exceptional image compression, which allows it to deliver higher quality at smaller file sizes compared to other formats like PNG or JPG. However, despite these advantages, AVIF has limited compatibility with many browsers, image viewers, and editing software. This limitation can make it challenging for users to share or display AVIF images on all devices.
JPG, by contrast, is universally supported across all devices, browsers, and editing programs. It is a go-to format for photographers, graphic designers, and web developers. Converting AVIF to JPG ensures that your images can be easily opened, viewed, and shared without any compatibility issues. Here’s why you might need to perform an AVIF to JPG conversion:
Wider Compatibility: JPG is supported by nearly all devices, operating systems, and applications.
Ease of Sharing: JPG images are easier to upload and share across various platforms like social media and websites.
Better for Editing: Many photo editing applications only support JPG images, making conversion essential for users who want to modify their AVIF files.
How to Convert AVIF to JPG: Easy Steps
There are multiple methods to convert AVIF images to JPG, and the best method depends on your preferences, available tools, and platform. Below, we will explore the easiest and most effective ways to convert your AVIF files into JPGs.
Method 1: Using Online Converters
Online converters are among the easiest and quickest ways to convert AVIF files to JPG. These tools don’t require installation and can be accessed through any web browser, making them convenient for users on any platform. Here’s how to do it:
Step 1: Choose a Reliable Online Converter
There are several online converters available that support AVIF to JPG conversion. Some popular and reliable options include:
CloudConvert: A versatile online tool that supports numerous formats, including AVIF to JPG.
Convertio: Known for its user-friendly interface and support for multiple file types.
Zamzar: A long-standing converter with excellent support for AVIF files.
Step 2: Upload the AVIF Image
After selecting a converter, visit the website and upload your AVIF file. Most converters will offer a simple drag-and-drop feature, or you can select files directly from your computer or cloud storage. Ensure the file is in AVIF format, and make sure the website supports it.
Step 3: Choose JPG as the Output Format
Once your AVIF file is uploaded, the converter will prompt you to select an output format. Choose JPG from the available options. Some converters allow you to adjust settings, such as image quality, resolution, and compression level, which can affect the output quality of your JPG file.
Step 4: Start the Conversion
Click on the “Convert” button to initiate the conversion process. Depending on the size of the AVIF file, this may take a few seconds to a couple of minutes.
Step 5: Download the JPG File
Once the conversion is complete, the converter will provide a download link. Click the link to download the JPG version of your image. You can now use, share, or edit the JPG file without worrying about compatibility issues.
Method 2: Using Desktop Software
For users who prefer not to rely on online tools, desktop software offers a reliable and secure alternative. Many image editing applications, such as GIMP and XnConvert, support AVIF to JPG conversion. Here’s how to do it using XnConvert, a popular free desktop tool:
Step 1: Install XnConvert
First, download and install XnConvert from its official website. This software supports a wide variety of image formats, including AVIF, and is free to use for personal use.
Step 2: Open the AVIF File
After installation, launch XnConvert and click on the Add Files button to open your AVIF image. You can add multiple files for batch conversion if needed.
Step 3: Set the Output Format
Next, go to the Output tab and choose JPG as the output format. You can also customize the image’s quality, resolution, and compression options. If you want to make any adjustments to the image, such as resizing or cropping, XnConvert provides those options in the Actions tab.
Step 4: Start the Conversion
Once you’ve configured all the settings, click on the Convert button to begin the process. XnConvert will process the files and convert them to JPG.
Step 5: Save the JPG Files
After the conversion is complete, the software will automatically save the converted JPG files to your specified folder. You can now access the files and use them as needed.
Method 3: Using Photoshop with a Plugin
For professional photographers and users who require more advanced editing features, Adobe Photoshop offers robust options for converting AVIF to JPG. However, Photoshop doesn’t natively support the AVIF format, so you’ll need to install a third-party plugin, such as the AVIF format plugin for Photoshop.
Step 1: Install the AVIF Plugin for Photoshop
Download and install the AVIF plugin from Adobe’s website or trusted sources. Once installed, Photoshop will be able to open and convert AVIF files.
Step 2: Open the AVIF Image in Photoshop
After installing the plugin, open Photoshop and use the File > Open menu to open your AVIF file.
Step 3: Save as JPG
Once the AVIF image is open in Photoshop, go to File > Save As and select JPG as the output format. You can adjust the quality and resolution settings based on your preferences.
Step 4: Save the Converted File
Choose a destination folder and click Save. Your AVIF file is now converted into a high-quality JPG image.
Method 4: Using Mobile Apps
If you need to convert AVIF files on your smartphone, there are several mobile apps available for both Android and iOS devices. Apps like File Converter and Image Converter make it easy to convert AVIF to JPG on the go.
Step 1: Install a Conversion App
Download and install a trusted conversion app from your device’s app store. File Converter and Image Converter are popular choices for both Android and iOS devices.
Step 2: Open the App and Select the AVIF Image
Once the app is installed, open it and select the AVIF image you want to convert. These apps usually allow you to browse your phone’s storage for the image.
Step 3: Choose JPG as the Output Format
Select JPG as the output format. You may also be able to adjust settings such as image quality, depending on the app.
Step 4: Convert and Save
Tap the Convert button to begin the process. Once the conversion is complete, the app will save the JPG image to your device’s gallery or file storage.
Frequently Asked Questions (FAQs)
Q1: Is converting AVIF to JPG free? Yes, there are several free tools available online and offline for converting AVIF to JPG, including CloudConvert, XnConvert, and mobile apps like File Converter.
Q2: Will the image quality degrade when converting from AVIF to JPG? There may be a slight loss of quality during the conversion, especially if the JPG compression settings are high. However, high-quality converters minimize this loss, ensuring the output image remains visually similar to the original.
Q3: Can I batch-convert AVIF files to JPG? Yes, several tools like CloudConvert, XnConvert, and Convertio allow you to convert multiple AVIF files to JPG at once, saving time and effort.
