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Josh Woodward's MP3 Music Collection - All Songs
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Why Sonix? Pricing About Sign in Try Sonix for free. Really fast Our automated transcription software will quickly convert audio and video to text in minutes, not days. Compare speeds. Refreshingly simple Audio and video is synced to the text so you can easily polish your transcripts and share with ease. A stronger story, some cleverer rhymes, a different - kung-fu - knack. Beaches - "Arrow" [ buy ] An avalanche of buzz and fuzz and refraining doo-de-doo, a guitar-pop song that buries me up to the neck.
Thanks Kevin. While other tracks from Party present her as a Joanna Newsom or Charlotte Gainsbourg, "Blend" highlights for me her uniqueness, idiosyncrasy. Coo and hush, murmured sweet-nothings - but full of disquiet, capgun pops. It's telling that the video so strongly evokes another brilliant, subversive artist - comedian Maria Bamford.
Like Bamford, Harding is fluent in the things our culture expects her to be; but her vision's too clear, her instincts too daring, to settle for that. Weaves - "Grass" [ buy ] I adore Weaves' Wide Open , a rock'n'roll album that bleeds with melody, noise and soul. Jasmyn Burke leads a band of twist-turning guitar; sings a song full of hoping; and the whole length through "Grass"'s metals are flashing from lead into gold and gold into lead, on and radiantly on.
Alvvays - "Saved By A Waif" [ buy ] The best Alvvays songs seem like reinventions: as if they've improved on something that already seemed whole, mastered. For me, eevery change in this song - from verse to chorus, from the middle of the bridge to its conclusion - is filled with surprise.
Ebullient guitar-pop, analog-fuzzy, with Molly Rankin's sailing voice - and the whole group's ingenuity, sonic sparks fizzing at the limits. Big Thief - "Shark Smile" [ buy ] A brutal, bobbing rock song - love and death anchored by neat drums, foraging guitar, the flick of Adrianne Lenker's voice. Partner - "Everybody Knows" [ buy ] A towering guitar anthem, somehow as much mischievous as righteous.
Partner are a stoned Maritime and millenial Weezer, rich in wit; "Everybody Knows" is brilliantly constructured and fantastically played.
The song builds and thunders, it rocks, it rules. A comfort to the baked, an inspiration to the sober - with scenes that outlast the smoke. Bare voices, acoustic guitar, the searching of a woman in her twenties. A prequel, perhaps, to the Weather Station's 8. What is this? Each song seems like its own play - with set, costumes, storyline. Maybe even its own language. But at the same time it stretches out into a whole, one cohesive work of art - something sick and musical, calling to Scott Walker and Tom Waits and David Bowie and Micachu.
Music for a city in the dead of night: scarecrows in the street, smoke coming out of the stacks, loneliness and alarm. A drowsy dreamer waiting for his train, trying to get home. Mount Eerie - "Real Death" [ buy ] This song should not be on a ranked list; it should not be on a list at all. It should be at 1 or or unnumbered, set apart.
Its goal as a piece of music isn't the same goal as the other tracks here. Why count these things together, or measure them against each other? I can't; "Real Death"'s position here is almost arbitrary. But here it is, as you should hear it, as it is part of any conversation of songs and singing in Mount Eerie is a man called Phil Elverum. Elverum didn't write an elegy; he didn't write a tribute or a eulogy. He wrote songs remembering what happened - before, during, after.
Bare, unembroidered, transparent and devastating. Phoebe Bridgers - "Motion Sickness" [ buy ] Bridgers is fast becoming my favourite in a new class of heartaching singer-songwriters. Her gift's not just her voice and its openness; it's not just her talent for melodies, which dip and dart like gulls. The skill I admire most is her ardours' variability, their give. She sings sad songs without enclosing them all in stillness, or smoke, or beauty. There are minor and major keys; dynamics without gimmicks. It's not just "Motion Sickness"' doubled vocals that evoke Elliott Smith - it's the restlessness of the song, its willingness not to wallow.
