Favorite Albums of 2020

It’s that time of year again! Where I sit down, reflect, and list out my favorite records over the last twelve months. I normally don’t preface these lists much, but for this, I felt like I needed to say that 2020 is one of my favorite years in music in a long, long time. All 10 of these pieces will be ones that I revisit often, and that I consider formative to my life and how I will reflect on this wild year.

1. Machine Gun Kelly – Tickets to My Downfall (pop-punk, hip-hop, emo). All that needs to be said about Tickets can be found in the song’s aptly named opening song “title track.” From its remarkably simple, meta, and intelligent jest of a name, to its opening lyrics, MGK sets his listeners up with all the expectations they need. “I sold some ticket to come see my downfall. It sold out in minutes, I saw friends in the front row,” MGK delicately reflects in the record’s opening moments. This is followed by a moment of silence, which is broken by the songwriter-rapper declaring “fuck it.” However, this declaration is not only for himself, or his co-writer and producer Travis Barker (of Blink 182 fame), but to the audience. Notably, this album sees the Cleveland rapper break from his artistic sonic roots, and return to a place of personal nostalgia, mid-2000s pop-punk (hence his collaboration with Barker). A second later the song comes crashing in in full distorted-guitar rage, and from here the journey of Tickets really begins. It’s all so fitting and beautifully parallels the reality MGK has lived in making this record and in its subsequent success. At its core, the album is about his perception in the public sphere, and how he is keenly aware that his popularity is more about this brash attitude and the public’s love of criticism of him, rather than anything to do with his work. This idea of those around him being invested in his demise extends past music however, and serves as a place for Colson Baker to reflect on past romantic relationships (notably with the breakout singles “forget me too” with Halsey and “my ex’s best friend” with blackbear), his new found love with Hollywood star Megan Fox (“bloody valentine” – the set of the video is where they met, “banyan tree” – an interlude that features an incredibly intimate conversation between the two), and even his paternal relationship with his daughter (“play this when i’m gone”). While Machine Gun Kelly has never been known for being “shy,” this album offers the rapper an opportunity to explore a new kind of self-discovery, self-awareness, and vulnerability. This occurs sonically as well, as he takes his patented hip-hop rhythms and overlays them on very straightforward pop-punk genre fare. While Baker relies on his hip-hop sensibilities in his vocal cadence, melodic delivery, as well as lyrically (the album is littered with references to drug and alcohol use, sex, and other “street” tropes, much akin to his hip-hop refrains) one can’t help but still feel like the album, and Baker himself, is undeniably punk in its “push it to the limits” attitude. He takes the chance to explore multiple sounds as well, not just the nostalgic feel in vein of Travis Barker’s Blink 182 pop-punk connection. We see hints of post-hardcore (“body bag” with YUNGBLUD and The Used’s Bert McCracken), garage punk (“WWIII”), and even a Linkin Park-esq alternative rock track (“can’t look back”), most notably a lot of these sonic explorations come on the deluxe edition’s bonus tracks, showing that Baker had a clear vision for the record, but still found time to explore other sounds. In Tickets Baker and Barker are both able to create something nostalgic and familiar, yet completely refreshing and new. It’s here where the album succeeds, and where it stands out on the new front of underground music. Favorite tracks: “drunk face,” “my ex’s best friend (feat. blackbear),” “forget me too (feat. Halsey),” “body bag (feat. YUNGBLUD & Bert McCracken),” “title track”
2. Bring Me the Horizon – Post Human: Survival Horror EP (metalcore, alternative rock). Bring Me the Horizon are no strangers to being the mainstays of underground and extreme music. While their last two records saw a departure from the dark metalcore that catapulted their fame, they managed to show a growth and maturity that have kept them in the limelight as they relied on a more electronic-driven sound. Here begins the creation of Post Human, a four part EP/LP project of which Survival Horror is the first installment. In numerous interviews, frontman Oliver (“Oli”) Sykes has cited his new found frustration and fear of the future world as the driver behind this first piece, noting that he’s found reasons to scream again. Undoubtedly, Survival Horror sees the British band return to their metallic roots, with blistering rhythms, distorted guitars, and Sykes’s gritty vocals becoming the key sonic basis for this EP. The album opens with “Dear Diary,” a track that certainly will hook fans of their original metal sound, as it kicks off with a blistering riff, Oli’s trademark screams, and blast beats. There is also the frantic “Kingslayer” later on the EP, which aptly features BABYMETAL in a song that pays homage to sort of anthemic extreme metal commonly associated with their act, as well as offers the biggest and heaviest breakdown on the record. However, to say Survival Horror is simply a return to form of sorts would be underselling the EP. While it dips back into some of those roots, rather than a simple regression, it aims to take the electronic elements they have crafted in their recent discography and find a place for them in a heavy soundscape. In juxtaposition to the heavier tracks mentioned, songs such as “Teardrops” and “1×1 (feat. Nova Twins)” sees the band teeter closer to the the alternative rock direction of their most recent work that is more based on electronics that are accented by distorted guitars. There also exists a space in the middle, and this is perhaps where the band truly excels. The lead singles “Ludens,” “Parasite Eve,” and “Obey (feat. YUNGBLUD)” see the band feature strong melodic hooks, electronic sampling, and metallic riffage all in one, showcasing just how far the band has come as songwriters in blending their different sonic directions. The record is littered with references to the current state of the world, and the band’s frustration with its current direction. Nothing captures the theme better than the closing track, which features a mostly a cappella vocal tandem between Sykes and Evanescence’s Amy Lee. The song is guised as a conversation between two romantic partners, but as Sykes has divulged since the EP’s release, it actually is a front for a dialogue between Earth and humans, as “mother Earth” asks humans why they are so content with the destruction of their home. Survival Horror sees the band boldly condemn and warn us of where our species is heading, a theme most salient in a year that has been hallmarked by a global pandemic. While they don’t offer many solutions, one can’t help but feel the cathartic release that Survival Horror has to offer as we tackle these issues facing our species. Favorite tracks: “Parasite Eve,” “Teardrops,” “1×1 (feat. Nova Twins),” “Dear Diary”
3. All Time Low – Wake Up Sunshine (pop-punk, pop-rock). This is an album about growth, which is something All Time Low are no strangers in exploring. The pop-Punk stalwarts have also done much to try and find a new identity in their most recent installments. Where they differ from the above artists however, is that Wake Up Sunshine is a true return to form. Gone is the electronic buble-gum pop that the Baltimore quintet has tried to brand on over the last half decade, instead, Wake Up Sunshine features crunchy guitars, punchy drums, and overall a more mature and introspective angle from the band. While positivity and joy are a central themes to the sonic tone of the album (see the yellow color that they chose to highlight on their cover), lyrically, frontman Alex Gaskarth chooses to explore more complex emotional themes that are adjacent to “happiness,” such as mental health, heartbreak, and his own ability to create a narrative of happiness for his own life despite its set backs. Blistering pop-punk riffs pervade the album in a way the band has abandoned since the late 2010s. Songs such as “Getaway Green,” “Sleeping In” and “Melancholy Kaleidoscope” place an emphasis on guitar riffage in a way that used to be an All Time Low trademark, but that they have sacrificed for more pop sensibilities. While the album certainly still caters to their pop side and shows experimentation (“Monsters (feat. blackbear)” has become a certified #1 radio single and features a full verse utilizing blackbear’s rapping), underneath the each song lies a driving punk flair that hallmarks the band’s return to form. Regardless of how one feels of All Time Low’s sonic direction however, one thing is undeniable, these are great songs. Each one carries a unique identity and story, making for an album that feels consistently refreshing and engaging. The best praise one can give the record is that it is certainly an ear-worm, begging for constant re-listens, sing-alongs, and finding new moments to get etched into your head. It all comes to a head on the albums beautiful closer “Basement Noise,” where Garskath takes a moment to slow down and reflect on his band that has been at the forefront of pop-punk for over a decade. “Wonder if the sounds are connecting, trying to see the future in what they see in us, see in us now, wanna ditch the predictability…How were we supposed to know it all adds up when you let go, and where are we supposed to go from here?” the lyrics read. Certainly a fitting way to consider the band’s journey and how far they’ve come from “stupid boys making basement noise,” and how far they hope to continue to grow. Favorite tracks: “Sleeping In,” “Melancholy Kaleidoscope,” “Basement Noise,” “Glitter & Crimson”
4. Make Them Suffer – How to Survive a Funeral (metalcore, deathcore). To make an album that is both undeniably brutal, yet intimate and vulnerable, is a heck of an accomplishment. And the Australian metalcore act does precisely that with their latest effort and Rise Records debut. While Make Them Suffer has built a brand on the more emotionally vulnerable side of heavy music, How to Survive a Funeral finds them making a record that hits as hard sonically as it does emotionally. “Speak from your heart” screams unclean vocalist Sean Harmanis in the opening track “Step One,” and for the next half hour or so, he proceeds to do just that. The album features crunchy riffs from guitarist Nick McLerron, and he finds a way to blend heavy riffage with consistent and compelling songwriting. There is also a groove to this record that adds a flavor to the albums sheer brutality that keeps it engaging and way from simply an exercise in heavy sonics. Of course, as MTS’s trademark, orchestral elements weave throughout the album, offering a counterbalance to the down-tuned onslaught that fills the listener’s ears. The band also continues to lean in favor of more melodic elements, both incorporating more choruses for clean vocalist and keyboardist Booka Nile, as well as more emphasis on using her keys not simply for layering, but as the driving lead melodies to match the heavy riffs. However, the new wrinkle for the band is the incorporation of frontman Sean Harmanis’ own clean vocals in the most tender moments of the record. Notably, in the buildup to the outro of lead single “Erase Me,” we hear Harmanis desperately croon, “Why would you save me? I’m not worth saving. You’re suffocating, so just erase me.” The anthemic outro to this track provides a perfect glimpse into the power of this record, as it is one of the most powerful and emotional moments on the album. While the album is full of brutality and anger, its moments like this (as well as whole songs, such as the titular track and “The Attendant”) that make this record stand out in a year full of exceptional heavy music. Favorite tracks: “Erase Me,” “Drown With Me,” “The Attendant”
5. YUNGBLUD – weird! (British-punk, emo, pop-rock). YUNGBLUD (Dominic Richard Harrison) exists in an odd space, he has achieved the perception of mainstream success and marketability, while cultivating a sound and cult following that subverts the public perceptions of him. Known as a sort of an out-the-box hip-hop artist (most likely due to his breakout singles “Tongue Tied” with Marshmello and blackbear, and “11 Minutes” with at-the-time-partner Halsey and Travis Barker), that certainly is not the sonic direction YUNGBLUD goes here. In fact, weird! offers something totally opposite of the mainstream hip-hop persona he’s assumed to have. It’s predominately a punk and emo record, drawing influences from the likes of The Clash, The Cure, and My Chemical Romance. It draws heavily from mainstream pop as well (“cotton candy”), but it focuses on a more underground aesthetic. With that said though, weird! is precisely that, it’s weird. While certain songs do follow certain genre tropes, the UK solo act breaks down any expectations and rules that one may have, with songs ranging in genres but somehow fitting together in a cohesive manner. It’s an album for the times, and one that is based on finding yourself in-spite of the world around you. It’s about breaking down the walls that not only cage our perceptions of the songwriter, but of ourselves and others around us. It’s incredibly empowering and offers anthems much akin to those of mid 2000’s emo. My Chemical Romance becomes the easiest comparison, as there are hints of aggression (“strawberry lipstick” and “superdeadfriends” are fast, punk, and raw) but ultimately it is more about the anthemic and emotional ballads that showcase Richard Harrison’s incredible vocal talents that feel very akin to Gerard Way (“the freak show,” “mars,” “god save me, but down me out,” “teresea”). YUNGBLUD’s weird! is an album that has something for everyone sonically. But more importantly, it’s about where we are as a society, and how we can find ourselves with a world that wants to hold us back. weird! is the punk album for the next generation of mistfits who hope to change the world, and certainly offers the songs to be the backdrop for that change. These songs may not make sense on paper, but when looking at the whole picture, it creates a beautiful and empowering canvas. A message YUNGBLUD hopes we can all take away for ourselves to learn how to love and accept those around us, despite how they may appear different on the surface. Favorite tracks: “strawberry lipstick,” “cotton candy,” “the freak show”
6. Loathe – I Let It In and It Took Everything (metalcore, nu-metal). The dark and industrial flavor offered on Loathe’s sophomore effort give it an edge and bite that has quickly made the English metal band household names in the core scene. The album is crafted with and ultra dark riffage that helps create an imagery for the listener where the band’s songwriting can grow and create a life of its own. This perfectly encompasses the theme of the record, one all about accepting the process of life. Fear, freedom, and creation are all themes explored here by the band, with a loose narrative sort of permeating throughout. However, it’s clear that Loathe isn’t hoping for listeners to attach to the narrative they crafted, but rather choose to it ambiguous for our own experiences and imagery to take over. It’s a beautiful piece of post-modern metal, where “storytelling” is both present and absent. It’s album that feels as cold and brutal as a factory, but as bright and wondrous as a clear night sky. There’s a mystery behind these tracks, both in their brutal moments, as the more sonically dream-like melodic ones, that drives this record. The album bounces from this gritty belend of frantic electronica, industrial metalcore, and nu-metal, and into these airy and floating melodies and instrumental soundscapes. The performance from vocalist and lyricist Kadeem France is haunting, intelligent, and moody. There isn’t a record that offers the atmosphere of I Let it In... and for that this record should be remembered. There’s a lot this album sounds like, hints of Slipknot, Deftones, Lotus Eater, and Northlane all creep in and out, but it’s the experimental fusion of sound and atmosphere where this record crafts something unique and powerful. Loathe is able to remind us that there is both beauty and fear in darkness, and how we choose to reflect in that space is up to us. I Let It In… feels like staring into the abyss of space, where we can choose to either be in awe of it all, or crushed by its scope and grandeur. Favorite tracks: “Aggressive Evolution,” “Two-Way Mirror,” “Broken Vision Rhythm (feat. Harry Rule)”
7. In Hearts Wake – Kaliyunga (metalcore). “This is an emergency, our house is on fire,” opens the latest effort from the Australian metalcore mainstays. No strangers to the heavy scene, In Hearts Wake have been in the game for a while, crafting some of the most unique and interesting conceptual records and songs heavy music has to offer. With Kaliyunga, they are back to much of the same, but this time with an energy and sense of urgency that has been lacking in their last couple of releases and that is encompassed with the opening line to the album. At its core, Kaliyunga doesn’t stray far from familiar territory with In Hearts Wake. It’s an album about our planet, how we treat it, and how we treat the other living beings on it. However, rather than a careful reflection on these themes, the boys abandon that for full out heavy metal. “Worldwide Suicide” sees the band offer one of their most straightforward and heavy tracks to date, where vocalist Jake Taylor unleashes his brutal and raspy grown in ways we haven’t heard before. “Hellbringer” (which features a fast and punchy feature from Polaris vocalist Jaime Hails) takes their more “nature” driven rage somewhere else, taking punches at organized religion (also a theme in “Son of a Witch”) and conservative politics. This direct assault backs the message of the record, that we are destroying the world around us and now is the time to act. Sonically, In Hearts Wake not only finds time to offer a more brutal metallic tone, but also finds their groove. The choruses and main riffs of songs like “Moving On,” “Timebomb,” and “Son of a Witch” are melodic and catchy offerings space for bassist and clean vocalist Kyle Erich to create some big hooks. This groove also lets Jake Taylor explore more rhythmic deliveries akin to Rage Against the Machine in certain verses (“Timebomb,” “Son of a Witch”) and can occasionally be backed by some more industrial flair. The album, much like the deity its title invokes, brings rage and fury from its first moments to its last, and hopes that its anger will be utilized to antagonize the change In Hearts Wake sees as necessary to save our planet. Favorite tracks: “Son of a Witch,” “Crisis/Worldwide Suicide,” “Hellbringer feat. Jamie Hails”
8. Like Moths to Flames – No Eternity in Gold (metalcore). Like Moths to Flames are metalcore veterns, and No Eternity in Gold sees the band flex their heavy music muscles that they’ve built from their experience coming into their fifth studio album. Much like the rest of 2020 and music coming from it, there is a frustration and rage coming off of this record that is hard to totally quantify. While their previous effort Dark Divine was exploration in moodier and darker melodies, No Eternity Gold sees the Ohio band return to just getting heavy. The opening track “The Anatomy of Evil” explores the conflicting feelings of anger and rage within a person, and the song offers crushing down-tune riffs to drive us through, but ultimately working as a build to it’s huge breakdown. Finding space to explore thematic material is still central to this record’s identity amongst the metallic chaos though. The chorus for “Burn in Water, Drown in Flame” offers a great case study. Vocalist Chris Roetter finds a huge and powerful hook, but layered underneath are his distant screams, and as the chorus comes to an end, dissonant and metallic riffage break the power chords and softer lead guitar work to remind us of the brutal undercurrent that sweeps over teh record. “Florescent White” does this as well, where the verses bounce between a spacey melody and breakdowns layered with blast beats, harsh vocals, and dissonant chords. Thematically Roetter uses this sonic background to explore these themes of darkness within ourselves, as well as cathartically releases his rage against those who have hurt him as well as who he sees as responsible for the dystopian-like world we live in. In spite of its rage, No Eternity in Gold is ultimately just as beautiful of an album as it is a brutal one. It’s an album about anger and karma, about those who are selfish and spiteful. As we have seen the world around us seemingly fall apart, we rightfully start to feel the anger and confusion that comes with that. No Eternity in Gold ultimately shows offers us a sense of release, and shows us that there is beauty in our rightful rage. And that just maybe, if we fight the right battles, both within ourselves and in the world around us, that there is hope. Favorite tracks: “Burn in Water, Drown in Flame” “Fluorescent White,” “Habitual Decline”
9. kennyhoopla – how will i rest in peace if i’m buried by a highway?// EP (alternative, electronica). “You’re gonna cut my head off, and I don’t care” declares songwriter Kenneth La’ron through his musical persona kennyhoopla. La’ron’s debut EP displays a dark edge that has already garnered him a cult following, and much like other alternative trailblazing records, displays an understanding of the underground aesthetic that permeates his writing. This leaves listeners with one certainty, La’ron doesn’t care what box he may nor may not fit into. The overall mood of the album is as bleak as the green and yellow haze that forms its cover. It’s opening track “thinkingoutloud//” is a beautiful experimental track based in electronica, with pop-punk like hooks and hints of hip-hop vocal deliveries and beats. The opening line “I don’t care what anyone thinks. Fuck this town and whoever hates me,” further sets the stage for La’ron’s underlying quest to blaze his own path. The lead and titular single for the EP offers a different angle, presenting an anthemic song tinged in new-wave indie and alternative rock. It’s this courageous blend of soundscapes, yet the songwriter’s ability to seamlessly fuse them together, that suggests that he is simply getting started. While 2020 is not quite the year of kennyhoopla, but that time is certainly coming. Favorite tracks: “how will i rest in peace if i’m buried by a highway?//,” “thinkingoutloud//,” “dust//”
10. Hot Mulligan – You’ll Be Fine (pop-punk, math-rock, emo). Underneath it’s somber and heartfelt emotion, there is something crisp and refreshing about Hot Mulligan’s sophomore effort that one can’t quite place. While their debut album Pilot began to garner a strong fan base, You’ll Be Fine cements the quintet as hot up-and-comers in the new wave of experimental pop-punk and emo. The album is filled with noodling and intricate guitar work based in math-rock sensibilities (think Tiny Moving Parts), which serves as the base for Nathan “Tades” Sanville’s rough and soaring vocal delivery. While the riffs themselves range from incredibly complex in their construction, to simple power chords, the band is able to mold the complex intricacy of the riffs to create songs that are incredibly accessible. The album is filled with big hooks and memorable lyrics, with even the riffs lending themselves to getting stuck in your head. You’ll Be Fine also is able to strike a balance of being an album that encourages a self-reflection that is predominantly somber, but lively and full of energy. It’s an album one can listen to and reflect, or can roll the windows down and scream along with. It’s almost has a nostalgic quality that invokes heartache, yet is something that offers fresh new perspectives, both interpersonally and musically. At its heart these are the things that make You’ll Be Fine special, and that will cary Hot Mulligan forward as songwriters and artists in the years to come. Favorite tracks: “‘Equip Sunglasses’,” “OG Bule Sky,” “Feal Like Crab”