Q4: Are online converters safe? Reputable online converters such as CloudConvert and Zamzar use encryption for secure file transfers. However, always ensure you are using a trusted website to avoid any security risks.
Q5: Do I need an internet connection to convert AVIF to JPG? Online converters require an internet connection, while desktop software like XnConvert and GIMP can work offline. Mobile apps also allow you to convert images without internet access once the app is installed.
Conclusion
Converting AVIF files to JPG is a straightforward process that can be done using various methods, depending on your preferences and platform. Whether you choose an online converter for convenience, a desktop application for batch processing, or a mobile app for on-the-go conversions, you’ll be able to ensure that your images are compatible with most devices and software. By following the easy steps outlined in this guide, you can convert AVIF files to JPG in no time, without sacrificing image quality.
Gustav Parker Hibbett is a Black poet, essayist, and MFA dropout. They grew up in New Mexico and are currently pursuing a PhD at Trinity College Dublin. They are a 2024 Djanikian Scholars Finalist and a 2023 Obsidian Foundation Fellow, and their work has appeared or is forthcoming in LitHub, Guernica, London Magazine, fourteen poems, The Hopkins Review, Poetry Ireland Review, The Stinging Fly, and elsewhere. Their debut poetry collection, High Jump as Icarus Story (Banshee Press), was shortlisted for the 2024 T.S. Eliot Prize.
Congratulations on being shortlisted for the TS Eliot Prize. What was the most rewarding aspect of this recognition?
The most rewarding thing has been noticing a difference in my self-confidence. Not that I suddenly feel like I’m a really good writer, but now there’s this safety net underneath me that wasn’t there before. I can see the writing I produce in the future getting more of the benefit of the doubt, and the idea of this is really heartening. There’s so much less headspace used worrying about trying to prove that I deserve to take up space on the page, which I think is something many emerging writers contend with. It feels like a really nice gift to be able to move forward into a career with some of that assuaged.
Your poetry collection offers readers many lessons, from reimagining mythical figures like Icarus to critiquing societal expectations. What did you come to learn through the process of crafting High Jump as Icarus Story?
I think the main thing was grappling with language as this imperfect means of capturing or describing experience. It’s like a self-supporting bridge that you’re extending out into the dark that will inevitably collapse. Poetry, more than other forms, situates itself at that moment of collapse where that bridge crumbles and language starts to come apart.
I guess the subject, or obsession, of a poem necessarily needs to be different than that of an essay or short story. As this was my first collection, I learned a lot about what poetry can and can’t hold. I feel like I know those things in my body now – maybe less so intellectually, but I feel it in my body. I know what a good poem should feel like, what a good idea for a poem feels like.
I’ve been thinking about the limits of language and getting more comfortable writing in this form. It’s this strange dance where I’m both better at expressing what I want to express and worse, because I’ve also (as I get more comfortable) found myself relying on the language instead of trying as hard to touch what’s behind it.
When writing about musicians like Lianne La Havas or literary characters like Othello, do you find yourself actively revisiting those works of art as part of your creative process? Or is your connection to them more intuitive?
It’s a bit of both, in that with any creative process there’s an element of meeting the piece of art and capturing the spirit of it and then taking it a step beyond, mixing it with part of yourself.
In these specific cases, it was a very personal process. The Lianne La Havas poem came from a dream where I was singing ‘Ghost’ along with her and was able to sing well. When I woke up, there was this sharp contrast, like I had lost something, and I thought, oh my god, why did that feel so good? I started to think, why is this so intimately, emotionally important to me?
Other poems have come from being inside an idea academically. I wrote the Othello poem while I was working on a PhD essay about blackface and performances of Othello. I was reading academic papers and had just read Jason Allen-Paisant’s collection, so I was thinking a lot about Shakespeare’s Black characters and what we can know about them. With Othello, there’s a layer you can’t pass—the true heart of that character is perhaps obscured or off to the side, drowned out or hidden by the gaze he’s rendered in. I was interested in playfully approaching that, asking myself what if Othello was, say, an aspiring singer-songwriter.
Athleticism and art are often perceived as distinct worlds, yet in your writing, they feel evidently interconnected — I’m thinking of the line “I was an artist/ above the crossbar.” What draws you to explore the overlap between these two realms?
I think writing, specifically poetry, and high jump are quite similar, weirdly. They’re both compact and iterative, both really concerned with the intricacies of form. They both deal with a kind of unavoidable failure. In high jumping, you’re always going to come down on the mat at the end. It’s never about trying to fly permanently—you’re just trying to push the bounds of how gravity holds you. A poem feels this way, too.
For both disciplines, I think my body knew what to do through muscle memory more than I could articulate. With high jump, so much of my practice was through iterations, doing bridges, holding my body in that shape, or watching others’ form on YouTube, hoping my unconscious would sort of bring it into being.
Similarly with poetry, you’re often trying to touch things beyond language. The only sense you can trust is the sense that’s beyond language—the parts of your brain that are emotional before language or are able to sense before language. Both practices are almost spiritual, encountering this vast unknown that feels akin to the divine or sublime. Like disciplines such as math and physics, there’s this reverence for the unknown.
In times of ongoing discussion around gender and athletic ability—where trans, non-binary and queer athletes are so often scrutinised and excluded—your work offers a rich, nuanced exploration of sport as both a site of constraint and a potential for self-discovery and liberation. What perspective on gender and sport do you hope your readers will gain from this collection?
My body’s queerness or non-binary-ness and that body in sport have just been me—so in a lot of ways, it’s personal before it’s political. I think that’s true to the way anyone approaches sports, even if your body is inherently political or politicised. Weirdly, at a time in my life where I felt so constrained in every other arena, high jump was where I could free myself from that constraint and connect on this personal level where I wasn’t thinking about the political. So it’s about the personal relationship with the sport, before it’s anything political.