Bridgers and her drums, guitars, strings - they don't do the obvious things, they excel. A grime track that advances unhesitating; a stone-cold bodying. Gently electric, gleaming with synths and tropical percussion - but not so wound-up as to sound forced, fake. Instead this pop song is loving. She seems genuinely fond of the boys she's singing to. A throw-back, I guess, to when pop singers didn't have to come on so strong. To when the biggest prizes were coins popping gling from a Super Mario brick.
It's old-fashioned in his form, with strings and plinking piano, but mixed like crazy, all crashing and ringing. The Walkmen's Leithauser sings as he almost always does - loud, racked, full-throated. Olsen's performance is more unusual - less "honest" than her typical material; theatrical almost, like a lover in a 40s melodrama.
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But boy does she sell it. Longing, enunciating, chewing the scenery? But his tribute's noisier than the one that I would write, more knowing than the one I could write: an epic of dogged verses, unflagging drums, buzzing guitars like coiling brambles. It's one of those songs that feels like weather. I wish it was always like this, I think. This weather, this season: when everything seems right and just, most things seems possible, and the forecast?
It's for a happy ending. The answer is: so many. It was a talisman round my neck, a bracelet I wore for weeks before the snow started falling. Sometimes the best music is mostly repetition, mantras in beautiful handwriting. A thing of bittersweetness, nostalgia, beat, with references to Jeff Buckley and Syd Barrett and, in its Cocteau Twins-like chorus, a sound of full-bloom Broken Social Scene. Powerful tenderness, devastating love. Hug of thunder. She sings the lead, and the way she sings it makes it difficult to imagine her ever ceding the front spot.
This is music , songwriting, not just a succession of catchy themes. True Blue - "Bad Behavior" [ facebook ] I love a drooping torch-song - a slow-dance under a listing disco ball, the hired band slowly turning into wax. True Blue play a beautiful tune on instruments that don't quite seem right - out of warranty, damaged. Fruit that's sweet-smelling and overripe. Vince Staples' success hasn't mellowed his mood.
Credit the rapper for making his vexation so gripping, alluring as well as forceful. Some MCs get swamped by their beats; Staples stomps all over his. Faith Healer - "Try ;- " [ buy ] Edmonton, Alberta produces a gem of a song. Such a natural sound, cool and breezy, the kind that could have found a home in any decade since the s. I wish everything felt this easy. Waxahatchee - "Never Been Wrong" [ buy ] Loud and unrestrained, with a withering sense of humour. But there's more to Katie Crutchfield's song than rock'n'roll chagrin.
The trajectory of her voice, its ragged arc, proves the singer's far from brooding. She's free. Cardi B - "Bodak Yellow" Swings like a shark's tail. Swooping and snapping; poised and greedy. Here he hands the mic to Rose Elinor Dougall, who sings her rebukes in a voice like cold milk. It's a MeToo moment maybe, or else the other side in a toxic relationship. The same wolfish basslines, the same chilled strings; but this time Serge's leering doesn't go unanswered.
His victims stare back. Thanks Steve R. Ruth B. This Is The Kit - "Moonshine Freeze" [ buy ] A limber, intrepid folk-song, with braiding voices, rooting brass, the sense that nothing is settled. Sun-El Musician ft Samthing Soweto - "Akanamali" [ buy ] A massive hit in the artists' native South Africa, "Akanamali" is a love song you can dance to, as gentle as sunrise. I understand "akanamli" to be Zulu for a poor man; the controversial music video pits sweethearted pennilessness against callous materialism.
But money doesn't figure into the actual lyrics, which are sung in Zulu, and which lift like the music, onward, upward, full of hope and possibility. But Thomas isn't making anything old-fashioned; "Mallwalkers" feels alert, alit, and when it points to the past it's doing so with verve, conviction, hard-won wisdom. This is a song about adolescence but it's not just a visit to high-school, a bittersweet vignette: Thomas digs in, he tries to understand it, explain it out, unpack what most mattered. He tries to figure out what is really left to say about it; what he would say, if some teenager were listening, expounding with fierceness and clarity.