Honorable Mentions:

Ariana Grande – Positions (pop)

Days N Daze – Show Me the Blueprints (folk-punk)

Chatterbox and the Latter Day Saints – The Difference Between Thieves and Crooks (folk-punk)

The Front Bottoms – In Sickness and In Flames (indie-rock, folk-punk)

Fever 333 – Wrong Generation (alternative, nu-metal, hardcore)

Lorna Shore – Immortal (deathcore)

Kingdom of Giants – Passengers (metalcore)

D-Smoke – Black Habits (rap, hip-hop)

Beyoncé – The Lion King: The Gift (pop, r&b, hip-hop)

Alpha Wolf – A Quiet Place to Die (metalcore)

nothing,nowhere. – One Takes, vol 1 (alternative, hip-hop)

Poppy – I Disagree (robot energy, metal)

Childish Gambino – 3.15.20 (pop, electronica, hip-hop)

The Used – Heartwork (emo, post-hardcore, electronica)

blackbear – everything means nothing (hip-hop, pop)

Nova Twins – Who are the Girls? (alternative rock)

Jason Lancaster – Say I’m What You Want (pop-punk)

Silverstein – A Beautiful Place to Drown (post-hardcore)

Dance Gavin Dance – Afterburner (post-hardcore)

August Burns Red – Guardians (metalcore)

Tinashe – Comfort and Joy EP (hip-hop, r&b)

Justin Bieber – Changes (r&b – you’re welcome Justin)

Never Known – Horizons (metalcore)

Haley Williams – Petals for Armor (pop, electronica)

Landon Tewers – Ai640 pt. 3 (metalcore)

Halsey – Manic (pop)

Favorite Video Games of 2022

This list excludes DLC and remasters/ports. Additionally, I kept out games in early access, they needed to have their full launch in 2021.

1. Ghostwire: Tokyo
2. Strangers of Paradise: Final Fantasy Origins
3. Horizon: Forbidden West
4. Switch Sports
5. God of War: Ragnorok
6. Call of Duty Modern Warfare II (2023)
7. TMNT: Shredder’s Revenge
8. Stray
9. Pokemon Legends: Arceus
10. Metal Hellsinger

Disappointments: The Quarry, Madison, Mothmen 1966, Lego Star Wars: The Skywalker Saga,

Honorable Mentions: Multiverses, Madden NFL 23, NBA 2k 23

Didn’t get to play: Elden Ring, The Callisto Protocol, Ixion, As Dusk Fall, The Callisto Protocol, Crisis Core: Final Fantasy VII, Rollerdrome, Gotham Knights

What I’m looking forward to in 2021: Final Fantasy XIV, Final Fantasy VII: Rebirth, Star Wars: Jedi Survivor, The Chant, Forspoken, Starfield, Octopath Traveler II, The Legend of Zelda: Tears of the Kingdom, Resident Evil 4 (2023), Oxenfree II: Lost Signals, The Greyhill Incident

Horizon Forbidden West

Lego Star Wars: The Skywalker Saga

Switch Sports

Strangers of Paradise: Final Fantasy Origins

Multiverses

TMNT: Shredder’s Revenge

Ghostwire: Tokyo

Stray

Pokémon Legends: Arceus

Triangle Strategy

Metal Hellslinger

The Quarry

Mothmen 1966

Metal Hellsinger

Madison

God of War: Ragnorok

COD: MW II (2022; Multiplayer Only)