There is also the sense that visibility is very important, that marginalised bodies in sports can have this political resonance that can be valuable. So many civil rights moments in the 20th century are tied into sports—like Carlos and Smith at the 1968 Olympics with the black gloves, or Jesse Owens in 1936—and we’re currently seeing a dramatic rise in viewership of women’s sports. We’ve already got a number of out nonbinary and trans athletes competing (like Nikki Hiltz in last summer’s Olympics, or Laurel Hubbard in 2020, or Layshia Clarendon on the Minnesota Lynx), and I’m excited to see more in the coming years. People in these moments can be of real importance for progress, moving public opinion in the direction of acceptance.
I’ve been thinking about why that works so well, this political tie to bodies and sports, especially around Blackness, but also around transness and queerness. Sports, I think, are principally about beauty. They make bodies beautiful, make people feel beautiful first. Then others can see that beauty. As Elaine Scarry writes, beauty is by nature unprecedented—every time we encounter a beautiful object, we can’t find a precedent for it because it breaks out of our categories. When spectators see a queer, trans, or Black body as beautiful, it breaks them out of the category they would have otherwise put them in.
The poem ‘Self-Portrait as the Form of Other Jumpers’ explores three different approaches to perfection through the jumpers Ukhov, Holm, and Sotomayor. How does the pursuit of perfection manifest in your own life?
I really enjoyed writing this poem in parts because I think all of those relationships to perfection have been mine in different ways. For years, I felt constrained in the sort of way that I maybe project onto Holm’s jump—he’s famously one of the shortest high jumpers ever to be as successful as he was. When you watch him jump, there’s not an ounce–or rather, joule–of wasted energy. It’s all purposeful. I related to this idea of having to work really tightly within constraints, where the stakes are high and you have to maximise every sort of output.
With Sotomayor, when you watch him jump, it’s musical—you hold your breath until he lands. It’s momentous. I’ve always related to that. And Ukhov is this contentious figure because of the doping scandal and that time he showed up really drunk to a meet. But something I always saw in his jumping was this delicate precision. He revels in his form in a way that seems Icarian, maybe somewhat arrogant, but then there’s also something so human about the complete satisfaction that can come from doing something you know you’re good at.
How important were the structural patterns—like the ‘High Jump as’ series and poems that play with space—when crafting the collection?
Very important, actually. They allowed me to bring in an element of play and enjoyment, especially in the poems where I’m experimenting with spacing the words out on the page. Initially, I was just trying to listen for what felt right as the poems developed. It was nice to work towards that. I was very anxious that those poems would go out into the world and people would say I didn’t actually know what I’m doing, or that the underlying logic I found wasn’t actually there. Like with prose poems—I started writing them because I didn’t know how to write a prose poem. I didn’t think my writing style lent itself to that form. Different forms of poems are best suited to different types of content, so I had to figure out what content would work better in a prose poem, how to make the sentence structures work, how to make it not just feel like a paragraph. I think one of the basic tensions in poetry is that between the sentence and the poetic line—you can’t play with that in a prose poem. It’s just a block of text.
Exploring different forms also allowed me to approach the same subjects from multiple angles. It’s hard to capture something perfectly in writing—you’re always going to leave out elements. But being able to come at things from different angles and in different forms was both generative and helped assuage some worries. High jump felt like this to me, but it also felt like that, and I couldn’t write about one feeling without acknowledging the other. This multi-formal way of writing was really enjoyable.
Are there particular themes, forms, or creative experiments you’re excited to tend to as you move forward in your writing career?
For my PhD, I’m working on creative nonfiction. Much of the poetry collection was written in the spaces between trying to write the nonfiction, because I had this creative energy that I didn’t know how to translate into prose. Poetry felt more fluent.
Poetry and prose feel like completely different languages. For a long time, it felt like I was translating my thoughts from poetry to prose in order to make them fit. When the collection came together, it felt like a good pausing point. I realised if I wanted to successfully write prose, I needed to immerse myself in it, to become comfortable thinking in a prosaic mode.
I haven’t written a poem in about six months—I’ve actively been trying to stop myself. I need to get comfortable in prose without stepping out occasionally into poetry. I’m looking forward to coming back to poetry after finishing this essay collection. It’ll be nice to return to this language I know better, though by next year I might feel differently about prose. I’m slowly improving. The things I learn while finding my footing in prose will translate to poetry, and I’m excited to see what new skillsets or avenues that opens up.
Finally, what piece of literature have you been recommending lately?
Christina Sharpe’s Ordinary Notes. Before this she mainly published academic work, which is also exceptional—she wrote this beautiful book called In the Wake in 2016, where she uses the term “wake” to talk about Black existence in modern day. Ordinary Notes has all this underlying Black theory, but she’s distilled it very carefully into something beautifully situated between forms. It’s almost poetry—248 individual notes ranging from one sentence to a few pages. The little notes are able to amalgamate meaning through this constellation and association of ideas.
It’s brilliant, kind, and deeply observant. She’s taken such care in distilling what she’s examining. It’s accessible for anyone, whether or not they’re in academia or have read Black theory. She’s thinking about certain functions and realities of Blackness, but also about what it means to be human in this current world—what history is behind (and around, and on top of) us, how we move through spaces meaningfully or ethically, even as that remains opaque and complicated. It’s a work of genius.
Dian Sheng, a talented Chinese musician, has unveiled his debut English album, Sid, which not only showcases a rich tapestry of musical styles but also delves deeply into the interplay between literature and philosophy. Each song on the album incorporates diverse elements—ranging from pop and rock to jazz—highlighting Dian Sheng’s unique perspective and remarkable creative prowess.
A Fusion of Music and Literature
Sid is more than just an original music album—it is Dian Sheng’s profound exploration of literature and philosophy. He infuses his lyrics with deep philosophical insights, emotional reflection, and cultural symbolism, perfectly merging the dual allure of music and literature. Sung entirely in fluent English, the album seamlessly integrates the charm of Eastern cultural nuances with the rhythmic vitality of Western music, showcasing Dian Sheng’s mastery of multiple cultural expressions.
According to Dian Sheng, “Sid is not just my exploration of original music; it is my way of conversing with the world. Through music, I aim to convey the profound emotions and philosophical reflections found in literature, enabling global audiences to connect with the melodies while finding resonance in life and humanity.”