And then, lustrous: strings. They were one of my earliest priate love-affairs. This band was Krgovich's; his music has been with me a long time. But I've changed, and he has too: Krgovich's braver now, less tentative, like a draftsman who works in ink. At first "Country Boy" seems courtly, polite, a stately bit of lounge-pop. With every passing minute it gets more ravishing, more strange.
Pedal steel, organ, cherry-red backing vocals It's naughty and thrilling, gutsy as a duck-call. A duet about friendship and collaboration - one cockeyed, curious songwriter singing to another, and then switch! Selena Gomez - "Bad Liar" [ video ] In chart-pop this song felt an astonishing reprieve: understated, almost tasteful, with Gomez smurfing sultrily over chimes, fingersnaps, a Talking Heads bassline. If anything it's still under baked, a hit in search of its refrain. Sneaks - "Look Like That" [ buy ] Minimal rock'n'roll, dry as bone. Like a car shooting down a desert highway.
Like a cat stalking across a hot tin roof. Like a heist in a Subaru. Be careful what you wish for. Lorde - "Supercut" [ buy ] A song of a relationship in retrospect: that moment of reversing, backward-spooling, memories flashing past like wind across a pennant, film through a shutter.
Her memories seem at once potent and disposable, cast behind; there's a sense of barely catching up, of impulse overtaking patience, and everything's lit in indiglo. The supercut gets the pop song it deserves, nine years after the invention of the term : mesmeric, faintly astounding. It's a record that breathes, covets, revels, but none of its songs excel for me as individual song.
But the choir can also do what one singer cannot. I find myself moved and moved again by the mingling of these voices, the way they move together. A photograph of a cat called Goose , with a face like a snowcone. Somehow it remedied the afternoon, I guess, or made its aimlessness feel purposeful. Sometimes all it takes is a picture, a phrase - and then you're writing a song, telling a story, bogging a blog, redeeming all those blues. Sinjin Hawke - "Don't Lose Yourself to This" [ buy ] An electronica of waterfalls, laserguns, woodwinds, tabla, and slamming garbage-can lids.
Like something the first AI will sing. It's a song about going in circles until eventually, perhaps, possibly, hopefully, breaking loose. Plus: sitar. On "Baby Luv", her singing's almost sculptural - a shape that emerges line by line, motion by motion, over guitar and little else. A figure full of disappointment, not easily described. She sings "World Made" as if she's been chugging tonics for the past five years; it's full of lemon, ginger, spruce and black pepper.
Shining silver indie-rock, or burnished and gold, a beautiful noise. The Clientele - "Falling Asleep" [ buy ] The Clientele have been at it for a long time now, making luscious, reverb-drenched rock. Stuff to stuff on your iPod before rambling on the moor. Music for the Age of Miracles saw them broaden their arrangements beyond gleaming electric guitars and "Falling Asleep" was for me a career highlight: not just Alasdair MacLean's sighing voice but Anthony Harmer playing santur, a Persian dulcimer, which perforates this song like the sun's last rays through leaves.
Juana Molina - "Cosoco" [ buy ] A peacock or bird-of-paradise of a song, summering from Argentina. Frilled and feathered, restless, heartbeating at double speed. As a member of Vampire Weekend, Rostam had already demonstrated his ear for arrangements - here the marvel isn't just the mull and dart of the string-section, but the way he so lucidly describes his reverie, love dawning and sustaining. Read Emma on other Rostam-ery. Jay-Z - "Marcy Me" [ buy ] Jay-Z's best track in years is this return to the estate where he grew up - a short song like a short film, tactile and intimate, a personal tour.