Pokemon Legends: Arceus

Favorite Albums of 2022

1. Underoath – Voyeurist (Metalcore, Electronica, Alternative Rock). It’s no secret that the staple metalcore act’s first record post-reunion, Erase Me, was the subject of a mixed reception by their fans and the broader metal community (despite a Grammy nomination for its lead single). Notably, the band seemingly shifted away from their metallic roots and offered an album that felt much more akin to a modern rock record than anything else. Make no mistake here though, the Florida six-piece’s ninth studio album is undeniably heavy and metal-driven first, with atmospheric electronic sampling and more timely reliance on the melodies from its two lead vocalists peppered in. The album sets this tone immediately with its lead single and first track “Damn Excuses” a raging two-and-a-half minute opener that leaves no room for debate about what Voyeurist will contain sonically or thematically. The album is full of some of Underoath’s most violent and heavy moments, including the huge outro of “Hallelujah,” as well as the frenetic and violent track “Cycle (feat. Ghostmane).” However, and much more importantly, Underoath balances their violence with much more focused doses of their more experimental and melodic sides, which to this critic, is why they have always stood out amongst other metal acts. “I’m Pretty Sure I’m Out of Luck…”, “(No Oasis)”, and “Pneumonia” offer subtle builds off of keyboardist and composer Chris Dudley’s careful electronic sampling to create an atmosphere and flow to the record that builds off the strengths of their previous album, as well as finding ways to blend themselves both into the older heaviness Underoath has made their name off of, as well as a more mature evolution they attempted to capture on Erase Me. Vocally, the stronger presence of drummer/clean vocalist Aaron Gillespie also makes for a much more familiar record to older fans of the band, as the duality between Gillespie and lead vocalist Spencer Chamberlin is much more at the heart of the album. Some songs even still trend toward a more “alt-rock” direction (“Thorn,” “Take a Breathe,” “We’re All Gonna Die,” “Numb”), but the balance of the two vocalists creates a tension that allows for these songs to not feel redundant or like desperate attempts to hit the Siris XM charts (along with plenty of heavy and experimental moments still littered throughout them). Most notably, there’s a beautiful bridge that is used as a haunting outro in “Thorn” that keeps the track from feeling too much like a straightforward hard-rock song. Thematically, this album sees much more of a focused attempt at commentary and reflection from the songwriters (Dudley, Gillespie, Chamberlin, and guitarist/producer Timothy McTague). “Pneumonia” is the standout track on this front, explicitly written about the death of McTague’s father, and ties the core themes of the album together. Across the tracks, the band explores their newfound separation from their religious faiths that previously was the hallmark of the band’s writing, and the subsequent struggle to rectify their now lack of faith with the darker aspects of the human experience (such as death (“Pneumonia,” “We’re All Gonna Die”), anxiety (“Take A Breath”), and romantic loss (“Thorn”)). This is all tied together by the titular theme of the record, this sense that in a world run by capitalistic tendencies, our technology, religion, and social systems are tools of exploitation, and to Underoath – ways of monitoring you at your most vulnerable moments in order to heighten that exploitation. We are the prey in a world run by technocratic predators. It’s this haunting sense of always being monitored, always being extracted for value, and always being unsure of what is real or not, that pervades Voyeurist in all of its moments, from the melodically accessible hooks, the dark experimental sampling, or the bone-crushing breakdowns. It’s this cohesive sense of thematic direction that takes Voyeruist from being just another passable album post-Underoath’s 2016 reunion and makes it one band’s strongest albums to date. Favorite Tracks: “I’m Pretty Sure I’m Out of Luck and Have No Friends”, “Damn Excuses,” “Hallelujah,” “(No Oasis),” “Pneumonia”
2. Machine Gun Kelly – mainstream sellout (life in pink deluxe) (Pop-punk, hip-hop, pop-rock). The sudden and monumental success of MGK’s previous record, Tickets to My Downfall, was not only a surprise to underground music, but also to MGK (Colson Baker) himself. Determined to follow up on his most successful record to date, mainstream sellout is a masterclass exercise of song crafting by a masterclass songwriter. Not only does Baker undeniably create a worthy successor, but his vulnerability in creating this record, the pressure he felt, the experience he had with his fans, and the horrors of sudden fame, makes mainstream sellout arguably an even stronger album from front to back. However, while Tickets will forever go down as one of the greatest punk records of all time, mainstream sellout is much more of an exercise in creating a perfect “pop” record. While still undeniably “punk,” there is a certain amount of manufacturing and seeking perfection in the songwriting that is clearly much more coordinated than the tracks presented on Baker’s last album. Songs like “maybe (feat. Bring Me the Horizon,” “emo girl (feat Willow),” “ay! (feat. Lil Wayne),” “make up sex” (feat. blackbear), and “fake love don’t last (feat. iann dior),” strike the listeners as perfectly curated pop songs, meant to etch themselves in the listeners’ ears, to be sung along with at loud volumes, and to appeal to a wide variety of people and experiences. There is no shame in this though, as these tracks are truly catchy, and fun, and can easily pump up a stadium of fans across the spectrum of human experience. However, like Tickets, the strength of the album is when Baker is able to be genuinely vulnerable and is writing about his personal reflections and feelings. “16 years old, kicked out the home, out on the street. Can’t reconcile both my parents are gone. I wanna talk to my dad, rest in peace. Last night I took a gun in the room alone, I almost blew my head off,” writes Baker on the standout backtrack “god save me” a song about Baker’s struggles with his suicidality, fame, and to understand what to do with his past, present, and future. The album’s opener (and previous title) “born with horns” is a multi-layered reference to Baker’s multi-layered personality (boy with horns – Baker is a Tarus (the bull in Astrology), but also feels like a “spawn of satan”), and his struggle to accept that things will end positively for his life: “In this film I know, there’s no happy endings” (what a FANTASTIC “emo” lyric). That refrain comes back in the incredible closer “twin flame,” a track dedicated to Baker’s now-fiance and their experience with a miscarriage. The album’s deluxe edition holds no shortage of amazing tracks as well, including “9 lives” (a driving pop track that echoes many of the themes of the record) and “last november” (a follow-up to “twin flame”). Overall, mainstream sellout is a rare album that truly matches the standards and experience of the first, and for fans of pop and underground music, Baker’s lastest songs are absolutely must-listens. Favorite Tracks: “god save me,” “9 lives,” “ay! (feat. Lil Wayne),” “twin flame,” “born with horns”
3. The Devil Wears Prada – Color Decay (Metalcore). “Welcome to the way down” cries clean vocalist and guitarist Jeremey DePoyster on the opening track, “Exhibition”, on the improbable eighth LP from the metalcore stalwarts, a clear signal of the darker tone and direction of the album. The reason I state it’s “improbable” is because very, very rarely are there bands who have this long of a career, particularly in a niche genre, where they continually find new ways to reinvent themselves and their songwriting in such a satisfying manner. And not only to push themselves, but to genuinely create a collection of songs that feels like a natural sonic evolution, and that shows the maturity and musical growth of the artist. While last year TDWP made my annual list with their incredibly heavy EP ZII, the latest entry from the band is a much more somber tonal and thematic collection of songs, much more akin to their last full-length The Act, which also felt like a descent into the dark horrors of normal life. Color Decay follows and expands on this sonic and thematic direction, and is undoubtedly the most mature and one of the best records the band has ever put together. That’s not to say that the heavier elements and thick guitar tones of the EP don’t appear here. The two lead singles “Watchtower” and “Sacrifice” include some of the most br00tal moments in any TDWP. This is where the LP shines, in a blend of TDWP of past, present, and future. There’s no sense of complacency, in fact, the entire record feels like a direct attempt to combat that very sense. The album thematically is littered with these haunting reflections of rather mundane moments in life, where lyricists Mike Hranica and Jonathan Gering seem not content with simply expressing their challenges in identity in growing into adulthood, but in trying to critically understand the ins and outs of their daily circumstances. “Broken” is an anthem about getting too drunk and the anxiety that comes with the recollection of that moment and what led you to make the decisions you did (or didn’t). “Hallucinate” chronicles the nightmare scenario of waking up alone in the middle of the night to a migraine. The anthemic closer “Cancer” is a reflection on the death of people you look up to, and hoping that their mortality isn’t a reflection of their own demons, but rather a terrible accident, the kind that no one can avoid – all so you can avoid the cognitive dissonance that your heroes are also fucked up. It’s here where the band wishes to express their anxiety, fear, and anger. Life is challenging, confusing, dark, sad, and somehow still joyful and fulfilling. Color Decay doesn’t just shine in its thematic and lyrical direction, but as noted before, it still takes time to express sheer brutality, aggressive and distorted instrumentals, as well as delicate and haunting melodies. “Noise” boasts one of the most haunting bridges and outros in all of 2022, “Time” and “Salt” see the band try out syncopated rhythms to underscore their metallic riffage, presenting rather conventional metal riffs in unconventional time signatures and rhythms. Overall, Color Decay is a true expression of the growth of metal as a genre and the growth of the members of TDWP, who continue to cement themselves as metal royalty. Favorite Tracks: “Sacrifice,” “Time,” “Noise,” “Cancer,” “Twenty-Five”
4. Northlane – Obsidian (Metalcore, electronica, progressive metal). Speaking of groundbreaking metal, Obsidian is the sixth album from the Australian progressive-metalcore band, and their follow-up to their critical and commercial success Alien, finds the band continuing to evolve and produce insanely great music. Sonically, we see Northlane further embrace the dark electronica that drove their previous LP but take it to new progressive heights. The opening track “Clarity” establishes this right away with a nearly six-minute long track that slowly builds from an atmospheric electronic track into a monster metal anthem. The textures and atmosphere created by the electronic sampling allow for Northlane to take their patented brand of crushing djent riffs giving them something to contrast against. Sometimes the electronic beats are almost EDM-like (the outstanding lead single “Echo Chamber comes to mind), and the band is able to capture that “dance” feel into their rhythmic patterns. The best way to sum this record up is that is basically an experiment in taking the underground metal club scene from The Matrix and creating a 13-song LP off that cyberpunk, dystopian science-fiction, vibe. To drive the point home, I actually wound up listening to this record an absurd amount while playing the recent RPG Cyberpunk and feeling like the album perfectly captured that world and experience. And let me tell you, it works to perfection. “Abomination” is where all these elements converge at their strongest, a song about the frustration of the hypocrisy in the underground scene, and that feeds off an absurd EDM beat that takes over in the middle of the song. It’s heavy, it’s sexy, and it makes you want to violently mosh but also sensually dance at the same time. The electronics don’t overshadow the guitarwork through, as the incredibly complex riffage and lead melodies from guitarists Josh Smith and Jon Deiley (the opening riff of “Plenty” makes my fingers hurt just imagining trying to play it). Vocally, frontman Marcus Bridge takes another massive step in his ability to craft songs and melodies that capture his range and tone in an excellent fashion. Throughout Obsidian, you navigate its dark soundscapes with a fairly even balance of Marcus’ otherwordly clean vocals (dude has PIPES), as well as his ever-improving harsh vocals that continue to find new tones and textures to build on. The songs are not only excellent pieces of progressive metal however, but many of them are also straight-up catchy (“Clockwork” will stick in your head for days) and find a really excellent balance between heavy metalcore, progressive songwriting, and big melodic hooks. Overall, Obsidian is a true work of novelty in progressive metal. The album’s ability to create its own atmosphere and feed off of its electronic and metal elements provides one of the most unique and captivating works of music in 2022. Favorite Tracks: “Echo Chamber,” “Clockwork,” “Abomination,” “Clarity”
5. Action/Adventure – Imposter Syndrome (Pop-punk, easycore). Stop what you are doing and listen to this record. Right now. If you are reading this, you probably enjoy pop-punk/alternative/underground music, and Action/Adventure is the best “new” band in this scene. This is not hyperbole. It’s not a meme like Hot Mulligan has embraced. It’s just the truth. “You’re living in the presence of an instant classic” sing co-founder Blake Evaristo (lead vocals) and Brompton Jackson (guitar/vocals) on the first full track “Save Yourself,” and it’s not a catchy/cocky statement in any way, as Imposter Syndrome proves to be one of the strongest pop-punk albums in the last half-decade. Where Action/Adventure shines not because they present a new or unique insight into the genre-tropes of pop-punk – rather, they shine because they present a beautiful blend of various tropes from bands and movements all across the scene and its history. It’s a beautiful mosaic of what pop-punk has been and can be. There’s something painfully nostalgic but totally unique in the music Action/Adventure writes, and for fans of this scene, there is something here for everyone. The core of the band is their heavy and complex riffing that comes off as a strange blend of A Day to Remember, Hot Mulligan, old-school Dance Gavin Dance, and Four Year Strong. The riffs are chunky, bouncy, and sometimes straight-up heavy. Like the artists they draw inspiration from, this album is primarily a pop album dressed in the guitar tones of heavier music and punk aesthetics. It goes from catchy sing-along choruses (“Levity” will stay in your head for days), driving punk verses (there are blast beats in songs such as “Carolina Reaper”), and bouncy breakdowns. Vocally, the band leans on the trade-off between its dueling vocalists (think Taking Back Sunday or Blink 182), paired with witty and earnest lyrics that have a flair for dramatic imagery and poetic prose that can only be reasonably compared to the early lyrical work of Pete Wentz and Fall Out Boy – with the same infectious pop qualities that earned those bands their massive success. The record excellently presents the strengths of both vocalists, with Evaristo offering a soaring clean voice to contrast with the grittier and more strained (in a good way) vocal delivery of Jackson. But again, the riffs. The riffs. The RIFFS. They’re impeccable, and sometimes just straight-up staggering. In terms of guitar work, this has to be one of the most interesting albums put out in 2022 to demonstrate all you can do with punk-driven guitar writing. Thematically, the album really leans into the feelings of nostalgia and insecurity that the title appeals to. “I guess you didn’t seem to notice but everyone ends up the same, dying slowly,” they sing in their unstoppably huge closer “Wanderlust,” which is the best demonstration of the lyrical cleverness and the earnest self-reflection at the heart of the record. Single “Carolina Reaper” also proves to be a strong lyrical entry with clever one-liners like “I know you hate the taste of copper, so here’s a penny for my thoughts,” and “I saw my heroes turn to fossils like the CDs in my center console,” creating an anthem about complacency, nostalgia, and trying to find a way forward in a life where you feel stuck. To try and wrap it up succinctly, Imposter Syndrome is a masterful debut from one of the most exciting young bands in the world. Favorite Tracks: “Carolina Reaper,” “Levity,” “Wanderlust”
6. State Champs – Kings of the New Age (Pop-punk, pop-rock). In case you didn’t know pop-punk has had a comeback, and with Kings of the New Age, pop-punk mainstays State Champs want to make sure that everyone remembers why they have continually been at the forefront of the genre since they burst onto the scene. The album’s first lines (“The kings of the new age, the wrong time the right place”) immediately sets the tone of the record, one that explores a band who has to come to grips with that what they’ve always been doing is finally being validated as cool. The opening track (“Here to Stay”) has more to say about that in its infectious chorus, “Right then we were right there, the bright lights in the night air got there through the nightmare on our own, I guess it’s safe to say we’re here to stay.” State Champs aren’t new to being at the top of the pop-punk game, but their struggles in bearing the brunt of that title and trying to be a pop-punk before it was cool (again) clearly have worn on them and deeply influences their songwriting. The highlight of the album is the single “Eventually,” where lead vocalist Derek DiScanio writes a heartfelt track cemented around the anxiety of being vulnerable and chasing your dreams. But the album isn’t just a serious exploration of a band and their place in a growing scene they view themselves as integral to, as a majority of the tracks are straight-up fun pop anthems. “Act Like That” is a catchy and romantic sing-along that has a clever feature from country artist Mitchell Tenpenny that makes you want to roll your windows down and enjoy a summer evening with a loved one. The record’s hit lead single “Everybody but You” is a party anthem that features an awesome collaboration with Neck Deep vocalist Ben Barlow that will get everyone hyped. “Where Were You” is a breakup anthem that packs a punch and also is a certified earworm. This is what makes Kings of the New Age special, it’s quite simply an excellent collection of pop-punk songs. It’s masterfully crafted (the production is some of the best of the year, and strikes a perfect balance of lighthearted and energetic pop-punk fun, with a more serious reflection on the band and their story so far (pun intended). Favorite Tracks: “Eventually,” “Everybody but You,” “Act Like That feat. Mitchell Tenpenny”
7. Stray From the Path – Euthanasia (metalcore, hardcore punk, nu-metal, Rage Against the Machine). “Here’s another victim of the modern age” are the first words the Long Island punk/metal outfit selected to present at the beginning of their seventh full-length LP, and they did so with an overt purpose. Coming off a global pandemic, a worsening climate crisis, rising fascism, and apathy about racial inequality and violence…the always socially-minded punk group has a lot to say, and as always, they do so as bluntly and unapologetically as possible. That’s not to say it’s without taste or nuance, as both elements are present, but rather the album wants us to focus on our rage about these fundamental dynamics of society, and to really ask ourselves “how do we fix this?” Do we make peace with enemies or violently confront them in search of justice (“May You Live Forever”), do we give up in apathy that we have no power (“Ladder Work”), or do we hold steadfast to our convictions of justice in spite of the consequences (“Bread & Roses feat. Jesse Barnett”)? The album backs these heavy themes with Stray From the Path’s signature blend of hardcore punk, metalcore, and a heavy influence of past acts such as Rage Against the Machine, System of a Down, and Slipknot. The raw vocal delivery of Drew York is unmistakable and is as convicted as ever. The guitars are dark, heavy, and chunky, yet still, carry a groove and experimental flair that other metalcore acts often abandon. And don’t worry, everyone and everything is on blast in York’s lyrical work. “III” is a continuation of the band’s hallmark anthems against police brutality, “Law Abiding Citizen” is a groovy punk anthem name-dropping every major celebrity that’s had social and political controversies and basically every other social issue facing humanity in the last 10 years. “Guillotine” is a warning to those in power that the dynamics of society cannot continue to worsen, and serves as a reminder that power belongs to the collective, who will revolt when the time is right. “Chest Candy” is an indictment on the dynamics of war and the exploitation and death it causes for all but the elite class. All in all, Euthanasia isn’t really new ground for the band, but rather is an excellently focused and musically tight iteration of the sound the band has curated over their career. Favorite Tracks: “III,” “Law Abiding Citizen,” “Chest Candy”
8. Scene Queen – Bimbocore EP/Bimbocore vol. 2 EP (metalcore, nu-metal). If you haven’t followed new artist Hannah Collin’s debut solo project, then you are missing out. Starting as a staff at Hopeless Records, Collins worked her way into getting an opportunity to create her own musical project and then gave the world Scene Queen, her blend of metal and feminity that was unique to the core scene. While other artists have fallen into this “female pop/metal solo project” before (e.g., Poppy), Scene Queen is the first project to adopt this style with a heavier emphasis on the pop/modern-trap beats with chunky metalcore. The title of the EPs says it all, it’s “Bimbocore” to its bones. It’s heavy and chaotic, yet unmistakably the work of a genius pop artist who wants to embrace “feminine” tropes in a traditionally non “feminine” way. You see this in Scene Queen’s social media presence and in her fans, where they work to create a metal show environment that’s safe and inclusive to people of all identities and backgrounds, particularly for women (who are underrepresented and gatekept in these underground scenes). The album not only works in gender role subversion but is also an expression of sexual fluidity and confidence. A woman screaming/shouting about “getting pussy” over downturned metallic guitar riffs and then jumping into a trap-verse is only something you can get on a Scene Queen track. The highlight of the project is the just referred to”Pink Panther,” an insanely clever and catchy metal/pop/sex anthem that captures the energy and worldview of progressive early adulthood. Collins also takes the opportunity to use metal to do what metal does best, and create social commentary about oppression in a tongue-in-cheek way. “Pink Rover” is about cutting up rapists, “Pink Whitney” literally states “This song is about burning down the establishment because they don’t pay me enough,” and “Pink Barbie Bandaid” is a metal anthem about the oppression of women’s reproductive rights (“Freedom means nothing when I don’t own my body even when we’re fucking”). The Bimbocore EPs are must-listens for metalheads who want to hear a unique and fresh blend of sounds, themes, and aesthetics that metal will be forced to embrace (in a good way). Both EPs are clever, and masterfully produced, and both have songs that will make you want to dance, fuck and rage against the establishment. Ultimately, it’s fucking metal. All hail our Scene Queen. Favorite Tracks: “Pink Panther,” “Pink Barbie feat. Set It Off,” “Pink Motel”
9. Avril Lavigne – Love Sux (Deluxe) (pop-punk, pop-rock). As stated earlier, pop-punk has had a comeback, and as with it returns of the genre’s most famous voice, Avril Lavigne. Long out of the spotlight while in her previous marriage, Lavigne teams up with the prolific Travis Barker and producer John Feldmann (who produced her new partner’s (Mod Sun) 2020 album). With this team-up, it’s not surprising that Lavigne makes a return to her punk-rock roots. However, it’s not only a return to form but is probably the most “punk” record Lavigne has ever made. The opening track “Cannonball” is a fast-paced, punch-you-in-the-face, punk track that also has a little k-pop flair (that Lavinge has infamously used before). “I’m coming hot like a cannonball” she sings in the chorus, making it perfectly clear to the listener that this album will indeed be the flex of Lavinge’s punk throne that she hasn’t appealed to in a long time. Barker’s signature drums drive underneath all the tracks, and Feldmann’s ear for picture-perfect production elevates Avril Lavigne’s songwriting into new heights, and much more in the territory of older Blink-18 material than anything Lavigne had written up to this point. Of course, Lavigne is influenced by Barker and his cast of friends (of one she is engaged to) – with stellar features from MGK (bois lie), YUNGBLUD (I’m a Mess), blackbear (“Love It When You Hate Me”), and Mark Hoppus (“All I Wanted”). The album isn’t that overtly “serious” as most of the songs tread familiar territory for Lavigne (heartbreak, insecurity), but some tracks begin to shed a little more vulnerability. “Bite Me,” while on the surface is another patented Lavigne breakup anthem, is clearly an expression of the challenges of her previous marriage. Romantic Lavigne makes an appearance well, with sappy pop-rock tracks that are just so good they hit the spot (“Kiss Me Like the World is Ending,” “All I Wanted (feat. Mark Hoppus)”). Love Sux proves that when it comes to ear-candy pop mixed with punk sensibilities, there is still only one queen. Favorite Tracks: “Bois Lie (feat. Machine Gun Kelly),” “Kiss Me Like the World is Ending,” “All I Wanted (feat. Mark Hoppus)”
10. blackbear – in loving memory (pop-punk, hip-hop, pop-rock). Once again, it is MGK and his cast of friends tapping into their nostalgic love of pop-punk that makes its way onto my list. I guess I have a type. Nevertheless, toward the end of the year, blackbear – a rather famous hip-hop name – acknowledged that his latest release was a departure from his sing-along emo-hip-hop anthems. “An experimental genre album” is what he referred to it as while thanking fans for their support of the record. It was then that I finally fully understood the true genius of in loving memory, which truly is an experimental exercise in a range of pop-punk genre sounds from a hip-hop artist. The album jumps from driving punk anthems like “fuilu” and “gfy,” to moodier emo tracks like “back in rehab,” and even the acoustic ballads “hazel inside.” However, blackbears unmistakable hip-hop vocal delivery is still the heart of his songwriting, and the songs often bounce from traditional pop-punk/alt-rock sounds into the pop/hip-hop that blackbear has built his career off of. However, anyone familiar with his work can’t help but notice his clear influence from the “emo” and “punk” scenes that he grew up as a part of, and this album represents an inversion, where he takes the “vibes” of hip-hop and pop and blends it with the sonic tropes of early 2000’s emo and pop-punk acts. It’s this exploration of differing sounds where blackbear really demonstrates his deep reverence for this scene. He even marks with by offering features of his favorite bands on tracks that clearly derive influence from those artists. “toxic energy” is a post-hardcore and fast-beating punk track that features a massive breakdown with Bert McCracken of The Used screaming all over the place and also offering his unique high-toned vocals. Another heavier track “poltergeist” sounds like a Bayside b-side and features, well, Bayside! The album thematically covers a lot of the same ground blackbear is used to such as bad relationships “the idea,” overwhelming attraction “painkiller”, and identity insecurity “i don’t love me.” “back in rehab” is, for this critique, the peak of the album that captures all of its best essences. It opens with an atmospheric guitar leak and somber punk beat that blackbear croons a melodic minor-y melody, before crunch guitars kick in for a huge pop chorus, finally building to a fast punk outro that you can just picture Travis Barker (who produced the record) speedily drumming along with. Most importantly, all of these songs are strong and unique in their own way, creating an album that will continually give listeners new moments to sing out their car windows, scream at the top of their longs, cry along with, and dance to. All in all, in loving memory, is an incredibly smart and pleasing exercise in “genre experimentation,” and blackbear is able to offer an album that presents his influences in a slightly different way. Favorite Tracks: “back in rehab,” “painkiller,” “gfy (feat. Machine Gun Kelly)”

Honorable Mentions:

Pool Kids – Pool Kids

The Front Bottoms – Theresa EP

Stand Atlantic – f.e.a.r

Sueco – It Was Fun While It Lasted (Deluxe)

Kublai Khan TX – Lowest Form of Animal EP

Fit For an Autopsy – Oh What the Future Holds

Jack Harlow – Come Home the Kids Miss You

Silverstein – Misery Made Me

Belmont – Aftermath

Vatican – Ultra

Destroy Rebuild Until God Shows – Destroy Rebuild

NOAHFINNCE – My Brain After Therapy EP

Secrets – The Collapse

Stick to Your Guns – Spectre

Hot Milk – The King and Queen of Gasoline EP

Lights – PEP

Escape from the Zoo – Countin’ Cards

Slipknot – The End, So Far

Lorna Shore – Pain Remains

Counterpoints – A Eulogy for Those Still Here

Norma Jean – Deathrattle Sing For Me

Lizzo – Special

Demi Levato – Holy FVCK

Yours Truly – is this what I look like?

awakebutstillinbed & For Your Health – Hymns for the scorned EP

Jer – Bothered/Unbothered EP

Magnolia Park – Baku’s Revenge

Dayseeker – Dark Sun

Chelsea Grin – Suffer in Hell

Steve Aoiki – Hiroquest

L.S. Dunes – Past Lives

Jack Kayes – Cessation

WILLOW – <COPINGMECHANISM>

Favorite Films of 2021

I should preface with the simple fact that Spider-Man: No Way Home is obviously my “favorite” movie of the year. But as I’ve said in years past with other movies, since that’s wholly based on my nostalgia and love for that franchise, I’m excluding it from contention.