Highlights and Musical Styles of the Album
The album Sid encompasses a variety of musical genres, including pop, rock, electronic, and folk. From tender ballads to powerful rock anthems, each song reflects Dian Sheng’s unique understanding of music creation and his exceptional artistic vision.
“I Come From Far“: Drawing on Dian Sheng’s experiences as an international student, this upbeat and vibrant track explores the relationship between individuals and global society. Its heartfelt lyrics and lively melody convey the artist’s global perspective and sincere wish for world peace, earning widespread admiration.
“Undecided Love“: A heartfelt jazz ballad with exquisitely crafted arrangements, this poetic track delves into the complexities of modern relationships with emotional depth and nuance.
“It Will Be Alright“: An experimental piece blending punk and rock elements, this bold track exemplifies Dian Sheng’s innovative approach to musical styles while delivering an empowering message about embracing life’s challenges.
“Seventeen“: Bursting with energy, this electronic-infused track captures the spirited essence of youth and the vivid emotions of adolescence. It has been described as a “festival bomb” for its electrifying vibe and infectious energy.
“The Way Before“: A poignant and nostalgic piece, this track combines a hauntingly beautiful melody with heartfelt lyrics to reflect on lost love and personal growth, leaving listeners deeply moved by its emotional resonance.
Dian Sheng’s Exceptional Talent
As an emerging star in the global music scene, Dian Sheng has gained widespread attention for his exceptional songwriting and in-depth exploration of both music and English literature. His lyrics, praised by renowned British producer Moises Zetina as “literary masterpieces in music,” offer audiences deeper layers of thought and emotion.
Hollywood composer and producer Sefi Carmel shared, “Working with Dian Sheng on two songs was an incredible experience! He always strives for the best production quality, making collaboration a joy.”
Tracks from Sid have been played extensively on radio stations across the UK, US, Canada, and Ireland, earning exclusive coverage from several Western media outlets. Notably, the single The Way Before received high praise from Susan Gabrielle, host of the American radio show Song & Story, who compared its style to that of global superstar Taylor Swift:
“Dian Sheng grew up in China, where he began learning piano at the age of 5 and started studying English from a young age. Though he has only lived in England for seven years, his English is fluent, and his songwriting seamlessly complements his music. The Way Before is a poignant take on love gone wrong. While this theme is not new, his vulnerability and sincerity make it feel fresh and deeply moving. I genuinely admire Dian Sheng and his future musical ambitions. It’s hard not to like him. I hope everyone listens to this interview and his song, The Way Before.”
About Dian Sheng
A graduate of Goldsmiths, University of London, and University College London, Dian Sheng is a multi-talented artist skilled in music composition, literary writing, and music production. His extraordinary musical talent and unique literary expression have captured the attention of fans worldwide.
Dian Sheng’s journey in music continues to inspire, as he strives to engage the world through his art, creating more unforgettable works for audiences to enjoy.
Sam Moore, best known as one half of the seminal duo Sam & Dave, has died. The soul singer passed away Friday morning (January 10) in Coral Gables, Florida, of complications recovering from surgery. Moore was 89 years old.
Born in Miami in 1935, Moore began singing gospel at church, performing with such gospel quarters as The Gales and The Millionaires. He met Dave Prater, who was also an experienced gospel singer, in Miami’s The King of Hearts Club in 1961, and the duo signed with Atlantic Records in 1964. Most of their hits – ‘Hold On! I’m Comin’’, ‘You Got Me Hummin’’, ‘When Something Is Wrong With My Baby’, ‘Soul Man’, and ‘I Thank You’ – were penned by Isaac Hayes and David Porter. Sam & Dave broke up in 1970, though they last performed together in 1981. Prater tragically died in a car accident in 1988.
Moore went on to pursue a solo career after the duo’s first breakup. He recorded his first solo album, Plenty Good Lovin’, in 1970, but the album did not come out until 2002. He worked with iconic musicians such as Aretha Franklin, Betty Wright, Bernard Purdie, Chuck Rainey, and more on the record. In 2006, he followed it up with Overnight Sensational, which featured Jon Bon Jovi, Fantasia, Sting, Sheila E., Mariah Carey, and Bruce Springsteen.
In 1992, Sam & Dave were inducted into the Rock and Roll Hall of Fame. Moore was also a member of the Grammy Hall of Fame and the Vocal Group Hall of Fame.
In this segment, we normally showcase the most notable albums out each Friday. But at least a couple of records worth highlighting came out on different days of the week, so we’re including those in our January 10, 2025 roundup, too.
Perverts is technically not a studio album – press materials variously refer to it as a “project,” a “body of work,” or even an “EP,” despite its 90-minute runtime. These, of course, are merely semantic distinctions. The follow-up to Ethel Cain’s 2022 debut full-length Preacher’s Daughter is significantly more esoteric, even alienating in its embrace of sprawling drone and noise experiments. In a statement, Cain wrote: “Poke a hole in yourself and see what comes out. Don’t tell anybody what it is but keep a little in a tiny glass jar under your bed. Cover all the windows and walls with dark fabric and slice yourself into a circle, multiple circles in the middle of the room. Make it hot and suffocate yourself. Go into the woods and look at how many lines there are. The entire world is about lines and where they intersect. There is still time to go into the room where there is nothing and stay there forever but know that while you retain freedom of action, so does the world retain freedom of retaliation. You are not immune to consequence. You can do whatever you want if you can handle the return. And if you cannot, then you should hide away so no one sees how hard you cry if you can’t. It’s ok to be weak. You were born like this for a reason.”
Debí Tirar Más Fotos is a love letter to Bad Bunny’s homeland not only in theory, but in its assemblage of musical styles – from música jíbara, salsa, and bomba to his trademark reggaeton – and guests. Following 2023’s Nadie Sabe Lo Que Va a Pasar Mañana, the global superstar recorded all of the album’s 17 tracks live in Puerto Rico, enlisting artists like RaiNao, Omar Courtz, DeiV, Pleneros de la Cresta, and Chuwi. Bad Bunny’s anticolonial activism is far from absent in his lyrics, too, as evidenced by the foreboding centerpiece ‘Lo Que Pasó a Hawaii’.