But over successive records with her brother, in The Knife, and solo, as Fever Ray, Dreijer has drawn less and less from organic instruments and terrestrial moods. Synths and sequencers, pitch-shifters and effects - tones of alien pleasure or creeping dread. So it's interesting to hear "Red Trails", where the most prominent instrument - more prominent even than Dreijer's voice - is a fiddle, played by Sara Parkman. This is by no means trad folk music - Fever Ray is as forward-facing as ever. But Parkman's violin provides a texture that's different than anything else on Plunge - hot, dark ornaments within Dreijer's neon chill.
I could hole up and spend the winter in her verses; I just wish she knew her Star Trek a little better. Spock's a Mr , not M. Tim Darcy - "Still Waking Up" [ buy ] I love the breezy, blue-jean amble of this song; the way he's a tender lover and a hangdog letdown and a cool cucumber all at the same time. I love the way Darcy sings his head's "full of popular songs". It feels like a song for the same season as Nico's Chelsea Girls. The Ought frontman has always had charisma, even way back to his Crown Vandals days; here his magnetism is effortless, natural, like an accidental rhyme.
Young Galaxy - "Stay for Real" [ facebook ] This song was part of the suite that inspired "Falsework" , the story I wrote to accompany Young Galaxy's album. The train, the tower, the off-centre beat - all these things caught in my mind, and they've kept on residence there, gathering force as became , as becomes I adore this band in their slower mode - hopeful, pleading, the song refracting as it's sung.
I adore the way this song emerges from its early, bridling moments and into something light, effervescent, almost astral. La Bien Querrida - "El Lado Bueno" [ buy ] "El Lado Bueno" spends its first minute masquerading as a soft-focus snoozer before shedding its skin, finding fuzzing synths and a Peter Hook-style bassline. Gabrielle Papillon - "When the Heart Attacks" [ buy ] If this song's missing anything it's a little more extremism, roughness - a sound that breaks things, upsets the dinner settings.
The inherent material, swathed in strings, is captivating, commanding; Papillon's lines fit together like golden bricks. It's a song like an enchanted road and you can imagine whole armies, communities, pouring down it. Papillon's a great singer, but she's also one of Canada's strongest pop songwriters - I hope hitmakers will try giving her a ring. Richard Dawson - "Soldier" [ buy ] Dawson's reputation is growing with every year and album: by now he's among the leaders of the UK's avant-folk scene, the kind of talent that calls for quiet, grateful attention.
His songs play this wonderful trick: meticulously composed yet appearing so wild, meandering.
They seem like messy uncoverings, truffles discovered in the dirt. The mood evokes shambolic antecedents like Will Oldham or Richard Youngs, but as a lyricist Dawson is much closer to someone like Joanna Newsom: purposeful, fastidious, logging every trembling wish and thought of the characters he imagines. Thanks David. Wasner and Satomi Matsuzaki gayly promise the impossible - "You can outlive your executioners! Like Beth Gibbons on "Glory Box", Aalegra's wrestling with an ambivalent relationship; unlike Gibbons Aalegra seems arch, removed, as if her heart's only half in it. Her detachment makes her more of a femme fatale, with Staples as a sidekick; "Nothing Burns Like The Cold" is more about power than grief.
Haim - "Right Now" [ buy ] Never mind that Haim's second album was the biggest musical disappointment in a year already full of them. It's barely a song - just a chorus and pre-chorus, pure crescendo. But the strangeness of its composition - stray effects, errant sounds, sloppy drums - turn the crescendo fascinating. Ready for putting in your pocket, playing on repeat.
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The War on Drugs - "Holding On" [ buy ] Several albums in, it's not clear whether the War on Drugs are getting anywhere with their Sprucesteen pastiches. But that doesn't mean it's not delicious listening, compulsive, salt and vinegar for the ears. Post Malone ft 21 Savage - "rockstar" [ video ] Stop staying out so late, it's not healthy.