1. Dune (Sci-Fi, Drama): While I have some esoteric concerns about the strategy and visual representation of some of the themes in Dennis Villeneuve’s first installment in a series of adaptions based on the classic sci-fi novel, it cannot be denied the sheer magnitude of what was accomplished in this film. It really does feel like a borderline spiritual experience, which is perhaps why I have so many very strong feelings and emotions towards it. It’s grand in its scale, yet sleek and simplistic in most of its presentation, much like the novel itself. For a world full of characters and packed to the brim with history and lore, you feel the desolation and emptiness that surrounds this universe and drives the events that transpires. The film’s politics are complex on the surface, but viewers quickly adjust as they realize their real-world parallels. It’s here where the film shines, as it begins to start the social commentary that Herbert’s novel is heralded for, with questions being asked of imperialism, resource consumption, and religion taking center stage. That’s the power of Dune, where the audience can see the scope of the social, political, and economic systems that control us, how they interact and intersect, and we question what we could even do to try and take power from those who have it and use it for themselves. The audience finds themselves sympathetic to the plight of our protagonists, even though while his own personal ambitions feel justified in the context of the elite narratives, yet we can clearly see the manipulation and control he may have over the lowly class he has direct power over. It’s an interesting premise that I can’t wait for the conclusion of. Dune is not simply incredibly for its themes however, as Villeneuve proves once again that he is a master-class filmmaker. The sets, costumes, and visual design elements are simply perfect. They’re incredibly mute yet striking visually, sometimes it’s hard to fully appreciate the full scope of what is being presented in any given shot. Villeneuve also shows his understanding of the power of the camera and his ability to craft visual storytelling. The all-star cast delivers as advertised as well, anchored by a stoic and captivating performance from Timothée Chalamet. The script is gorgeous as well, so much so I found it almost distracting as it’s a pretty unique cadence and construction of spoken dialogue. Overall, Dune has some broad shortcomings in its social analysis, it is absolutely one of the most well-executed and ambitious sci-fi blockbusters in modern movies.
2. Saint Maud (Horror): Saint Maud is many things, and “scary” may not be at the top of the list, but “shocking” certainly is. It’s a strangely earnest quest to find any sort of meaning in the midst of inescapable darkness, and that vulnerability is what separates Maud from more straightforward surrealist horror. One may be tempted to simply look at Rose Glass’s directorial debut strictly through its dominating religious themes and imagery, but I find thinking about the power of this film to be more broad in the examination of how humans try and create reality. What becomes dark for the viewer isn’t the protagonists’ faith itself, but rather in her insecurity and refusal to wrestle with it. The film is the ultimate analysis in terror-management theory and nihilism, as its not just a movie about why people believe in religion, but a movie about why we believe in anything at all in the face of infinite oblivion. The ultimate horror of the film is the certainty that the lead character lives her life and projects her beliefs onto others, in spite of her own awareness that reality may not be what she’s perceiving it as. Aesthetically, Glass creates a perfect surrealist film, blending what is objectively real and what is real from the perspective of our lead to create discomfort for the viewer. Glass allows the unsettled atmosphere to carry the film from its first frame to the last, allowing that tension and anxiety to drive the film forward. It’s an incredibly difficult but rewarding watch, and one that demonstrates Glass as a powerhouse filmmaker and writer who’s work should be kept a careful eye on.
3. Don’t Look Up (Black Comedy, Satire): Director Adam McKay made a big splash with his critical-darlings The Big Short and Vice, and his Netflix-produced film follows suit. However, instead of a mockumentary retelling of a specific timeline in history, McKay takes his black comedy and applies it to a satirical analysis of how we handle crises in our late-capitalist society. The film is certainly effective, in that it’s really fucking funny to be blunt. However, the jokes themselves aren’t much of what makes the humor work, as most of the overt humor is actually kind of dumb. It can actually be really dumb. What McKay is able to do though is show how this absolute dumbness is actually what drives much of the power behind the decision-making in the film. Someone will say a dumb joke and at first we as viewers are tempted to kind of chuckle and move on. Then the next thing you know, everyone’s decisions and thought processes are totally being dominated by this dumb joke, and you can’t help but think “Wait, did that just happen? No one would behave like this!” Yet, as the film plays out, McKay carefully demonstrates yes, not only do we behave like this, we know we are and don’t care enough to do anything about it. Ultimately, Don’t Look Up is an exercise in depressive nihilism, as it posits that it’s probably too late to change our patterns of behavior. The hope here is that we as humans can still find joy and laughter in the face of uncertainty and armageddon, and maybe that will make us feel a bit better.
4. A Glitch in the Matrix (Documentary): Calling this a documentary is a bit disingenuous. It is more of a collection of video essays about simulation theory that have been blended together. This is not new for the filmmaking team behind Room 237, the incredibly unique documentary that did something similar, blending different analyses of Kubrick’s The Shining ranging from standard post-modern projection to full-blown conspiratorial. A Glitch in the Matrix follows suite, as you listen to a cast of CGI-filtered speakers discuss simulation theory. It isn’t necessarily scientific, but it is incredibly fascinating. Much like Saint Maud before it, sticking to the surface-level analysis is tempting (I would love to spend all day talking about simulation theory) but what is much more fascinating, and what is at the heart of this totally trippy film, is questions surrounding how humans construct reality and meaning for themselves. As we move into an increasingly digitally dominated reality, does our ability to denote what is real and what is digital blend? Does it matter if they do? These are the questions at the heart of the film, and in spite of the content of what its speakers may be saying, these are what the viewer walks away from, more than a concrete and nuanced understanding of material theories in math and philosophy. And if you were to ask me, I find that much more fascinating, as being more “academic” would lose the spiritual aspects of the film and feel more lecture-like. For anyone who is a fan of deconstructing reality and digital aesthetics, this documentary is a must-watch.
5. The Green Knight (Fantasy, Drama): High-fantasy can often suffer from the scope of their production, which of course, has been influenced by the smashing cultural success of franchises such as Game of Thrones and Lord of the Rings. However, there is room for a much more subtle, patient, and intimate exploration of the genre. Here is where The Green Knight comes in, a modern-retelling of a lesser known fable surrounding Sir Gawain seeking out the titular character in a quest of courage and faith. In true A24 nature, the film is all about subjective thematic exploration and abstract aesthetics more than it is about anything else, which allows the filmmakers to make a film that plays with both being hyper-realistic and well as stunningly surreal. It feels like a story deeply engrained in familiar history and lore, yet at the same time, it feels totally otherworldly. David Lowery demonstrates absolute control behind the camera, crafting a film that feels both approachable and intimate, yet has these moments that are grand and larger-than-life. Dev Patel’s performance is the centerpiece though, as it’s his ability to project humility, insecurity, bravery, and unshakable strength that gives the viewers someone to root for and to project themselves with. In all the ways modern epic fantasy has failed to find creative and reflective storytelling, The Green Knight is able to be a wonderful breath of fresh air.
6. Candyman (Horror): Often we forget the horrors that have taken place in order to give us the society we do today. Not to say that critiques of capitalism, colonialism, imperialism, and gentrification don’t exist, they do and are plentiful, but not often are they pitched as the horrific atrocities that they truly are. Candyman seeks to intervene here, as a film that centrally focuses on gentrification and the desolation of those who’s exploitation have empowered the class-based society we live in today. It gives a horrifying persona to these concepts, and is able to craft a unique mythos that is strikingly familiar in its urban-based lore. It’s a powerful film, one that should thrust debut director Nia DeCosta into the spotlight, as she is able to blend her horror-based historical analysis into a distinctly modern film. However, the end is where the film loses steam, as the themes mostly wash away, but overall it’s still a creepy and astounding experience. (As a disclaimer – I have seen none of the original film series and was largely unfamiliar with them until seeing this. There are some critiques of the film from the standpoint of how it interacts with the older movies that seem fair but that I don’t fully understand. Regardless, I loved this movie and would highly recommend to everyone.)
7. Nightmare Ally (Drama, Psychological Horror): Guillermo Del Toro is back from his award-winning The Shape of Water, with a distinctly darker and much less feel-good period piece, but still full of the magical charm Del Toro is known for. However, the dark and despair of Nightmare Ally is precisely where the film shines. The entire ensemble cast are at the top of their game, and Del Toro’s theatrical script and direction gives them so much space to shine. His direction is sharp again, with unique and experimental techniques with lighting and cinematography adding layers to the unsettling atmosphere. It’s certainly a dark and grim film, one that I think is a direct response to The Shape of Water, that also demonstrates Del Toro hasn’t lost his knack for darker and more horror-like storytelling. The sets and costumes are all top of the line, and I would be shocked if one or both departments didn’t nab an Oscar nomination. Del Toro is unapologetically himself as well, the film drags on a bit and it takes almost an hour before the plot fully comes into view, but sticking with it to the end is certainly worth it. Overall, if the darker/creepier Del Toro is something you’ve missed, Nightmare Ally is a dazzling return to form.
8. Lamb (Psychological Horror, Drama): Being yet another slow and patient psychological drama from A24 doesn’t keep Lamb from being one of the more unique standout films from 2021. It’s core premise is creepy and weird enough, a Icelandic sheep-herding couple find that one of their sheep have given birth to a baby that has the body of a human, but the head of a lamb. Instead of questioning this though, the couple learns to take it into their home. This central question of why may turn off some people from ever watching the film, but that is the central theme being explored. Why do we have kids? Why do we create families? What even is a family? These tough questions create the simmering tension that drives the film forward. The central actors are all captivating in their insular roles, with incredibly and dynamic chemistry that give life and history to the family we are thrusted into. The direction is patient yet dynamic and full of a ferocity that keeps the feeling of impending dread stuck in the viewer as if at any moment something horrible is about to happen. While some of the commentary falls flat, keeping this film from making it further up on my list, Lamb is nonetheless a very powerful and intriguing experience.
9. Old (Horror): The M. Night Shyamalan resurgence has allowed the writer/director to begin to drift back into his bizarre bag of tricks, with Old being his next exercise in narrative-driven horror. I wouldn’t herald Old as even remotely close to Shyamalan’s best material (Signs, The Sixth Sense, Unbreakable), but it is a ton of fun. Trapped on a beach with nothing but the desperate fear of trying to escape and the backstories of how these characters have ended up there, Old borders on being too ridiculous, but is quickly able to reign itself in to allow the viewers to sit back and enjoy it. It’s an extended bottle-episode, but the characters (and most of the performances) are interesting enough to suck the viewers in. There are enough twists and turns to keep the plot going, and in true M. Night fashion, the impeccable pacing of the film builds and builds until a frantic sprint to the finish. Again, there are limits in trying to analyze and breakdown the film, which is par for the course for Shyamalan’s more modern work (and distinctly different from his older work which is rewarding to inspect), but it is an enjoyable experience in the moment. I’m just glad that we are back to getting regular and enjoyable content from my favorite director.
10. Malignant (Horror): I had very little expectations for James Wan’s latest horror-flick. But I, as it seems with a lot of critics, were purposefully misled into believing Malignant was another corny-blockbuster horror. What a tremendous bait-and-switch, one that the movie not only accomplished with its marketing, but is part of the dynamic of the film itself. The first third plays out much like you would expect, and for the most part is a pretty good run-of-the-mill haunted house tale. But once the plot fully kicks into gear, Malignant transforms into one of the craziest, zaniest, spookiest, and shocking horror-films of the year. It’s fun, energetic, and spooky. It maybe doesn’t have the deep existential themes like other horror on this list, but its fronted by strong characters, tight direction, and a really, really fun plot.

Honorable Mentions: Godzilla vs Kong, Pray Away, Awake, Wrong Turn, Werewolves Within, Ghostbusters: Afterlife, 8-Bit Christmas, Juice WRLD: Into the Abyss, Persona: The Dark Side of Personality

Disappointments: The Little Things, Malcolm & Marie, Vivo, Malevolent, Cinderella (2021), West Side Story, The Last Duel

Favorite Albums of 2021

2021 was quite simply a magical year for music. I said that about 2020 but I feel just as strongly about so many albums this year, picking 10 really hurt. I’ve gone through so many iterations of this list, but this is what I’ve finally settled on.