Who Let the Dogs Out, the debut LP from Lambirni Girls – the Brighton duo of singer-guitarist Phoebe Lunny and bassist Lilly Macieira – is virulent and unrelenting. They recorded the album – which includes singles like ‘Big Dick Energy’ and ‘Cuntology 101’ – with Gilla Band’s Daniel Fox, while mixing was handled by Seth Manchester. “You know how Fleetwood Mac almost dedicated Rumours to their cocaine dealer?” the band remarked. “I think we should dedicate this album to all the booze we bought at Tesco.”
Franz Ferdinand are back with their first album in seven years. The Human Fear, the follow-up to 2018’s Always Ascending, was previewed by the singles ‘Audacious’, ‘Night or Day’, and ‘Hooked’. It’s as lean and invigorating as you’d expect from the band, but there are a few surprising turns, like ‘Black Eyelashes’, which dives into Alex Kapranos’ Greek identity. “Making this record was one of the most life-affirming experiences I’ve had, but it’s called The Human Fear,” Kapranos said in press materials. “Fear reminds you that you’re alive. I think we all are addicted in some way to the buzz it can give us. How we respond to it shows how we are human. So here’s a bunch of songs searching for the thrill of being human via fears. Not that you’d necessarily notice on first listen.”
Other albums out today:
Ringo Starr, Look Up; Moonchild Sanelly, Full Moon; Zeta, Was It Medicine To You?; Tremonti, The End Will Show Us How; zzzahara, Spiral Your Way Out.
We’ve already published our lists of the best albums and EPs of 2024, but picking the best singles of any given year is never as simple as choosing the highlights from these releases. There are both pop stars and indie artists that released solid, even great, albums that didn’t make the cut but featured at least one song – and not always a promotional single – worth placing on this list. There were watershed moments in pop culture that arrived just outside the traditional album format, celebrities making the internet go crazy with heated feuds and conflict-resolving remixes. There were cheerleaders and “vipers dressed in empath’s clothing.” There were songs designed for the present moment and others that took us back to when we were kids. Here are the 25 best songs of 2024.
25. Trent Reznor, Atticus Ross, and Boys Noize, ‘CHALLENGERS [MIXED]’
Every Trent Reznor and Atticus Ross score is a character in its own movie. But their soundtrack for Luca Guadagnino’s Challengers plays a uniquely propulsive role, especially compared to their more downbeat collaboration with the filmmaker on the subsequent Queer. It carries so much of what the film was hyped for, particularly its eroticism, which is barely depicted in the film but amped up in the language of throbbing techno – “like a heartbeat that makes the movie fun,” per the director’s instructions. When I went to the cinema to watch the film, fragments of the score had already been imprinted in my mind thanks to the Boyz Noise mix that had already come out. Running like a continuous DJ set, the producer condenses both the tension and runtime of the original soundtrack without sacrificing much of anything. His version of the theme is a little less slick, a little more disorienting, static seeping through the cracks. It’s an exhilaratingting romp all its own.
24. Christian Lee Hutson, ‘After Hours’
There are a few things Christian Lee Hutson’s ‘After Hours’ does really well. The first is building a unique image of heaven, stitching together ideas the singer-songwriter had at various points and letting them fall into place. The second is figuring out how music – this “weird angel band,” as he called it – might sound like in this place, from the perfect warmth of the guitar to Shahzad Ismaily’s bed of synths to Melina Duterte’s hummable trumpet section. And the third is filtering it all from the perspective of the song’s protagonist: someone who’s up there, writing to someone who isn’t. It blurs the line between memory and fantasy, this life and the next, magnifying the small things that slip through a wash of emotion. “Big budget productions of the lives of your loved ones/ The good stuff is behind a paywall,” Hutson quips. As the songwriter, of course, he can get right to it.
23. Porter Robinson, ‘Cheerleader’
Porter Robinson’s best songs tend to explode with dizzying synths and soaring melodies; that much is not surprising about ‘Cheerleader’, a standout from his latest album Smile! 😀. But beneath its anthemic sheen and bursts of adrenaline, what creeps through is a sense of toxicity: “It’s not fair/ ‘Cause I knew you like the back of my hand,” he sings, and it becomes clear he’s tackling the parasocial dynamic between fans and musicians. There’s a temptation on both sides – fame can be as addictive as any fan’s attachment to the person who owns it. But the hollow frustration it can leave behind, like any tangled relationship, doesn’t fully shine through until the song’s emo undertones rise to the forefront. “Now I feel you even when you’re not there,” both parties lament. There’s a good chance ‘Cheerleader’ won’t escape your mind, either.
22. Taylor Swift, ‘But Daddy I Love Him’
Brash, fanciful, almost outrageously self-aware – there are many songs on The Tortured Poets Department that share those same traits. But none handles them as deftly or viciously as ‘But Daddy I Love Him’: instead of invoking the heavy theatricality of ‘Florida!!!’ or the irony of ‘I Can Do It With a Broken Heart’, it finds Taylor Swift lassoing back to the country songwriting of ‘Love Story’ for a better sense of perspective. There’s greater maturity, sure, but also real venom for those who dare make judgment on her dating life. (She name-checks “Sarahs and Hannahs in their Sunday best,” but “vipers dressed in empath’s clothing” is certainly one convoluted way of calling out overzealous fans.) Swift doesn’t take herself too seriously here, but the joke really lands when she fakes a pregnancy announcement: “Oh my god, you should see your faces.” It’s her own unbridled joy, though — lyrically expressed, yet beaming out of Aaron Dessner and Jack Antonoff’s dynamic production — that reinforces her version of the story, as evidently breathtaking as the love it defends.