She sings from the back of the mix - calling across booming, chiming orchestration; narrating other people's desires. It gives the track an unusual, wistful tone - a feeling of perspective or maybe, against all odds, of wisdom. Future Islands - "Through the Roses" [ buy ] The song's conceit is either cute or eyeroll-inducing. A singer's confession to his fans: "You see me So my imaginary doesn't have much to draw on when Karen O sings her song of Soto - stripping, strutting and pouting for Gianni Versace.
I can't envision the magazine shoot but I can imagine the streets outside, the scrabbling birds and parked Ducattis, the women in couture overcoats. Parquet Courts have never sounded like they're having this much fun. Thanks Vinny. Expert as a TED talk, stylish as a Vogue cover, and vaguely irritating. Jon McKiel - "Conduit" [ buy ] Like a Constantines song pushed into a machine, compacted, transformed from rock-song into ruby; and then cut, polished, shattered, reassembled shard by shard.
The Dears - "" [ buy ] You can tell as soon as it starts that this is one of those songs, perfect for driving, for wide skies and telephone poles, billboards and headlights, sun or clouds or stars. But there's still no predicting the grace of the chorus, Murray Lightburn in full maturity, proud as a two-time father, with help from canny piano, Beatles guitar, a pitch-perfect melodica solo.
Charlotte Gainsbourg - "Rest" [ buy ] It's ostensibly a song of passion, but "Rest"'s burbling synths and Gainsbourg's worried whisper make the thing sound unsettled, unsafe almost, as if desire is a disease. Rae Morris - "Do It" [ pre-order ] Ebullient electro-pop with a simple, graceful hook. It takes for the beat to drop - but then it's off, stamping, stomping, stepping, dancing, rejoicing in its confidence that the winner was Murphy.
Really, this could be a song for either Ethier - or for you, for me, or anyone who's hustling. We're keeping at it, in our ways; we could all use a palm-fronded holiday, some slack-stringed guitar and comforting saxophone. In especially; but also probably, predictably, ever-after. Thank you Sebastian. Holy Data - "Vacation" [ buy ] Montreal's Holy Data play psychedelic, kitchen-sink pop, crazily swirling but meticulously composed - with shades of the Flaming Lips, Architecture in Helsinki and the mighty Go-Betweens.
Khalid has written a charming and lackadaisical tribute to his generation, his ilk, all who are at once "broke" and "young dumb". Young dumb, I assume, is like being old smart or red hot or fancy free. It's like being heatstroked, and happy. Cuddle Magic - "Slow Rider" [ buy ] The slowest pony is the most confident climber. Indie-pop that's all chug and ooh, synthesizers catching their breaths. Train Fou - "Peuple Pollock" [ facebook ] A spectral and subdivided pop song, with shades of yesterday Yeasayer and Massive Attack and tomorrow??? It's loop music, sample music, but with a forward-leaning groove, heavier and more abrupt than we're used to - much of the skeleton's made of trombone blarps , like snippets from an Inception trailer.
Train Fou literally "crazy train" take ridiculous, tacky, naff building-blocks and use them to make music that isn't ridiculous, isn't tacky or even silly: it's confusing but sincere, it's got something to say. One of the first bands I ever reviewed, way back in By then the band were already mid-career; it's been 11 years since their last loud, fervent LP. Sometimes even angsty rock'n'roll seems luscious, sensual, more about touch and taste than psychological distress. French Montana ft Swae Lee - "Unforgettable" [ video ] One of the best things wafting over radio this year.
That blurriness extends to other aspects of this music - as if the song's cloudy, watercolour, bleeding into adjacent songs. Oilspots in the air. Tess Roby - "Ballad 5" [ buy ] Most of this track is just biding its time for the final minute and a half, when Roby's gentle mumble and windy guitar-part fall away. What happens next starts with oozing synths and ends with a stunning, looping vocal line, like a bedroom cantata.