1. If I Die First – They Drew Blood EP & A Sure Disaster (Split EP w/ SeeYouSpaceCowboy (Post-Hardcore, Emo, Screamo): If 2020 was the year of pop-punk’s revival, then 2021 was the year for the “scenecore” to experience its own resurgance. If I Die First released their debut EP in 2020, and boasted an older post-hardcore/emo sound through a new supergoup, including “emo rappers” LiL Lotus and Lil’ Zubin, as well as former From First to Last and The Human Abstract guitarist Travis Richter. Early in 2021 they collaborated with fellow screamo-revival act SeeYouSpaceCowboy for a split EP featuring “bloodstainedeyes” a chaotic, violent, yet hauntingly beautiful track that features both bands. If I Die First’s ability to manuver scathing hardcore to gentle and romantic melodies is where the band shines, something they do quite frequently as both LiL Lotus and Lil’ Zubin both have strong and unique voices that join well together. This is showcased on their 2021’s EP They Drew Blood, where songs like “Just Another Body at the Bottom of the Lake” bounces from a crushing breakdown into a call and response chorus from Zubin and Lotus, showcasing their pleading vocals and ear for melody. If bands like From First to Last from the 2003-2010 screamo scene are something you enjoy, If I Die First is an absolute must listen. Not only do they take incredibly familiar sounds and bring them back, but their clear mastery of songwriting comes to fruition, and these songs all have such unique and powerful identities to them. Its a masterclass in songwriting. Thematically, they tred the same ground that original the acts that created this sound did. Heartbreak, self-doubt and anguish; the extenstial threats of death and losing love. However, the band showcases a depth and maturity that many older acts didn’t quite yet have in the early 2000’s. Take for instance the EP’s outro track where Lotus screams “I let you take a part of me, and that I can’t believe / Is it so hard to say sorry for everything? / Its getting hard for me to breath, but I hope you feel alive / And I guess that this will make sense over time,” a haunting bridge that brings us to the EP’s stunning closing moments. However, it’s Lotus’s closing words that leave a lasting impression, and where the listener realizes that what is special about If I Die First isn’t just that they are bringing a specific nostaligic sound back, but that they truly love and understand what makes this kind of music beautiful. Favorite tracks: “bloodstainedeyes (w/ SeeYouSpaceCowboy),” “My Nightmares Would Do Numbers as Horror Movies,” “Just Another Body at the Bottom of the Lake,” “Glass Casket,” “Time Moves Faster When You’re Dancing in a Graveyard”
2. SeeYouSpaceCowboy – The Romance of Affliction & A Sure Disaster (Split EP w/ If I Die First) (Metalcore, Screamo, Hardcore): Where If I Die First finds beauty in the contrast of melody and chaos, SeeYouSpaceCowboy sits firmly in the “chaos” camp. Also boasting a throwback sound to the likes of acts such as Underoath, Norma Jean, The Chariot, and Every Time I Die (both Keith Buckly and Aaron Gillespie fittingly appear on The Romance of Affliction), the band is classic chaotic metalcore that they have self-defined as “sasscore.” While it mostly sounds fairly familiar (Connie Sgarbossa’s piercing and bellowing voice over chugging breakdowns and dissonant (“panic”) chords), they then add a layer of spoken-word-esq flair, where Sgarbossa will defer to a different tone of voice than her scathing screams. However, unlike their two previous efforts, The Romance of Affliction finds a SeeYouSpaceCowboy that seeks to find beauty in the chaos as well, with clean vocals coming from guitarist Ethan Sgarbossa and bassist Taylor Allen. This adds a much needed dyanmic to the band and propels their newer work from just the talented noise of their older material. These songs have meat to them with a very clear direction in the songwriting and intent behind what is loudly violent and what is more reserved and melodic. The band doesn’t often rest on traditional song structures, often opting to break away from the norms to insert their own flavor. The introduction of clean vocals isn’t all what’s new, as all sorts of fun musical moments persist throughout the album, with constantly changing time signatures and keys, manuerving listeners through the choatic tapistry of the record. There’s even a rap from Shaolin G on the track “Sharpen What You Can,” showing that SYSC is not afraid of opening any sonic door. All in all, both A Sure Disaster and The Romance of Affliction show massive growth from the metalcore band, and they are able to delicatly walk the line of being a band that’s part of the broader revival of older sounds, but who is daring and brave in creating their own. Favorite tracks: “bloodstainedeyes (w/ If I Die First,” “Misinterpreting Constellations,” “Intersecting Storylines to the Same Tragey (feat. Aaron Gillespie), “The End to a Brief Moment of Lasting Intimacy,” “…and My Faded Reflection in Your Eyes”
3. kennyhoopla & Travis Barker – Survivor’s Guilt: The Mixtape EP (Pop-Punk, Alternative, Post-Hardcore): “Can you hear me know?” cries out kennyhoopla on the opening track of his EP collaboration with Blink-182 drummer Travis Barker, and after this stellar EP, we can be rest assured that we can hear him, and those who haven’t yet should. One thing that’s clear as Survivor’s Guilt opens up is that kennyhoopla is not simply teaming up with Travis Barker to tap into the pop-punk revival Barker is spearheading with Machine Gun Kelly and other artists such as jxdn. And while the hit singles “Estalla,” “Smoke Break,” and “Hollywood Sucks” follow the Travis Barker formula of feeling like incredibly good Blink-182 b-sides, kennyhoopla offers something speficially unique to his flavor of pop-punk. For starters, he’s not really a pop-punk artist, as his previous EP was much more in the realm of alternative rock and electronica. However, the flavors of alternative remain to give kennyhoopla an edge that is lacking from other acts Barker has associated with. There feels like a rawness to kenny’s voice that is absolutley irreplacable as well. Survivor’s Guilt sees kennyhoopla push his vocal performace, including numerous instances where the album falls less into the “pop-punk” camp and borders on being more emo, screamo, and even post-hardcore, heralded by the singer delving into a variety of harsh vocals on his own. This is where the album shines, as it is feels so incredibly unique. There’s not another pop-punk project that sounds like this, and that fact alone makes this an exciting and incredibly inspring work of music. Lyrically, kennyhoopla is able to both create incredibly visceral imagery, yet have songs that are mostly abstract. The chorus of “inside of heaven’s mouth, there is a sweet tooth” is a perfect illustration of this. “Sculpting my ego, a mirror of frowns / Born in a bad dream, got stuck in this town / Things get worse before they get better / Things get better and then we’re all gone,” he sings and screams, boasting a theme of self-reflection and frustration, using some classic pop-punk tropes (“got stuck in this town”) yet feeling, reading, and sounding wholly unique. The EP is also not afraid to utalize the power of kennyhoopla’s voice, and makes that the foundational piller of all the tracks. The EP’s closer is a prime example, where he is calling and responding to himself (“I got no alibi I’m trying / Will you quit your nine-to-five and love me? / Under one condition”) before exploding into the final chorus and the anthemic outro. Barker’s producion of layering so many of kenny’s voices creates a really powerful atmosphere for the listener, and highlights just how versatile and talented of an artist kennyhoopla is. Overall, Survivor’s Guilt is a powerful teamup of Barker’s impeccable ear for talent and production merged with the beautiful voice and artistry of its featured act. Favorite tracks: “inside of heaven’s mouth, there is a sweet tooth//,” 9-5 (love me)//,” “silence is also an answer//,” “survivors guilt//”
4. nothing,nowhere. – Trauma Factory & Trauma Factory Live (Emo, Hip-Hop, Alternative): “Paint my world a new grey” sings the rapper/singer-songwriter over a soft electric sample. This etheral opening sets the tone for Trauma Factory, an album that is emo to it’s core: in how it sounds, how it makes the listener feel, and in the imagery it creates. Yet there are flavors of hip-hop and other genre-blending that showcases what nothing,nowhere. (Joseph Mulherin) has been about since he first began releasing music. This is evident as the opening track (“lights (4444)”) continues, breaking out into an hip-hop beat while nothing,nowhere.’s signature atmospheric guitar-licks dance over his rapping. While nothing,nowhere. has always been at the forefront of the grene blending of hip-hop and emo, Trauma Factory sees this fully evolved, with a bit more of a pop flavor giving the songs a more familiar structure and vibe. The emo influence is almost overwhelming, with many tracks boarding on being straight pop-punk (“upside down,” “fake friend”), others find a blend of alternative rock and hip-hop (“love and chemistry,” “pretend”), while some keep closer to hip-hop more generally (“buck,” “real”). Yet in this, you can see how foudational underground/scene music has been for nothing,nowhere. and Trauma Factory (especially it’s live version) demonstrates this, with post-hardcore breakdowns and instrumentals peppered throughout to create even heightened soncial dynamics and genre-defying musical moments. Of note, there is the crushing track “death” which is essentially a two-minute breakdown and features Mulherin showcasing his harsher vocals. The closing track “bareley bleeding” ends on these powerful post-hardcore like breakdowns, reminscent of old-school A Day to Remember, where Mulherin has his voice soaring over crunching guitars while he slips effortlessly from singing, to screaming, and back. The other thing that can’t be denied is that Mulherin has the perfect voice for this style of music. He demonstrates so much control, yet you can feel his emotions in every line, and he is able to add a element of rawness to his vocals that adds a layer of edge and grit that other singers only can pull off half as well. This is also partly what makes the live version of the album so powerful, and in my opinion, his vocal performance on the live tracks (along with the additional instrumentals) makes the live version of the album even more powerful than the fully-mixed record. All of this is what makes Trauma Factory not only the best emo/hip-hop album of the year, but perhaps the best one in a while. Favorite tracks: “barely bleeding (live),” “lights (4444) (live),” “pretend (aaron gillespie remix)”
5. Hot Mulligan – Won’t Reach Out to You EP & Acoustic Vol. 1 EP (Pop-Punk): Hot Mulligan proved their songwriting prowness with 2020’s LP You’ll Be Fine, but their 2021 EP finds not finds the band not simply following up their biggest success to date quite well, but perhaps exceeding it. The album is still predominatley moody, with delicate guitar work and vocals often leading into bigger choruses and punching guitars. The standout tracks on the EP find the band at its most energetic though. “I kinda miss you” starts off the fan-favorite “Featuring Marc Hoppus” (which sadly, doesn’t ACTUALLY feature the Blink-182 singer/bassist), before kicking in with driving guitars and an infectious chorus. Everything about the EP is remarkably catchy though. This shows the bands knack for songwriting and crafing memorable melodies. Even the guitar-riffs will dig themselves into your brain. Won’t Reach Out to You is the kind of collection of songs where you find yourself listening to them over and over, even if you intended on moving on a long time ago. The acoustic counterparts also demonstrate the bands awareness of how to manipulate their crafted melodies and songs, creating tracks that not only are wonderful renditions of the originals, but also that are unique in their own capacity. Hot Mulligan is taking over pop-punk, and we all need to buckle up. Favorite tracks: “Pop Shuvit (Hall of Meat, Duh),” “Featuring Marc Hoppus,” “Please Don’t Cry, You Have Swag”
6. The Kid Laroi – Fuck Love 3+: Over You (Rap, Hip-Hop, Pop): Am I cheating by including the thrid re-release of an album (mixtape? Laroi says his debut album is yet to come out…but this has like 26 songs on it) that released in 2020 on my list? Yes. But do I care? No. Neither would the Australian rapper, and he makes that clear in all iterations and tracks on his debut collectuion of songs. While people may know The Kid Laroi from his smash pop hits like “WITHOUT YOU” and “STAY (feat. Justin Bieber),” what I feel like needs to be communicated is that Laroi at his strongest is not in his pop melodies (though he undeniably has quite the ear for catchy-as-hell hooks) its in his vibe. There are songs where Laroi simply doesn’t let up in his tenacious delievery (“PIKACHU,” “SAME ENERGY,” “I DON’T KNOW”), and songs that are more reserved hip-hop, based almost soley on Laroi’s ability to craft an atmosphere with his voice (“NOT FAIR (feat. Corbin),” “GO (w/ Juice WRLD),” “SELFISH”). Laroi’s ability to manuver between angst-riddled pop to more assertive rap is where he shines. There’s also an unmistakable texture to the original collection of songs, with light guitar or piano samples underlying tracks (“F*CK YOU GOODBYE (feat. Machine Gun Kelly)” has a Blink-182 sample), and this gives his songs a distinct “earthy” tone. They’re dark songs and they’re rough (not production wise – the production is sharp – but in their aestethic), often talking about the anger of heartbreak or the struggles the young rapper has faced. The most suprising thing is that, aside from the act of The Kid Laroi (it’s hard to believe a 16 year old writing these songs actually has experienced many of these feelings – but he undoubtly knows how to convey those emotions), there’s a sense of vulnerablity that persists through the record. The Kid Laroi is poised to become the next big pop-star, and if he is, this first collection of songs is stellar way begin to his career. Favorite tracks: “NOT FAIR (feat. Corbin), F*CK YOU, GOODBYE (feat. Maching Gun Kelly), “WRONG (feat. Lil Mosey)”
7. MOD SUN – Internet Killed the Rockstar (Pop-Punk, Alternative, Pop-Rock): For those who don’t know, MOD SUN (Derek Smith) cut his teeth in the industry drumming for post-hardcore and emo acts such as Scary Kids Scaring Kids. While he switched his career to become more focused on hip-hop, the recent revival of pop-punk led by rappers like Machine Gun Kelly opened the door for Smith to explore his alternative roots. Internet Killed the Rockstar reflects this journey, as it really feels like an artist finally finding his voice. Smith is no longer trying to make a kind of music, he’s writing songs that seem to be geniune to him and what he wants to create. This is evident in how easy it is to listen to this album, its exciting, bright, and vibrant, full of sing-along anthems that showcase Smith’s impressive vocal talent. However, it’s his punchy songwriting and massive hooks that will stay with listeners. The lead single (and declaration of love) “Flames” with Smith’s now partner Avril Lavigne demonstrates the power of Smith’s songwriting. The song itself is a rather simple four-chord, pop-structured track, but the vocal dynamic between Smith and Lavigne soars over the crunchy guitars and punchy drums, to make one of the standout singles from 2021. If you love pop-punk and pop-rock, Internet Killed the Rockstar (and its subsequent deluxe edition) offers a really enjoyable experience of an artist finally feeling like himself. Favorite tracks: “Flames (feat. Avril Lavigne),” “Karma,” “Internet Killed the Rockstar”
8. The Devil Wears Prada – ZII (Metalcore): The Devil Wears Prada needs no introduction to anyone reading my lists. They are one of the most consistent acts in heavy music and have been a personal favorite for a decade plus. But if them releasing a crushing sequel to their accalimed EP was something you had on your 2021 bingo card, you deserve an award. ZII is exactly as advertised, it’s a successor to their original Zombie EP, but it not only finds the band treading back into their darker and heavier sound (a departure from their more atmospheric leanings of their recent work), but there are plenty of hints to demonstrate the growth of the metalcore outfit since the orignal EP released. The album opens on the crushing groove of “Nightfall” with vocalist Mike Hranica bellowing his lower-register vocals before the song picks up with driving double-bass and slamming riffage. However, while ZII boasts TDWP’s heaviest work in a while, the standout moments of the record still come from their ability to wield atmosphere. The closing track “Nora” finds the band at its strongest, with its poetic imagery, and the balance between guitarist Jeremey DePoyster’s clean vocals acting as a melodic relief and delicate foil to Hranica’s crushing screams. “How can we keep our heads above? This slow motion is speeding up / Subject your force, fortget the last time they hurt you” the two vocalists belt out in an intertwined refrain that leads to the album’s massive final breakdown. It’s a beautiful orchestra of dark violence, with a small glimmer of hope (personified by DePoyster’s clean melodies piercing through the metallic tracks) that has always been at the core of any TDWP project, and on ZII the band finds themselves back using that foudnational dynamic. Favorite tracks: “Nora,” “Contagion,” “Termination”
9. Olivia Rodrigo – Sour (Pop, Pop-Rock, Singer-Songwriter): Little did we know, even when “driver’s liscense” became a social phenomenon, that Olivia Rodrigo would deliver one of the most fun and innovative pop albums in 2021. Sour is a fitting title, as the very invocation of the taste sets the listener up for the many moods of the record. Fun, playful, and full of color, yet bitter, scornful, and hurt. The theme of the album is pretty straightforward, most of it is in response to Rodrigo’s publicly-scrutinized breakup with her Highschool Musical: The Musical: The Series co-star. However Rodirigo demonstrates not simply being able to sing about heartbreak, but the ability to channel her heartbreak through many different sonical lenses, thereby, using each to explore the different sides of her public breakup. There’s flavors of pop-punk and pop-rock that act as anthemic “fuck you” summer-hits (“good 4 you,” “brutal,” “jealousy, jealousy”), powerful ballads that could fill an arena (“driver’s license,” “traitor”), and more straighforward singer-songwriter songs that offer more reflection (“happier,” “favorite crime”). Sour, as its title suggests, packs a lot of punch. Rodrigo is not shy in sharing her scorn for the person who hurt her, but that is secondary to the overwhelming vulnerability on the album. While that vulnerability of teenage heartbreak that many listeners have connected with that is what makes the songs from Sour standout, it’s Rodrigo’s ability to explore her feelings in so many different flavors that has catapulted her as one of the next big musical talents. Favorite Tracks: “brutal,” “driver’s license,” “deja vu”
10. Meet Me @ the Altar – Model Citizen EP (Pop-Punk, Easycore). Pop-punk is back for the mainstream, but for fans of the genre it’s never gone away and will never go anywhere. Meet Me @ the Altar boasts a repitore of pop-punk tracks that are progressive musically, but also strangely familiar. It’s clear the band is influenced by much of the most “easycore” side of the genre (the riffs fell like they jumped out of a Belmont or Four Year Strong record), but there’s a decidingly inflection of positivity and joy that MMATA wields masterfully. The songs all have a bounce to them that make them the kind of tracks you want to roll your windows down and blast loudly. The EP packs catchy hooks with technical breakdowns, showcasing the trio’s musical skill which cannot be denied. Yet amongst all of it, these songs are just good songs. They’re easy to listen to, yet there’s a lot to dissect from the themes of growing up and figuring out one’s purpose in life, to the musical technically driven by guitarist Téa Campbell and drummer Ada Juarez. The rhythmic timing between Campbell and Juarez is quite impressive, with odd sycopated rhymns permeating the other-wise easygoing songs. Vocalist Edith Johnson impresses as well, showcasing her dyanmic range and control on monsterous runs. If you think the future of pop-punk is sad boy rappers, Meet Me @ the Altar may be able to convince you otherwise. Favorite Tracks: “Feel a Thing,” “Brighter Days (Are Before Us),” “Mapped Out”