21. Sour Widows, ‘Staring Into Heaven/Shining’
“There’s nothing in the wake/ Only the motions.” Sour Widows, of course, are singing about grief, a theme that towers over their debut album, Revival of a Friend. The band’s Susanna Thomson wrote the song following the passing of her mother in late June of 2021, realizing that the process is often less about picking apart the unanswerables than simply figuring out how to be alive and accept death at the same time – the mundanity and inconceivable weight of both things. ‘Staring into Heaven/Shining’ is an indie rock epic in the vein of songs like Ratboys’ ‘Black Earth, WI’ and Slaughter, Beach Dog’s ‘Engine’, which made our previous year-end lists, so it may have an unfair advantage. But there’s magic in surrendering to the song’s instrumental sprawl, as the singers do to the harsh reality of the morning – it lets a comforting fantasy slip, but at least letting go feels less heavy than you’d imagined.
20. Kim Gordon, ‘Bye Bye’
Leave it to Kim Gordon to turn a packing and to-do list into one of the most killer songs of the year. The Sonic Youth icon’s sly coolness and signature monotone do most of the work here, though producers Jeremiah and Justin Raisen’s abrasive trap beat provides an unnerving foundation. What’s in her suitcase, you might ask? Nothing that should really freak you out on paper: blue jeans, earplugs, medications. (“Pants to the cleaner,” she reminds herself, and then quite a bit later, hilariously, “Money for the cleaner.”) Despite name-checking clothing brands like Bella Freud and Eckhaus Latta, there’s nothing particularly luxurious about the whole production. Yet it’s both darkly and richly rewarding, winning you over without as much of a hint as to where she – or the audience – might even be headed.
19. FKA twigs, ‘Eusexua’
The first single from FKA twigs’ upcoming album begins by recognizing the titular feeling as indescribable, but tries its best through poetry: “King sized, I’m vertical sunrises/ Like flying capsized.” In press materials, the singer has likened the made-up word to “pure clarity,” like “when everything moves out the way, everything in your mind is completely blank and your mind is elevated.” The song, co-produced with Koreless and Eartheater, moves on to “the way we transcribe it, baby,” which is capable of crushing loneliness and reaching nothing short of transcendence. It’s enchanting and kinetic, but doesn’t need more than a propulsive beat and some spare keys to get there – call it blankness, or just minimalism. Although twigs begs the other person not to call this love, she can’t help but resort to that word in a moment of heart-wrenching vulnerability: “People always told me that I take my love too far/ Then refused to help me.” Too far, she makes clear, is a distance her music has no trouble traveling.
18. This Is Lorelei, ‘I’m All Fucked Up’
It takes some kind of skill to make “You little sick thing, you had your fun” the start of one of the most memorable refrains of the year. But the real magic of ‘I’m All Fucked Up’, a standout from Nate Amos’ first “traditional” LP as This Is Lorelei, is how the lines in between jumble through fragments of memory, resituating and assembling them in ways that shouldn’t fit such a purely infectious song. None of the lyrics follow a linear logic, yet the words flow intuitively, possessing the sort of interiority that only makes sense when you’re in dialogue with your younger self. “You hit the gas, yeah, your heart’s all play,” he sings. When the beat’s so irresistible, how could you not reserve some empathy for that old recklessness?
17. Father John Misty, ‘Screamland’
Over seven minutes, ‘Screamland’ towers with so much of what Father John Misty usually treats with skepticism, or at least a single layer of irony: faith, conviction, optimism even. It is the centerpiece of his sixth album Mahashmashana, and just as it reaches its peak, the song cuts off, as if Josh Tillman has only been pushing the boulder up the hill knowing he’ll leap back down, or be buzzed out of existence. “Keep dreaming,” is the plea he rhymes with the title, between a flurry of wild guesses, diaristic confessions, and admissions of what sounds like surrender. Low collaborator BJ Burton, who mixed the track, offers a glimpse into the fractured heaven Tillman might be angling around. Maybe the answer to the track’s conclusion lies in the lyrics: “Just drop your hands the way love taught you/ Ash-white and voodoo/ Deathless as a weed.” Well, love, or something that feels just enough like it.
16. Phosphorescent, ‘Revelator’
On the title track off his eighth Phosphorescent album, Matthew Houck reaches out from the pit of despair: creative, romantic, personal. Backed by gorgeous pedal steel, string arrangements, and Jim White’s patient drums, ‘Revelator’ nevertheless identifies weariness – “I got tired of sadness/ I got tired of all the madness” – as a turning point rather than an expression of defeat. While closed off from the world, the singer-songwriter remains open-hearted, if still hesitant about his ability to break through his own barriers. “I don’t even like what I write/ I don’t even like what I like,” he sings. When the time came for it to be released, however, he remarked, “I think it might be the best song I’ve ever written.” ‘Song for Zula’ still exists, but it’s hard to argue with that assessment.
15. Magdalena Bay, ‘Death & Romance’
The ampersand sign bears a visual resemblance to that of infinity, which may explain why Magdalena Bay titled their song ‘Death & Romance’. The Imaginal Disk highlight plays out a euphoric, disorienting, and eternal dance, one that’s as much about symbolic forces vying for dominance as it may be about the trajectory of a single relationship. Mica Tenenbaum and Matthew Lewin are all too aware that fluttering infatuation is never less than a breath away from its own collapse: the track is groovy, twinkling pop perfection, but the production is so dense it’s a wonder it manages to hold itself together. Why keep giving it your all when you’re so close to reaching a threshold? The bright, all-consuming joy the duo conjures is an answer in and of itself.