To me it's the high street, full of mass-market boutiques and harried shoppers, with bundled bags. For him it's a setting for violence, betrayals - vividly rendered, with a diamond-tipped pen. Sigrid's pop song has none of Kendrick Lamar's woozy grousing - instead it's adamant, shouting, like a kid who refuses to grow up or to let a loved-one leave.
Making light of the darkness, drawing close, swearing oaths. It's a pretty song of acrimony: Santos and Reyez trading verses about how the other one's to blame for the end of a relationship. You're crazy, Santos sings; You're a cheater, Reyez replies. It's the way it presses on, insistent, pursuing that galloping melody - and with the faintest quivering sense that maybe it could all fall to pieces.
Spoon - "Pink Up" [ buy ] If Spoon were the Tindersticks, with groove and patience, brushed cymbals and Hammond organ. Also: steel drums, reversed tape, a travelogue not quite legible. The best short story I heard this year. New Pornographers - "Play Money" [ buy ] Neko Case and Carl Newman and their throng still brashly, catchily clamouring, this time with cybernetic bandmates, robots commissioned for their chords.
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Look out for the grand finale, with Neko and Carl's tolling voices, trombones sounding an alarm. But Demarco's too jaded for that: listen closer and you recognize the wobble in the organ, the somberness of the words. I am not one for guilty pleasures because one should never feel guilty for enjoying a song; here I feel guilty for recommending it. Truth is, seven months in, I'm still not sure if "Malibu" is any good. It doesn't seem like it should be. With its stomping and handclaps, Miley " au naturel ", the whole thing seems contrived - a shrewd calculation shoved through a songwriting sausage-machine.
That's how it seems. Only: I like it, I like it a lot. And even if that liking won't last me through the winter it's lasting me now. Small comforts, enjoy them while we can. So that's 's century of songs, or the way they seem today. There are so many that didn't make it, that I wish I were pointing you to.
Thank you to everyone who sent some favourites in. There will be so many I've missed there are so many I'm already remembering. Maybe make your own suggestions in the comments or on Twitter. Thanks for reading, sorry for the broken links, please support these artists with your money. Invest in things that are important. Be kind to each other, be brave, outlast. Remember: music is magic, an invisible force. This is one of my favorite parts of December. From the passage of songs — accompanying subways, walks, the works and days of hands — I'll emerge clutching a handful of songs, singers, albums and footnotes that will travel with me for the rest of my life.
One year, I even added your commentary to the lyrics section of each track's metadata, plotting an ascent of the playlist that would occupy a week or two's worth of snatched moments. All of which is to say that the StG , more than all the other year-end lists, has become part of the rhythm of my life. It is both a gift and a treasure, and I hope it continues for years to come. December will be magic again! Thanks for sharing this each year. Like KC already added, it is your words and the music.
So happy for the "Vacation" love. I think I listened to this track more than any other this year. Like your first commenter, this post is always the highlight of my December. I've been following you for almost 10 years now and always appreciate your reflections on each song as well as the eclectic mix you put together--helps me reflect on my year and expand my horizon.
I hope that this year end recap might survive for years to come! Another voice hoping you never wane and appreciating this list every December. The first year I anticipated the list i. This year's will hopefully do the same for my PhD thesis. Time passes and a lot changes but certain themes remain! Thanks as always for this effort and I hope for warmth and comfort for all of you this winter.
I've been waiting for this, so much I've missed and so much to discover, excellent! Best year-end list by far, and hopefully for many years to come. Sean, just as every year: thanks a lot for this! Can't wait to listen to all the songs, and I strongly hope the blog will stay around for many more years. I've been lurker for 5 years and have never posted before now.
I wanted to chime in with the others to say thank you and to keep up the good work. The "Best Songs" post is my favorite too but I do check-in on a weekly basis. I keep a personal playlist of all the quirky songs I've loved over the recent years and I'll bet half of them I learned of through this blog.