Honorable Mentions:

Lil Lotus – Error Boy (Pop-Punk, Emo, Hip-Hop)

The Plot in You – Swan Song (Metalcore, Alternative)

Knocked Loose – A Tear in the Fabric of Life (Metalcore, Hardcore)

Lorna Shore – …And I Return to Nothingness (Deathcore)

Jasiah – War (Rap, Alternative, Trapcore)

Kanye West – Donda (Rap, Hip-Hop, R&B)

Justin Bieber – Justice (Pop, R&B)

Every Time I Die – Radical (Metalcore, Hardcore)

Like Moths to Flames – Pure as Porcelain EP (Metalcore)

Dying Wish – Fragments of a Bitter Memory (Metalcore)

Spiritbox – Eternal Blue (Metalcore)

Angles & Airwaves – Lifeforms (Alternative Rock, Pop-Rock)

Eidola – The Architect (Post-Hardcore)

Silent Planet – Iridescent (Metalcore)

Lil Nas X – Montero (Pop, Hip-Hop, Rap)

Real Friends – Torn in Two EP (Pop-Punk)

Whitechapel – Kin (Deathcore)

Trippie Redd – Pegasus: Neon Shark vs Pegasus (w/ Travis Barker) & Trip at Night (Rap, Hip-Hop, Alternative)

Hot Milk – I JUST WANNA KNOW WHAT HAPPENS WHEN IM DEAD EP (Pop-Punk, Alternative Rock)

The Band Camino – The Band Camino (Pop-Rock, Pop)

Lil Aaron – Year of the Dog EP (Pop-Punk)

Tinashe – 333 (R&B, Pop, Hip-Hop)

Hawthorne Heights – The Rain Just Follows Me (Emo, Pop-Punk)

With Confidence – With Confidence (Pop-Punk)

Tyler Posey – Drugs (Pop-Punk)

jxdn – Tell Me About Tomorrow (Pop-Punk, Alternative, Hip-Hop)

Adventurer – Pacfica (Post-Hardcore)

Jack Kays – My Favorite Nighmare EP (w/ Travis Barker); Mixed Emotions; Voice Memos EP (Folk-Punk, Alternative, Hip-Hop)

Of Mice and Men – Echo (Metalcore)

Illenium – Fallen Embers (Electronica, Pop, Emo)

Aries – BELIEVE IN ME WHO BELIEVES IN YOU (Pop, Hip-Hop)

Volumes – Happier? (Metalcore, R&B)

Juice WRLD – Fighting Demons (Rap, Hip-Hop)

Chunk, No Captain Chunk – Gone Are the Good Days (Easycore)

NF – Clouds (Rap)

Favorite Games of 2021

This list excludes DLC and remasters/ports. Additionally, I kept out games in early access, they needed to have their full launch in 2021.

1. Resident Evil VIII: Village (PS4, PS5, PC, XB1, XBSX)
2. Halo: Infinite (XB1, XBSX, PC)
3. Returnal (PS4, PS5)
4. Kena: Bridge of Spirits (PS4, PS5)
5. Kitaria Fables (PS4, PS5, PC, XB1, XBSX, Nintendo Switch)
6. Splitgate (PS4, PS5, PC, XB1, XBSX)
7. New Pokémon Snap (Nintendo Switch)
8. The Dark Pictures Anthology: House of Ashes (PS4, PS5, PC, XB1, XBSX)
9. Jurassic World: Evolution 2 (PS4, PS5, PC, XB1, XBSX, Nintendo Switch)
10. Pokémon: Brilliant Diamond/Shining Pearl (Nintendo Switch)

Disappointments: Oddworld: Soulstone, Battlefield 2042

Honorable Mentions: Dino Hazard, Mario Golf: Super Rush, Back 4 Blood, Genesis Noir, Valheim

Didn’t get to play: Mario Party Superstars, Before Your Eyes, The Medium, Monster Hunter: Rise, It Takes Two, Persona 5: Strikers, Deathloop, World’s End Club, The Ascent, Twelve Minutes, Life is Strange: True Colors, Age of Empires 4, Aliens Fireteam, Far Cry 6

What I’m looking forward to in 2021: Horizon: Forbidden West, God of War: Ragnorok, Senua’s Saga: Hellblade II, LEGO Star Wars: The Skywalker Saga, Gotham Nights, The Outlast Trials, Stranger of Paradise: Final Fantasy Origins, Elden Ring, Starfield, A Plague Tale: Requiem, Pokémon Legends: Arceus, Tiny Tina’s Wonderland, Suicide Squad: Kill the Justice League, Hogwarts Legacy

Favorite Games of 2020

This list excludes DLC and remasters/ports. Additionally, I kept out games in early access, they needed to have their full launch in 2020.

1. Final Fantasy VII Remake (PS4): I’ve said it before in other posts, but I’ll say it again here: remakes/reboots/remasters are HARD. Not only do you have to recreate the magic of the original, you have to recreate what we remember feeling. In the case of FF7, how do you modernize a game that was barely in 3D, featured dated turn-based mechanics, has iconic characters, and didn’t even have spoken dialogue? You do it by taking risks and not being afraid to make changes for the benefit of the story and the player’s experience. In this case, Square Enix proved both bold and resourceful, creating a game that not only reminds us why FF7 is a classic RPG, but also gives us an inarguably better way to engage in this timeless story. Everything about this game is modern, if not cutting edge. From the sharp and realistic graphics, to the open level structures with side quests and mini-games, to the action combat that still embraces its turn-based predecessor, Remake is a careful and impressive reconstruction. You can really feel how much love and thought was poured into getting this game right, and it really shows. It’s impressive in scope, scale, and technicality. But not only that, it remains true to what makes FF7 a great story, its characters. Every character is given a moment to shine, even those who we didn’t get a lot of time with in the original game. They feel just as vibrant and real as they ever have before, and some of the changes to the base story really allow them to shine in a much more updated sense. These characters are the heart of the game, and Square Enix knew this and kept that the focal point. As of writing this, there are no solid updates on the next installment, but a PS5 patch and new DLC had just been announced, and I for one cannot wait to delve deeper into these characters and this world.
2. The Last of Us Part II (PS4): This game is not for the faint of heart. It’s an emotional rollercoaster that tests your anxiety, patience, skill, and empathy. What made the original game so unique was it’s powerful, yet simple, story. And many (including myself) had a lot of doubt on whether a sequel was warranted, or would even feel good to play. However, Naughty Dog Studios and director Neil Druckmann hold nothing back, and find a compelling and worthwhile story to follow up their original blockbuster game. It’s hard. The gameplay is incredibly tight and persistent. Crouching behind cover, using what little resources you have at your disposal to creatively engage in combat or avoid it, much like the first game. However, the areas are much more open allowing for much more player autonomy. In a sense, this game almost operates more like a puzzle game, where you have to figure out how to best manipulate the environment and limited resources you have to get from point a to point b. It’s linear, but not suffocating. The story is what shines of course. It’s a story about anger and love. And our two leads are so captivating as they barrel toward their inevitable duel, both carrying so much weight and pain that you can’t help but empathize with both. It’s a heavy game. From the bleak story, to the strategic, violent, and challenging gameplay, it’s almost exhausting at times. However, it’s a unique, beautiful, and powerful experience, and one that normally would rank number one on my list any other year.
3. Doom: Eternal (PS4, Xbox One, PC): 2016’s Doom reboot by ID software is one of my favorite first-person shooters of all time. And their followup did not disappoint. It’s brash and fast, even more so than the previous game which I already found to be incredibly dynamic with its speed and pacing. Eternal not only follows suit but ups its game. The gameplay mechanics are largely the same, but with some more dynamic features layered on top to make the systems behind the gameplay a little deeper. What this does is not only make the game’s demonic chaos come at you faster, but it also changes the game into something more rhythmic. The trick is not only mastering your hand eye coordination and leveling up your character and guns, but also in figuring out each of the areas, their layout, and the rhythm in how to use the environment, the ammo and weapons at your disposal, and the enemies spawning, to successfully navigate the level. Even the music helps play into this sense of rhythm and flow that pervades the game, again, much like its predecessor but with a tad more depth to it. Overall, Eternal shows why ID is changing the FPS game, and how the Doom franchise is back and better than ever.
4. Spider-Man: Miles Morales (PS4, PS5): 2018’s Marvel’s Spider-Man is a master-class in using an existing property with an up and coming studio to create something totally unique and special. Miles Morales offers much of the same, except with a much smaller scope than the first main game, and is quite simply, really cool. This honestly exists in a weird space. Its much more substantial than a traditional DLC or season pass package, but it isn’t quite the scope of a full game. The story is bite-sized (7-10 hours) but there are tons of side quests, and the same fully open map of New York City from the first game. Because of this, there’s not much to say than its more of the same, which is fantastic. There are some new gameplay tweaks that make the combat and traversal feel somewhat refreshing (though those aspects were highlights in the 2018 game), and the whole game has a bit of a different vibe. With more of a focus on its winter setting and the street style of Miles’ character as a tonal focus throughout the gameplay and story. With that said though, Miles Morales once again showcases Insomniac’s ability as a studio to create both a vibrant and engaging world as well as interesting characters and a fresh story. It’s simple but effective, gearing us up for the inevitable full sequel to the 2018 game that I imagine is coming sooner rather than later. And not enough can be said about the PS5 features that make this game absolutely special. The ray tracing brings the city to life and the haptic feedback on the controls add a layer of immersion to the gameplay that is totally unique to this experience. PS5 owners should play through this campaign to simply experience the hardware and software advantages of the new console, even if they aren’t big fans of the games (or Spider-Man) themselves.
5. Parkasaurus (PC): Sometimes, simple is better, and Parkasaurus is an excellent case study of that. Much like it’s “big brother” Jurassic World: Evolution, Parkasaurus is an amusement-park simulation game where you raise and breed dinosaurs for the world to come flock too. Unlike its name-brand AAA counterpart however, the mechanics are incredibly streamlined and accessible, and the graphics are cute and cartoony, rather than the deep realism from Jurassic World. Because of this, Parkasaurus offers a cute and simple experience, one that has enough gameplay depth for adults to engage in and find interesting, but that kids could easily find accessible as well. It’s a peaceful and quaint game, where you focus on upping your park revenue, expanding exhibits, and funding research for paleontology digs (this is how you get new dinosaurs). Overall it provides a unique experience from much of modern gaming today, which is focused on fast past action or in depth story telling. This is as simple as it gets: raise dinosaurs and get as many people as you can to come see them. And to be honest, what more do you need?
6. Hades (Nintendo Switch, PC): This indie-darling deserves all the hype it garnered over the year. In a time where we felt like we were waking up and repeating much of the same routine, Hades captured these feelings both literally and conceptually, as we play as Zagreus, battling our way through the Greek (and semi-Roman) underworld over and over and over again in an attempt to escape our father’s (Hades himself) grasp. Firstly, the top down animation of the game is incredibly unique and gorgeous to look at. Even on the underpowered Nintendo Switch (where I played it) it runs incredibly smoothly and the animations look gorgeous. It’s a very different style that draws upon numerous inspirations to offer something of its own. This bleeds into the story as well, where there is actually a fairly compelling (and funny!) narrative behind Zagreus’ numerous breakout attempts. The game is semi-procedural in this way too, as new dialogue continues to happen depending on how successful your attempts are, with new dialogue happening even after you clear the game for the first time, keeping it fresh and interesting. The levels themselves are procedural, so each attempt to escape is faced with new challenges and a new path forward. The crux of the gameplay is this: you’re attempting to escape four levels of the underworld to reach the surface, and along the way you receive boons (upgrades essentially) that impact the combat in various ways. Different combinations of these boons create other upgrades as well, so learning which ones you like and which combos pair well is critical to maximizing your character’s (and your own) strengths. You also earn currency to help you level up in various ways, making each attempt easier, until you finally break-free. You get three lives (to start) and once you lose all of them, you have to start all over. This style of gameplay is incredibly addictive, as the fast pace combat starts easy but then ramps up the further along you go. Piecing together the boons and how they interact with the different weapon types is fun as well, and there are numerous mechanics designed to encourage players to try out different builds. Hades is a game with a lot of style, smarts, and humor, one that any fans of games focused on mastering gameplay should play.
7. GTFO (PC): You and three friends play as four prisoners, tasked with going down into an abandoned prison complex to complete a variety of tasks while fighting off waves of monsters on behalf of a mysterious “Warden.” This is all the background you get for this co-op FPS when you first start off, making GTFO quite the exhilarating ride. Firstly, the graphics are amazing and incredibly realistic. The creature design is actually quite shocking and scary when you first encounter them. The lack of tutorial in the game makes things interesting as well, as it’s on the players to figure out (and infer from various environmental cues) how to complete the objectives at hand and combat the creatures they face. This isn’t a game for the faint of heart or for the novice player, but for fans of PVE gameplay there is a lot here to explore. The atmosphere is unsettling and totally unique, begging more questions then it answers. The gameplay is fairly simple, but figuring out how the mechanics work exactly make each attempt at completing the objectives interesting as you settle into your different roles on the team. If you’re looking for a hardcore experience for a group of you to play together (and not competitively), this is the best there is at the moment.
8. Resident Evil 3 (PS4, Xbox One, PC): Much like Spider-Man: Miles Morales, Resident Evil 3 builds off of the incredibly successful engine and gameplay of the previous game (2019’s Resident Evil 2 remake) as the foundation for this. There isn’t much different, but that’s a good thing. The game looks incredible, with absolutely stunning animations and graphics throughout, giving Raccoon City a very horrifying realism. The story is much of the same from the original (as far as I’m aware) but the modernization gives a whole new generation of players the ability to engage with it, and older fans a completely new way to relive it. The biggest complaint, the scope/length of the game, seems to be more of a product of the original story than it is a fault of the game itself. However, with expectations in check (an under 10 hour story for most players) can help offset that disappointment and help players simply enjoy the game for what it is.
9. Astro’s Playroom (PS5): Normally pack-in tech demo game doesn’t deserve to be on this list, but Playroom shatters any expectations for this kind of experience. It’s short yes, but fun, simple, and the haptic controls it showcases truly show players what the future of consoling gaming can be. It’s a cute platforming experience that focuses on collecting throwback Playstation memorabilia. However, the level design is actually quite fantastic, and this is easily one of my favorite platformers in a while. The bite-sized scope helps the game as well, as it certainly doesn’t overstay its welcome. Anyone with a PS5 needs to play this game and feel it.
10. Tony Hawk’s Pro Skater 1 & 2 (PS4, Xbox One, PC): Careful reconstructions of classic games are theme on this list, and Pro Skater falls right into the same category. It feels, looks, and plays exactly as one would remember these classics. Everything has been modernized, but not too much that the game loses its identity. If one could give a blind test, it would be impossible to tell that this is a remake of Playstation 1/2 era games. It’s a fun skill-based challenge (that I’m dreadful at) with a bouncy soundtrack and the best style. For anyone who never got to play these games, this is a perfect entry. And for those of us who played them as kids, this brings back all the nostalgia.