14. Young Jesus, ‘Rich’
Out of all the songs on this list, ‘Rich’ is the best song you might have overlooked. It serves as a kind of centerpiece on John Rossiter’s seventh album as Young Jesus, The Fool, yet it’s also the only track on the list that wasn’t released as a single (well, technically, the only non-single that didn’t debut at No. 7 on the Billboard Hot 100). It’s a difficult and gut-wrenching listen, stirring up conversations indie artists sometimes have, but rarely center in such an unflinching manner in their music. Whether autobiographical or not, it begins with an admission of privilege: “I grew up rich/ And my daddy did too.” From there, it probes questions around what else can be inherited, genetically or intergenerationally: mental illness, trauma, talent? Things only get knottier the deeper he looks and the more familial characters he introduces, until he turns the gaze back to himself. “And the worst of it all is that art saved my life/ And the money did too,” he intones, recalling the first guitar he ever bought. His voice is manipulated in such a way that, actually, you’re not sure if he’s remembering, growing older, or becoming a kid again – free from all that baggage, if only for a little while.
13. Fashion Club feat. Perfume Genius, ‘Forget’
Forgive but never forget, the saying goes, a concept Pascal Stevenson expands and self-directs on the lead single off her sophomore album A Love You Cannot Shake: can you really achieve self-forgiveness by creating distance between the parts of yourself you needed to change and the version of yourself you’re aching to become? It’s tempting to strive for what seems like a simple erasure of memory: “It’s almost like the history isn’t mine,” Stevenson sings along with Perfume Genius’ Mike Hadreas, who certainly knows how to lean into the fragility of any kind of emotional endeavor, the brittleness of the human body. When she floods the song with light, the effect is scintillating, the question it reveals all the more daunting: “What if changing doesn’t change a thing?” As promised, though, it also provides a reason to be kind, even if that gentleness looks like shaking up your whole world.
12. Fontaines D.C., ‘Starburster’
‘Starburster’ may be a catchy and relatable song – frontman Grian Chatten was inspired by a panic attack he experienced in London’s St Pancras station – but it certainly feels peculiar. Chatten lets his dissociative spiral take the reins, while the rest of the band sways and swerves to keep up over a trip-hop beat: “I want to live the arc, I call the ends on it/ I wanna take the truth without a lens on it/ My God given insanity, it depends on it,” he raps, before drawing out the word “keel” as if to cast out a much deadlier impulse. Every sharp inhale hits like a jolt of anxiety, but the unfiltered mania is also somehow exhilarating. Fontaines D.C. have made nervy music in the past, but it’s never sounded quite like this.
11. Tinashe, ‘Nasty’
The sultriness of “I’ve been a nasty girl” is one thing. But when desire slips into desperation in one of the stickiest and most quotable lines of the year, you get why ‘Nasty’ became Tinashe’s biggest single, and one of the weirdest pop hits of 2024. “Is somebody gonna match my freak?” became a meme, in part, because the singer’s deadpan delivery could make it sound bored, sassy, lonely, or whatever feeling the listener wanted to project upon it. Beneath the surface, though, Tinashe’s sense of melody remains indelible, and she doesn’t need more than a minimal, slightly off-kilter beat to prop it up. Virality may not be the best path to success, but in Tinashe’s case, it’s long overdue.
10. Merce Lemon, ‘Will You Do Me a Kindness’
‘Will You Do Me a Kindness’ zeroes in on a wave of loneliness – it’s a feeling that comes “for a bit,” Merce Lemon admits, yet balloons into something vast and almost insurmountable. You try staving it off with mundane tasks – the company of a few friends or a book you never read – but no pastime can relieve it like the cosmic force she requests in the chorus: “Point the sun/ Right into my flesh/ I want/ Nothing left.” If the Pittsburgh singer-songwriter can make you believe that her loneliness feels like “a kiss that missed my lips,” then you might understand why the emptiness can feel so cathartic, a release contained in one of the fieriest solos I heard all year. The single demonstrates Lemon’s way with words, to be sure, but wants to let them rest – for a while, at least until the wave subsides.
9. Clairo, ‘Sexy to Someone’
Clairo may not be asking if somebody is going to match her freak, but the vibe isn’t too far off on ‘Sexy to Someone’. Our first glimpse into Charm wasn’t memed or streamed like the Tinashe hit, but it spins the warm intimacy that’s marked her past two albums into a velvety soul-folk jam we can all relate (and get dressed) to. For Clairo, feeling attractive is powerful if only because it provides a reason to get out of the house – one that’s also cozy enough to validate your decision to stay in, should that be your wish. If “sexy is something I see in everything,” as Clairo sings, wryly twisting the meaning of the whole song, you can’t really go wrong either way.
8. Jessica Pratt, ‘World on a String’
The lyrics to ‘World on a String’, like so many of Jessica Pratt’s songs, are a total mystery. But they are as meticulous, bright, and commanding as every other element of her music, spinning as if to challenge your very perception of the space-time continuum. Each tangle of words, dusted off by a gorgeous melody, strikes with steely precision: “I used to want for what your desolation hadn’t come by,” Pratt sings with ghostly innocence, before shifting to present tense. “I want to be the sunlight of the century.” It’s more comfortably understated and seemingly wistful than ‘Life Is’, the radiant orchestral pop tune that led Jessica Pratt’s fourth album, Here in the Pitch. But its iridescence seems to echo even louder.
7. Sabrina Carpenter, ‘Espresso’
Streaming numbers aside, ‘Espresso’ hit instantly. I remember listening to it for the first time the morning it came out and, before the chorus had come around, already thinking the title was apt. But caffeine as a metaphor for love? Well, that was bizarre. Then it became undeniable, like every one of its nonsensical yet matter-of-fact lines, which not only managed to rhyme “dream came true” with “Mountain Dew,” but turned both of those phrases into verbs, for whatever reason. It’s frothy pop absurdism done right, letting its nu-disco beat breeze through instead of running the show, which is all Carpenter’s. So what if she’s working overtime? ‘Espresso’ looks at most every song on this list dead in the eye and proclaims, “I can’t relate to desperation.” No wonder you find yourself hooked.
6. Adrianne Lenker, ‘Real House’
On Adrianne Lenker’s Bright Future, ‘Real House’ is followed by ‘Sadness as a Gift’, another contender for this list. The juxtaposition makes me wonder whether the album’s opener is “too heavy to hold,” what gratitude can still be wrought from its devastating melancholy. ‘Real House’ is spare to the point of formlessness, so viscerally raw it should qualify as a violation of personal space. (I have to clench my jaw just to brace myself for listening to the song, let alone write about it again.) But the space in the song, filled up by Nick Hakim’s reverberating piano and Lenker’s spoken word, is vast, encompassing childhood memories, dreams, and tears both figurative (like those “on the night’s face”) and remembered – seeing her mother cry for the first time. At the heart of the song, and maybe the most real and grounding thing about it, is the chasm of time separating its main subjects, mother and daughter: “I never thought we’d go this long,” she intones, addressing her directly. Is it time that floated along, you’re left wondering, or Lenker herself? Either way, the reward comes from weaving some kind of clarity out of darkness, which starts to feel a lot like home.
5. Kendrick Lamar, ‘Not Like Us’
In a flurry of diss tracks that got ugly more than just divisive, ‘Not Like Us’ was oddly unifying, an omnipresent rap banger that was unlikely in more than ways than one. Of all of Kendrick’s hits, how did the one with the line “Certified Lover Boy? Certified pedophiles” become the longest-running No. 1 song on the Billboard Rap chart history? Mustard’s euphoric, chopped-up production keeps the pulse going, but it’s Lamar’s flow that thrills no matter how many times you listen to it: ‘Not Like Us’ is an uneasy and knotty song, but the rapper drops one accusation after another with such ease and wild-eyed precision that it ends up more fun than it has any right to be. Its impact was immediate, and though it’s dulled since then, it also registers less as just another victory lap from Lamar – he did surprise us with GNX, after all – and more like a celebration of what brings hip-hop culture together.
4. MJ Lenderman, ‘She’s Leaving You’
In the verses of ‘She’s Leaving You’, MJ Lenderman describes the coping mechanisms of the type of guy we’ve all encountered in our lives – unless you’re the one. Maybe it’s a breakup, maybe it’s a midlife crisis (most likely both), but whatever it is, its dissolution is enough justification to self-prescribe renting a Ferrari and ranting in awe of Eric Clapton. “We all got work to do” is the central mantra, a refrain that keeps crawling up my mind, while the titular phrase is reduced to a ghostly echo – flickering a little longer thanks to backing vocals by Lenderman’s Wednesday bandmate and ex-partner Karly Hartzman, which rise to the foreground before the song ends. He can do it with a broken heart, but he’s hapless and lousy, and he won’t mind losing the spotlight as part of the fallout. Lenderman’s got enough empathy to render ‘She’s Leaving You’ as more of an anthem than a caricature, but he urges the dude to get going before the darkness becomes overbearing.
3. Chappel Roan, ‘Good Luck, Babe!’
The unrequited love at the core of ‘Good Luck, Babe!’ may be short-lived, but it’s world-shaking even in the grand scheme of things. The song eases the listener in with plaintive synths, which grant the cult-singer-songwriter-turned-megastar the necessary space to both sketch out the situationship and flex her vocal theatrics. But it’s not until the song’s monumental bridge that you understand the scale of it, as Chappel Roan jumps to the future to disrupt her ex’s bubble of compulsive heterosexuality. While she swoons in exasperation through the chorus – treating avoidance with just enough empathy to steer the song’s well-wishing away from the snarkiness of, say, The Rise and Fall of a Midwest Princess’ ‘Casual’ – here her roaring falsetto transforms pent-up frustration into a kind of triumph. She purportedly hates to say “I told you so,” but the pleasure seems to be all hers. If only the world could keep up in time.
2. Waxahatchee feat. MJ Lenderman, ‘Right Back to It’
When it comes to laying flaws bare, no one wields language like Waxahatchee. Feeling a little guarded and non-verbal? “Reticent on the off chance/ I’m blunter than a bullseye/ Begging for peace of mind.” A bit of envy? “I’ll fall down into a fair game/ Lick a wound that was not ever mine.” But ‘Right Back to It’ isn’t about the shifting tides that tear a relationship apart so much as the thing that steadies it, the strange pull of stability. Katie Crutchfield’s graceful words and melodies unfurl with ease in the chorus, where she’s joined by MJ Lenderman, a duet that sounded freshly exciting at the time of its release yet somehow still weathered by time. “But you just settle in/ Like a song with no end,” they sing. The song ends, of course, but that only makes you want to come back one more time.
1. Charli XCX, ‘Girl, so confusing featuring lorde’
As a PR move, inviting the rumoured subject of a song to be part of the remix was risky, obvious, and ultimately brilliant. But as one of the defining moments of an album campaign that came to penetrate cultural discourse more for its marketing than the actual music, ‘Girl, so confusing featuring lorde’ was disarmingly, viscerally raw – even in the context of a record that was celebrated for its vulnerability as much as its bangers (of which ‘Girl’ is definitely one). On the original version, Charli XCX showed no interest in working it out with this other female pop star, not necessarily because of the specific dynamics of their friendship but because the conflict only served to validate her own, more existential cycles of anxiety, self-hatred, and self-defense. “We talk about making music/ But I don’t know if it’s honest,” she sings, but with such a public image and network to protect, how much of her own gut-spilling candor can we really accept as truth?
Lorde’s feature was transformative, clumsy, and electrifying. The honest part was undebatable. Could she really be singing the verse she apparently texted in its entirety to Charli, which totally warranted the response “Fucking hell”? The collaboration dismantled not only the perceived barrier between the two artists, but the very façade of carefree stardom, each “girl” and exclamation point as well as a stab of empathy. A.G. Cook’s nervy, clanging beat provides fuel for the drama yet is more gripping for the way it narrows the distance between the singers’ inner monologues. The song is not about two of the industry’s biggest voices coming together in perfect harmony; it’s no happily ever after. It cuts way deeper than that, broadcasting in real time insecurities that may not manifest identically for both parties, but are nonetheless shared and pervasive to countless more people whose lives look nothing like theirs. Who believe themselves to be something, but not quite. “I think I know how you feel,” more than a reach for compassion, is always a truly wild guess. Lorde and Charli make it feel worth the effort.