Disappointments: Minecraft Dungeons, Life is Strange 2

Honorable Mentions: Animal Crossing, Star Wars: Squadrons, COD Warzone, Phasmophobia, Valorant

Didn’t get to play: Cyberpunk 2077, Hyrule Warriors: Age of Calamity, Ghosts of Tsushima, Ori and the Will of the Whisps, Iron Man VR, Half-Life Alyx, Assasin’s Creed: Valhalla, Demon’s Souls, The Pathless

What I’m looking forward to in 2021: Horizon: Forbidden West, God of War: Ragnorok, Senua’s Saga: Hellblade II, Halo: Infinite, Monster Hunter: Rise, LEGO Star Wars: The Skywalker Saga, Returnal, Far Cry 6, Gotham Nights, Kena: Bridge of Spirits, Resident Evil VIII: Village, The Outlast Trials, Final Fantasy XVI

Favorite Films I Watched in 2020

COVID ruined everything. This is a fundamental truth that I think we can all rally behind. And one of the (smaller) things it threw off course was, my film watching habits. I was a person who found themselves at the theater at least two or three times a month, and am now regulated to the comfort of my couch. While that’s most certainly saved me hundreds of dollars, it’s changed what films I watched. I took the year to catch up films that I didn’t catch as well as doing my best to stay on top of the movies that felt like they were being released on streaming services and part of whatever global conversations we were having. So this year, instead of only doing films released during the calendar year of 2020, I’m restructuring. This list is my favorite movies I watched in 2020. There is some old, some new, and a lot of in-between. I hope you enjoy a bit of a different list this year!

1. Parasite (2019; black comedy; thriller) Known for his powerful stories based around class and societal dynamics, Bong Joon-ho roars back into the limelight with a movie that may be considered his magnum-opus. Parasite is significantly more contained and focused than Joon-ho’s precious two features (Snowpiercer and Okja), but it’s this confinement and focus that allows the movie to deeply explore its thematic ideals of class struggle, societal expectations, and greed. The movie is full of a dark and twisted humor that serves to call out its allegorical narrative. One bit throughout the film is that the son, Ki-woo (Woo-sik Choi), repeatedly states “it’s a metaphor” directly addressing the audience to remind us that the film knows what it is doing. At no point is anything sacred or off limits, and Joon-ho’s story moves at a constant sprint, taking twists and turns that are all unexpected and pay off wonderfully in the film’s anxiety-provoking conclusion. Parasite also plays off of common movie tropes, twisting the classic home-invasion narrative on its head and having us become sympathetic towards the invaders. However the power of the movie isn’t simply making us have sympathy for this family, it’s that we constantly are asked to consider if this was their only path forward in a society that has done all it could to hold them down. Parasite asks a lot of questions and very rarely does it offer concrete answers. However, understanding why the events in the film play out as they do is essential to understanding its core ideology.
2. mother! (2017; psychological horror, thriller) Few directors spark as much divisiveness as Aronofsky. And his 2017 film mother! is a perfect summation of this, as it infamously scored a big fat F on cinemascore (an audience review aggregate) but had a generally favorable critical response. However, I found the film to be absolutely engaging and insightful. As a whole, the film borders on horror, but not the kind where you are afraid of the shadows in the old house, but rather the ones in the corners of your mind. It’s not a film with a lot of answers, but it’s one that isn’t shy about asking questions. Jennifer Lawrence is the anchor here, as her performance adds a realism to a film that is hell-bent on having us settle in the unknown. Being tied to her character, through her engaging performance, allows the viewer to sit in the absurdity that transpires around her. As noted before, Aronofsky covers the gamut in this film. It starts as an interesting allegory into the psyche of “the tortured artist” but quickly delves into so much more, questioning bigger concepts like love, religion, capitalism, and war. The allegory remains tied to what is clearly a self-reflection from Aronofsky, asking if bearing your soul and your mind is worth the creation of art. Fundamentally, these quiet moments of reflection are where the film shines. The mystery that drives the film, and that drives Lawrence’s character, keep the movie chugging along, but you understand that this is only one layer to the story. Aronofsky lets us sit with this couple, and Lawrence is baffled and confused at the decisions and behavior of her partner. It’s a slow build, but when it finally explodes, it’s an absolute sprint to the finish, and one I found unique and special in presentation and style.
3. Akira (1988; action, animation, sci-fi) This film is remarkably special. There’s no way to begin a discussion about it without establishing that fact. It’s unconventional storytelling is both wholly unique (only more recently have filmmakers have started to adequately understand how to recreate it’s pacing and structure) and accessible. The film is all about atmosphere, as it sucks viewers into its cyberpunk-dystopia, creating a world which feels so new yet inevitable. It’s really this inevitability that gives the film the sense of urgency that drives us through it. We understand that the state of our world mirrors much of what we see from our protagonists in the film, and we hope that if they are able to overcome the obstacles they face, perhaps we can too. This self-reflection is the most remarkable part of the film in my opinion. Through all of it’s twists and turns, in the midst of all of its supernatural and sci-fi qualities, this film is remarkably human. It beckons us to look to our species, the things we allow to happen to other humans, and to our planet. It’s a bold story and one that even thirty some years later is one that continues to have a lasting impact.
4. The Lodge (2020; horror, drama) Modern horror has found new life in the last decade or so, and The Lodge is the latest entry in this golden age of atmospheric horror. It’s smart, insightful, and above all, truly haunting. The film’s central thesis of religion and the horrors of trauma resonate on an intimate level, and the horror comes not from the scares in the film, but from how we can apply the horror we see in this family to the word around us. Riley Keough gives the performance of her career, as the audience learns to both be both scared of her presence, as well as empathetic to the trauma she has experienced. The film’s bleak tone and palate are smartly weirded by its two directors, who make the small setting feel vast and empty, as if there is no where to escape.
5. Good Time (2017; thriller, drama) The Safdie brother debut is stylish, fast, and above all, thrilling. With Good Time, the director-duo throw away exposition for a style that focuses exclusively on what is in the scene you are experiencing. It’s a self-contained film that pushes the viewer’s anxiety and attention. It moves at a blistering pace as we follow Robert Pattinson sprint through New York City, who is an absolutely captivating character. Not because of some poetic script or well structured backstory, but rather because of his sense of urgency and the veil of mystery we keep over him. At no point do we fully understand what the plan is, nor does our protagonist. It’s this tension, of constantly trying to figure out how to escape the current situation with no foresight into what is coming next, that propels the movie forward. Above all, what the Safdie brothers are able to create is a film of anxious experience, rather than one more focused on storytelling. This sets the precedence for their 2019 breakout Uncut Jems, and new wave of films that experiment with this more frantic style.
6. Soul (2020; family, drama) Family films are experiencing a renaissance of sorts, where we hold them to higher standards than simply being children’s film. Pixar themselves have lead the way, for decades now, and Soul is the culmination of these decades of careful and smart storytelling. It’s a film that does something totally rare, it has something to offer to anyone. The story asks a lot of it’s target audience, but it makes the work worth it. I can attest at first I was concerned that it was too thematically heavy for children, but seeing my niece enjoy and understand the film changed my mind completely. We don’t give children enough credit, and that is partially why we have generations of adults who are asking themselves the kinds of questions that Soul asks for the first time. It’s a story about understanding yourself, your feelings, and your life. It puts everything into perspective about what life really is in a world that seems totally disinterested in the everyday experiences of people. It’s powerful, sweet, and heartfelt. Jamie Foxx is a noticeable standout as well, as he gives a vulnerable performance that allows the audience to engage in this story with him. Soul is a rare film that I would encourage anyone to see, and one that I think everyone would feel appreciative to spend spent time with.
7. Haunt (2019; horror) Sometimes, simple is better, and Haunt is so simple yet so effective. Horror can easily delve into too complicated, too flashy, and too over the top, breaking the immersion of the audience trying to be suspended by the atmosphere of the film. Haunt‘s genius however, is not creating an atmosphere itself, but rather relying on one that we all are familiar with. It takes the irrational anxiety we all experience of, “Well, what if the haunted house was real?” and runs with it. This simple premise allows the film to stay rather contained, but feel totally effective. It plays on a fear we all have, one that we know is totally fabricated, but makes it real. This strikes a primal fear that makes every moment in the film that much scarier, even though all the gags and gimmicks are familiar. It’s a smart, sleek, and a fun ride for any fan of horror.
8. Ready or Not (2019; horror, black comedy) Unapologetically violent, hilarious, and stylish. “Ready or Not” is nothing groundbreaking, but does offers a fun flair to genre tropes. It’s incredibly smart and utilizes it’s cast and premise incredibly well. They become the perfect set pieces for this game of cat and mouse, where each character’s role is succinct and well-crafted and help serve to create incredible moments of both tension and humor. The film never strays away from its heart and never takes itself to seriously. At any point where a viewer thinks, “There’s no way they’re going there,” the movie does, but often in a manner that feels unique and interesting. Even the over-the-top violence and campiness come off as incredibly competent and thoughtful. Ready or Not is an excellent exercise in the art of black comedy, and shows how “camp” isn’t a measure of “quality” but rather an aesthetic and story-telling mode.
9. Birds of Prey (2020; action, black comedy) Birds of Prey is the Harley Quinn-centric film that we’ve all wanted since we first saw Margot Robbie inhabit the character for Suicide Squad. It takes from Marvel counterpart Deadpool to create a jarringly graphic, humorous, and self-aware film, something many felt was missing from its predecessor. However, unlike Deadpool, Birds of Prey relies much more on its pop-color palate, with neon blue and pink infecting every frame of the scene. This usage of bright colors and pop-aesthetics gives the film a unique personality that is certainly a reflection of its protagonist. Harley Quinn (and Margot Robbie’s presentation of her) is certainly the life-blood of this movie, and Robbie delivers a performance worthy of such attention. She is just as charismatic and witty as ever before and justifies why her character has rapidly become a pop-culture staple. Robbie is not the film’s only strength however, in fact, each major performer brings high-energy and enthusiasm to their roles, making the whole film easy to engage in and to buy into. It’s sadistic fun from its frame to its last. The action is just as well-coordinated and stylish as newer action flicks such as John Wick, and in some respects, it’s diverse cast of characters and their abilities allows for more variety and flavor in each action sequence. The camera is patient in letting us enjoy the frantic choreography on screen, which helps the pacing of each action sequence and gives them the feeling of having substance, rather than just being distracting. Ultimately, Birds of Prey is one of the strongest entries so far from the DCEU, and is a film that understands what its audience wants, and executes those ideas well. It is also an essential film for diversity in blockbuster cinema, and is the ultimate embodiment of girl power.
10. Uncut Jems (2019; black comedy, drama, thriller) Uncut Jems is an exercise in anxiety. It is a film that, much like its protagonist, strings it’s viewers along from moment to moment – with each change in scenery offering both respite and increased stress. This tension that continuously builds throughout the movie makes it both challenging and euphoric to experience. It continues to build and build, often leaving the viewer to wonder how it could possibly continue, but therein lies the charm. The Safdie brothers constantly have a trick up their sleeves, with plot twists and climaxes perfectly placed to keep the audience along for the ride. However, while each moment is meaningfully crafted, there are times where the film goes from gleefully challenging to engage in, to becoming tedious. However, the highlight of the movie is Sandler’s unwavering performance. Once again Sandler proves that he is indeed an artist who, when prompted, can wield his craft in a totally unique and sophisticated manner.

Honorable Mentions: Booksmart (2019; coming of age, comedy), Hamilton (2020; musical, historical fiction), Crawl (2019; horror, creature feature), Honey Boy (2019; biopic, drama), Marriage Story (2019; drama, romance), Hustlers (2019; drama), Waves (2019; drama), Come to Daddy (2020; black comedy, horror), Black is King (2020; musical, visual album), The Peanut Butter Falcon (2019; drama, comedy), Big Time Adolescents (2019; comedy, coming of age), American Murder: The Family Next Door (2020; documentary, true crime), The Fast and the Furious (2001; action, drama), Holidate (2020; romantic comedy)

Disappointments: The Grudge (2020; horror), The Invisible Man (2020; horror), Antebellum (2020; horror), The Craft: Legacy (2020; horror), The Princess Switch: Switched Again (2020; romantic comedy), Dolly Parton’s Christmas on the Square (2020; musical, romantic comedy), 2 Fast 2 Furious (2003; action), Frozen II (2019; musical, family), Wonder Woman 1984 (2020; action-adventure)

Favorite Games of 2019

This list excludes DLC and remasters/ports. Additionally, I kept out games in early access, they needed to have their full launch in 2019.

1. Star Wars: Jedi: Fallen Order (PC, PS4, Xbox One): Jedi: Fallen Order is some of the most fun I’ve had playing a video game in ages. Just like Spider-Man last year, Fallen Order isn’t by any metric a perfect game: but it is a fun game set in a universe I adore, with a story that feels every bit as consequential and cinematic as the films. The Souls-like combat is really a joy to play and lends itself to less frustration than the games it mimics. The traversal and exploration feels incredibly engaging, and while rewards are sparse and not very diverse (ponchos galore!), there are just enough of them hiding around that gives players the motivation to pursue them. This is easily the game that brought the biggest smile to my face in 2019, and for that, it earns the top spot.
2. Resident Evil 2 (PC, PS4, Xbox One): Remaking a classic game from the ground up is perhaps one of the most daunting tasks in current game development. Not only do you have to actually recreate the game, but you also have to recreate what players remember experiencing when they played it This act is incredibly tough to manage, and for Resident Evil, it meant a lot of reworking the foundations of what made the game. However, Capcom doesn’t shy away from modernizing the iconic survival-horror title, and completely rework the experience of RE2 without losing the spirit or charisma of the original. Gone are the overhead camera angles and tank controls, replaced with a surprisingly intimate third-person view.  The addition of new mechanics from RE7 also adds depth and layers to the game that was previously absent and makes this game feel new and feel big. RE2 is a perfect example about how to go about a remake. Don’t be afraid to modernize, don’t be afraid to mix it up, but remember the core of what makes the original piece special.
3. Kingdom Hearts III (PS4, Xbox One): At this point, Kingdom Hearts is so convoluted that not even it’s most die-hard fans can give a concise description of its central narrative. To be honest, I have not kept up fully with the “side” entries of the franchise, but the major titles (1, 2, Chain of Memories, Birth by Sleep) are games that were essential to my growth and investment as a gamer. So while the meta-narrative of KH3 may have been lost on me, it just felt good to get back into a new story of Kingdom Hearts. And this entry, for better or for worse, felt undeniably like a Kingdom Hearts game. While I personally found the seemingly endless amount of mechanics and combat gimmicks overwhelming, it didn’t distract from the wonky joy-filled experience that all KH games are. This may not have been the best title in the series, but for having waited almost 15 years for it, it is a title that felt good to play.
4. Borderlands 3 (PC, PS4, Xbox One): A lot can be said about the post-game content, the ending of the story, and how 2K has failed to keep updates to the game consistent and rewarding. However, I can’t deny that for the majority of my playtime through the main campaign and side quests, that BL3 felt great. As a looter shooter experience, BL3 proves again why it is the king of the genre. It is so smooth and just feels so right. The signature slapstick humor remains predominant, and while the central narrative takes a backseat to gameplay and changing environments, I can’t help but be in awe of the scope of this new title. It is undeniably Borderlands for the next generation, and that’s ultimately what I wanted from this game.
5. Pokémon Sword/Shield (Nintendo Switch): A lot of the themes for these first five games will feel the same. They represent franchise entries that felt at home in their next-gen systems. And to this end, Sword/Shield is another example of accomplishing that goal. While there has been rhetoric about the lack of substantial changes to the series’ first mainline console title, this game feels at home on the Switch. It undeniably is bigger, better, and a more holistic experience than the Gameboy and DS titles. Was it the earth-shattering re-envisioning of the franchise many had hoped for? No. But it’s a traditional Pokemon title scaled up to fit on a home-console and that is something I never thought I’d experience.
6. The Outer Worlds (PC, PS4, Xbox One): Sometimes simple is best, and this RPG from Obsidian is remarkably nothing new, but also remarkably exactly what I wanted. In a generation of gaming where Fallout has come up short with expectations, this choice-based RPG is exactly what I was looking for from the genre. And the choices, unlike Fallout at times, feel consequential. Tangibly watching the world around you, and relationships you have, change based upon your actions the pinnacle of gaming satisfaction for me. The Outer Worlds doesn’t boast groundbreaking gameplay or visuals, but it does offer that deep gratification of feeling autonomous over a story and a character.
7. Death Stranding (PS4): In a sense, this maybe isn’t a great video game. You essentially are Norman Reedus walking around delivering packages. Exciting right? But in another sense, there isn’t another gaming experience like Death Stranding. And that experience for me was immensely enjoyable and rewarding. Most of the game is remarkably cathartic. Even though it’s sci-fi/horror story keeps a vibe of atmospheric terror, that backdrop only makes me more likely to go back to the game, even though it’s core gameplay loop I’ve found to be quite peaceful and serene. All of this is said and I haven’t even touched upon the aspects of social engagement in a largely desolate environment, and a game that is meant to be a solo experience. Kojima is able to blend all these elements to truly create that something, that for better or for worse, is uniquely memorable.
8. The Dark Pictures: Man of Medan (PC, PS4, Xbox One): If you’re looking for a good fright-night story game, this is for you. The developers of Until Dawn are back with a smaller title, but one that is just as engrossing. Fundamentally the story isn’t anything new, but it is well crafted. The new mechanics of players being able to swap between characters as the story progresses also adds a sense of social engagement that Until Dawn hinted at but didn’t fully tap into. For a new and smaller experience, the development team really focuses on refining what made their indie-horror title a hit, making this just as enjoyable of an experience.
9. A Plague Tale: Innocence (PC, PS4, Xbox One): Stories are always what I take away from games, and A Plague Tale is perhaps one of the most haunting and memorable ones of 2019. The story centers around you (the protagonist) leading her brother on an escape from Inquisitors through the French woods during the time of The Plague. The core gameplay mechanic is stealth and puzzle-solving, but the added addition of having to watch out for your younger brother raises the stakes and forces you as a player to engage in those situations differently. The game is packed full of memorable imagery and moments, making it one of the most powerful titles of the year, with my only complaint being that it wasn’t longer.
10. Marvel Ultimate Alliance 3 (Nintendo Switch): Sometimes all you want to do is play as a collection of your favorite superheroes and beat up on iconic baddies. Ultimate Alliance has always understood that this is the core ideal of their franchise, and never stray too far from that path, especially in this new title. There are more heroes, more villains, and more abilities than ever before, making this game a perfect mindless experience. The story is even more complex and thoughtful than previous titles, giving the game just a little more gravitas than before, and leaving players wanting more than just the clean and simple gameplay the series is built on.

Honorable Mentions: Apeout, Apex Legends, Metro: Exodus, Tetris 99, Sagebrush, The Blackout Club, Farwell My Love, Sayonara Wild Hearts

Didn’t Get to Play: Disco Elysium, Observation, Gears of War 5, Blood & Truth, Days Gone, Sekiro: Shadows Die Twice, Yoshi’s Crafted World, Trover Saves the Universe, Control, Link’s Awakening, GTFO, Code Vein, John Wick: Hex, Little Town Hero, Fire Emblem: Three Houses, Moons of Madness

Biggest disappointments: Madden NFL 2020, Blair Witch, Anthem, Mario Kart: World Tour

Favorite Albums of 2019

1. Dayseeker – Sleeptalk (metalcore, alternative, electronica). The neon-pink and blue cover of Dayseeker’s newest LP effort perfectly captures the somber electronic soundscape that drives this record. Rather than pushing the focus on harsh vocals and down-tuned riffs that often are the driving force behind the genre, it is much more about an electronic atmosphere accompanied by lighter guitar work and Rory Rodriguez’s soaring melodies. His effortless ability to sing in the highest of registers, and to blend it with his harsh screaming, is a gold standard of alternative vocal performances. That’s not to be said that the record doesn’t still pack a punch, however. Tracks such as “Crooked Soul” and “Gates of Ivory” still incorporate heavy riffage and the occasional guttural vocal, ensuring that we do not forget that this band is still heavy at its core. Sleeptalk will stand as one of the most unique metalcore albums of the 2010s, and the one that propelled a smaller band to the more frontline focus they’ve always deserved. Favorite tracks: “Sleeptalk,” “Drunk,” “Starving to Be Empty,” “Crooked Soul”
2. Landon Tewers – Withdrawals (hip-hop, alternative, R&B, electronica): Landon Tewers continues to prove why he is one of underground music’s best songwriters. Withdrawals is a quintessential experiment in genre-fluidity, with Tewers using his background in metal and hardcore to influence his electronica and hip-hop sound. Sonically the album will bounce around from anything from huge breakdowns, to screamed vocals, poetic and rhythmic verses, a richly deep and dark atmosphere, and even R&B melodies. Tewers doesn’t play by any rules but his own, crafting an album that explores a wide variety of genres yet remains sonically consistent. What we get with Withdrawals is a wholly unique experience that only Landon Tewers could deliver. Favorite tracks: “Something to Lose,” “Threatening,” “Touched Your Skin”
3. Ariana Grande – thank u, next (pop). While this album will be remembered for its upbeat radio singles such as its titular track, “7 rings,” and “break up with your boyfriend, i’m bored,” the meat of this album focuses on a lot more than some of the surface-level aesthetics that Grande is known for. To put it simply, the album is shockingly vulnerable. It is full of somber moments such as “imagine,” which intimately describes a relationship that has either changed or is not quite what it was envisioned to be. “ghostin” discusses dealing with the grief of losing a former partner while in a relationship with someone else. Along with Grande’s tender vulnerability, the album features plenty of different musical moments and hints of genre inspiration. The breakdowns at the end of “imagine” and “bad idea” show how she is able to tap into similar concepts yet use them in completely different settings with different results. Sonically, she leans on much more space and serenity than brash pop. While there are still standout and energetic pop performances (“bad idea” and “NASA” are standout singles), the strength of Grande’s newest release focuses much less on producing radio hits and much more on allowing her to explore this darker and more vulnerable side of herself. Favorite tracks: “bad idea,” “imagine,” “NASA”
4. Apes of the State – Pipe Dream (folk-punk). Apes of the State’s sophomore record is all about growth and throughout the record, both thematically and sonically, the Lancaster folk-punk outfit reflect this theme. While group vocals have always been an important cornerstone in Apes’ music, the addition of new member Max Scott and her harmonies add an important melodic layer that allows songwriter/singer April Hartman to really shine. The contrast of April’s simple and emotive vocal style, underlaid by Max’s more sophisticated harmonies and varying vocal deliveries, allow different moments throughout the record to have their own unique feeling. Additionally, on songs such as “Better Off,” the band shies away from their folk-punk acoustics and break into full electric-punk gravitas. The album is littered with these different movements and sonic changes giving each song their own strong identities. Across the record, we find short acoustic songs (“T-Shirt”), more standard folk-punk (“Toothache”), traditional folk (“Piles”), and even longer progressive pieces (“Dear Mom”). Thematically, April really taps into this idea of growth as well offering us her unapologetically vulnerable and honest thoughts and feelings. With Pipe Dream, Hartman as a writer not only gives us her stories to listen to but invites us to grow along with her. Favorite Tracks: “Moments a Year from Now,” “Toothache,” “Internet Song”
5. Knocked Loose – A Different Shade of Blue (hardcore, metalcore). “Make me feel, I need you to make me feel,” screeches vocalist Bryan Garris in the first lines of the opening track, “Bellville.” This opening line suggests the central question that acts as the thesis throughout the record: how do we deal with pain and trauma that surrounds us without becoming hollow and cynical? It’s this battle with apathy and jaded anger that Garris and the rest of the band tackle with their signature blend of chaotic hardcore and metalcore. A Different Shade of Blue, much like its portrayal of life, is an unrelenting assault. Chugging guitars interspersed with dissonant chording, electronic noise and feedback provide the sweltering background for Garris’ high pitched harsh vocals. The breakdowns are carefully placed, built-up to, and executed. This ensures that every time they kick in they feel satisfying and earned. It’s an album all about building tension (with frantic guitar work and hardcore rhythms) and releasing that tension (through metalcore-esq breakdowns). But this tension-release concept extends thematically as well. As noted earlier, Garris focuses on life-trauma and pain. The tension is looking around the world and seeing only pain and selfishness. From friends and family to overall society, everything carries this darkness and pain for Garris. His release is deciding that no matter how bad things get, he will always search for himself and find a way to feel better. It’s a fight he’s not sure he can win – but his exploration of these ideas gives us the same hope that maybe things can change. Favorite tracks: “In the Walls,” “Mistakes Like Fractures,” “Belleville”
6. Whitechapel – The Valley (deathcore). Whitechapel has always been a band about horror aesthetics, often making music about brutal murder and dark fantastical imagery. While one might believe that these are still the major themes based upon the opening track (“When a Demon Defiles a Witch”), what the album is really about is much more horrifying. On its orange and black cover, something reminiscent of a horror novel, read the words “based on true events.” What we come to learn throughout the album is that the lyrical imagery is based upon the schizophrenic visions of vocalist Phil Bozeman’s mother. Bozeman doesn’t shy away from these horrifying images either, and in doing so, creates by far the band’s most comprehensive and darkest album to date. The Valley marks not only Whitechapel’s return to the forefront of deathcore but features their ability to experiment with the sound of a genre they helped shape. For example, the climax of the record is not some traditional deathcore beat-down. Instead, the album builds up to and resolves around its fourth track “Hickory Creek,” which only features heavy guitars and screaming vocals for brief moments. Rather, it’s a ballad focused around Bozeman’s newfound singing voice and tender delivery of it. While instrumentally this may be Whitechapel’s least sophisticated album from riff to riff and from movement to movement, the band’s songwriting has taken a leap into the stratosphere, and their aim with this record is to showcase that. With that said, The Valley not only is perhaps Whitechapel’s best work to date but is one of the most innovative pieces in deathcore’s recent history. Favorite tracks: “Hickory Creek,” “When a Demon Defiles a Witch,” “Black Bear”
7. The Devil Wears Prada – The Act (metalcore, electronica). While the cover of The Act may invoke traditionally metal aesthetics, and the opening track “Switchblade” features one of Prada’s most aggressive songs in their last trio of releases, The Act is not about a band attempting to return to their metal roots. In fact, this may be Prada’s least metallic record to date, despite all initial impressions. There are plenty of heavy moments to be had (“The Thread” being an unrelenting assault of brutality that is perhaps the highlight moment of the record), but the focus again for Prada is the atmosphere. Even in heavier songs such as “Switchblade”, it breaks into an electronic bridge that for any other band would feel odd and out of place, yet Prada is able to make it feel distinctly them. With it being recorded live, vocalists Mike Hranica and Jeremey DePoyster’s vocal takes are rawer and more unfiltered, and the guitars and drums sound more hallow. This is a purposeful and well-executed approach, which serves in creating an atmosphere of space and emptiness that pervades the record. Songs often feature spoken-word type passages (“Lines of Your Hands”) and poppier melodies (“Please Say No”, “Chemical”) over these “empty” spaces, as well as resting on more electronic elements to carry them through. Prada is able to perfectly balance all of these lines and shows again why they have remained one of the best bands in the genre. The Act serves as a testament not only of a band evolving and maturing their sound, but also reflects the same growth of the scene they came from. Favorite tracks: “The Thread,” “Lines of Your Hands,” “Chemical”
8. Slipknot – We Are Not Your Kind (nu-metal). Slipknot roars back with their first effort in five years and with a release that reminds us why they are the kings of metal. The album is much more refined and focused than 2014’s .5: The Grey Chapters, and overall feels like a stronger output from each member of the band. The album has a big sound, suitable for filling the arenas Slipknot is used to occupying, and one that is much fuller and carries a heaviness that the previous release did not. With We Are Not Your Kind Slipknot holds nothing back, often having songs last 5-6 minutes long, with various movements and progressions inside of them. It is sprinkled with electronic elements and choral work that builds around Slipknot’s iconic atmosphere and aesthetic. This, perhaps their first since Vol. 3, is a record that undeniably feels like Slipknot from front to back. It’s heavy, it’s dark, and there’s an air of factory floor grittiness that is unmistakable to the band that coats everything. They return back to a form of metal that allows them to build their heaviness slowly, while still incorporating spaces for more atmospheric electronics. As always, Taylor’s melodies are catchy and well crafted, with his harsh vocals just as powerful and commanding. Breakdowns pepper the record that will etch grooves into your head for days, and the guitar work replaces older, more frantic Slipknot, with more refined and mature riffage. “That’s what do you best,” belts Corey Taylor in the single “Nero Forte,” and this album is Slipknot doing just that, the things they do best. Favorite tracks: “Soloway Filth,” “Nero Forte,” “Unsainted”
9. Billie Eilish – Where Do We Go When We Fall Asleep? (pop, electronica). Eilish may be able to make the case as the breakout artist in 2019 with her single “bad guy” becoming a certified hit. However, for all the things “bad guy” does feature and introduces us to about Eilish (her quiet, somber vocal delivery, dark electronic beats, heavy bass, and thematically off-beat lyrics), it also fails to completely capture the emotive depth of her whole record. Moving into the second track “xanny” we already see a darker and more nuanced artist. Her delicate voice is layered in buzzing vocal effects, and minor bass notes hit on single beats throughout the chorus to add a veil of darkness to the song. While these elements are the core of the record, Eilish’s musical inspiration derives from everywhere, from poppy jazz (“wish you were gay”) to darker, piano-driven alternative melodies (“when the party’s over”). Eilish’s goal is to blend these elements together to create a masterful pop painting. One that is far darker and more haunting than traditional radio pop is exposed to, proving that Eilish will be a driving creative force in popular music for the foreseeable future. Favorite tracks: “you should see me in a crown,” “when the party’s over,” “wish you were gay”
10. Lizzo – Cuz I Love You (pop, hip-hop, soul). While Eilish was able to successfully break into popular music upon entry, hip-hop and power-pop singer Lizzo has been attempting to become a featured artist for years. She finally had her breakthrough success in 2019 with her powerful album debut Cuz I Love You, which finally gained Lizzo the recognition she so rightfully deserves. Some might want to chalk-up Lizzo as more of a cultural icon, with her body, gender, and sex-positivity being a staple part of her personality, and her feel-good singles “Juice,” “Truth Hurts,” and “Good as Hell” dominating the airwaves in 2019. However, Lizzo is an absolute vocal force to be reckoned with. She herself describes the goal of the record as an attempt at seeing “what Whitney Houston would do as a hip-hop artist.” And this is perhaps the best characteristic of the album. The album opens with its title track, where Lizzo belts a powerful and soulful melody as a brass section blasts in. She then proceeds to go into a hip-hop verse, where her poetic writing and sense of rhythm is just as good as any current hip-hop artists around. This sets the perfect tone for the album and for Lizzo herself. While she thematically remains very positive throughout (“Like a Girl” is a stellar pro-woman pop anthem), there is a surprising amount of vulnerability from the new artist, as she not only exposes her fears, sadness, and anxiety but shows us how she copes with them. Favorite tracks: “Cuz I Love You,” “Like a Girl,” “Jerome”

 

Honorable Mentions:

Bridge City Sinners – Here’s to the Devil (folk-punk, gypsy-punk)

Bilmuri – Wet Milk; Rich Sips (alternative, post-hardcore, electronica)

Stray From the Path – Internal Atomics (metalcore, hardcore)

While She Sleeps – SO WHAT? (metalcore)

Oh, Sleeper – Bloodied / Unbowed (metalcore)

nothing,nowhere. & Travis Barker – BLOODLUST EP (hip-hop, rap, emo)

As Cities Burn – Scream Through the Walls (post-hardcore, alternative)

Like Moths to Flames – Where the Light Refuses to Go EP (metalcore)

Hotel Books – I’ll Leave the Light on Just in Case; Equivalency II: Everything We Left Out (spoken-word, alternative, emo)

Lana Del Rey – Norman F*****g Rockwell (pop, singer-songwriter)

Counterparts – Nothing Left to Love (metalcore, melodic hardcore)

Norma Jean – All Hail (metalcore)

Emarosa – Peach Club (pop-rock)

Bounds of Modesty – The Family We Choose (pop-punk)

Fit For An Autopsy – The Sea of Tragic Beasts (deathcore)

Hobo Johnson – The Fall of Hobo Johnson (hip-hop, spoken word)

Tiny Moving Parts – Breathe (math-rock, emo)

Thornhill – The Dark Pool (metalcore)

PVRIS – Hallucinations EP (pop, alternative)

Gideon – Out of Control (hardcore, metalcore)

Spite – The Root of All Evil (deathcore)

Kublai Khan TX – Absolute (hardcore)

Being as an Ocean – PROXY: An A.N.I.M.O. Story (alternative, electronica, post-hardcore)

Sleep On It – Pride & Disaster (pop-punk)

Northlane – Alien (metalcore)

Secret Band – Lp2 (post-hardcore)