Triple Creek is a four-piece rock band based in Columbus, Ohio who play straight-up classic-sounding rock with just the right touch of the blues. Consisting of Brannon Criner (lead vocals), Tom “TC” Cummings (guitar), Brian Rellinger (bass) and Nick Brady (drums), all are seasoned musicians with experience playing with other bands and music projects in and around the Bowling Green, Ohio area. They formed in 2017 as a cover band, but have recently begun recording their own original songs. Brian told me the two singles they’ve recorded thus far were previously written by Brannon, but had never been recorded. The songs had been written for an acoustic guitar, but the band added a rock feel to them, and in August they released their first single, the bluesy “What’s Your Name.” On November 15, they followed up with a second single “Torn Down Whole,” which I’m reviewing today.
The dark song opens with Brian’s funky little bass riff, then TC’s gnarly guitars enter the scene, accompanied by Nick’s nimble drumming, which is quite impressive. As the track progresses, we hear TC’s bluesy and distorted guitars that add dramatic tension to the song. Brannon’s heartfelt vocals perfectly convey the sad sense of resignation and despair expressed in the lyrics. He explained that the song tells the sad story of a relationship gone bad, and the guy in the song is despondent at seeing the other person go on to flourish and prosper, while he remains torn down and depressed.
Angels fall down on me Sunrays pour on you Ashes burn in complicity Reconciled a drought by few
Burn in hell and be replenished For the dead world to view Love is gone life almost finished My soul is pissed on you
Torn down whole again All what we had was sin Questions scream never heard Emotions lifeless deep within Torn down dark and grey Pages burned and blown away Crippled by thoughts of discussion torn down torn down whole again
The Autumn Stones are a Toronto, Canada-based band who play music that’s difficult to label as any particular genre, but who cares, really, so long as it sounds great. Their beautiful, pleasing sound incorporates elements of alternative rock, dream pop, jazz, and what the band refers to as “literary rock,” which I take to mean songs built around intelligent, thoughtful lyrics – which theirs have in abundance. Another aspect of their music is their use of a wide array of instruments, especially saxophone and organ that, along with their signature gorgeous jangly guitars, creates a lush soundscape for their wonderful songs.
Formed in 2009, the band’s current lineup consists of founding member Ciaran Megahey (vocals & guitar), Marcus Tamm (bass), Dan Dervaitis (guitar, keys, piano), Gary Butler (sax & keyboards) and Raymond Cara (drums & percussion). They released their debut album Companions of the Flame in 2011, followed by Escapists in 2015, which I reviewed in 2016. In June of this year, they dropped their third album Emperor Twilight, a stunning work that I also reviewed. Now they’re back with a new four-track EP Into the Light, which dropped November 23. Like Emperor Twilight, the EP was co-produced by The Autumn Stones and Andy Magoffin, and is described by the band as a companion piece to the album.
First up is the title track “Into the Light.” Band frontman Megahey explains about its creation: “We were working on ‘Into the Light’ around the same time as the album sessions, but it wasn’t quite ready to record. Simultaneously, we all felt it was among our strongest songs and couldn’t wait to realize it fully. I’m glad we took the time to fine-tune it and now the track gets its own spotlight in this EP release.” The wait was certainly worthwhile, as “Into the Light” is magnificent. The gorgeous track features layers of exuberant jangly guitars, along with warm saxophone, both hallmarks of The Autumn Stones’ beguiling sound. Megahey’s smooth vocals are sublime, with a seductive quality that also manages to convey a sense of vulnerability. The lovely sax notes on this track were played by Paul White.
The second track “Hardwired” is a terrific pop-rock song with jazzy undertones, courtesy of Gary Butler’s wonderful strutting sax. The guitar work is great too, and the distorted flourishes at the end make for a nice finish. Megahey sings of his hedonism: “My dirty brain is like a slave. It’s like a beatnick. I’ve seen the light. I found the truth. It doesn’t hide. It doesn’t need to. I’m hardwired.” “Higher” soars with lots of soulful sax and fantastic jangly guitars, accompanied by Marcus Tamm’s deep bass and Ray Cara’s crisp percussion.
“The Bigger They Fail” is an acoustic version of a song by the same name that appeared on Emperor Twilight, and was previously released as a B-side to that single. Like the original, it’s a hauntingly beautiful dreampop song that reminds me a bit of “Under the Milky Way’ by The Church. This stripped-down version features only acoustic guitar, piano and a bit of tambourine, but is still every bit as stunning and compelling as the original. And it goes without saying that Megahey’s vocals are bewitching as always.
Like all their releases, Into the Light is perfection from start to finish. I love the Autumn Stones’ music, and will likely continue to feature all of their future musical offerings. They will be launching Into the Light with a show at Toronto’s Monarch Tavern on December 8, with guests TBA.
I’m still in Wales (figuratively speaking, having just reviewed the Welsh band Revolution Rabbit Deluxe), this time to shine my spotlight on musician David Oakes. Based in the coastal town of Aberporth, he’s a creative and prolific composer of electronic alternative rock music, as well as a damn fine guitarist. Over the past five years or so, he’s produced a tremendous output of instrumental music, ranging from the guitar-driven melodic rock of his brilliant 2014 work The Calm and the Storm, to the gorgeous atmospherics of The Dawn and the Dusk, the dark experimentation of Sturm Und Drang, and the aggressive hard rock of TheMENACE, for which he also added his own vocals for the first time.
My regular readers may recall that I’ve previously featured him on this blog twice this year, first in May when I reviewed his fantastic album TheMENACE, then a month later when I followed up with an interview. David has now recorded a new album Elevation, which is scheduled for official release in early January, but is available for digital download now on Bandcamp.
Elevation is structured in eight parts or tracks, sort of how a long classical piece is arranged into movements. Part 1 is a great introduction, setting the tone for what’s to come with moody ambient synths, a pounding drumbeat and an ominous-sounding mix of jangly and distorted guitar riffs that gradually build to a crescendo by the four-minute mark. It all calms back down to the hypnotic cadence we heard in the introduction, and continues through to the outro, accompanied by bits of David’s intricate guitar work that make for a satisfying listen.
Part 2 continues to build on the tension introduced in Part 1, and really showcases David’s stellar guitar playing, not to mention his impressive drum skills. Part 3 brings more jaw-dropping guitar work, with some tasty bits of funk occasionally injected into to the mix. I also love the hard-driving drumbeat, always a big plus for me. Part 4 conjures up images of the Arabian Nights, with layers of intricate guitar and exotic-sounding synths lending a somewhat dangerous vibe. This feeling continues in Part 5, with gritty chugging riffs augmented with chiming guitars, and a deep buzzing bass line providing a sturdy foundation for this powerful track.
Part 6 features moody synths and layers of multi-textured guitars that create an ominous soundscape. I especially like the dark piano synths that appear later in the track, further adding to the song’s overall brooding vibe. David shifts direction on Part 7 with a somewhat jazzy feel and catchy as hell tempo. He uses horn synths, bluesy riffs and a deep, humming bass line to create a fantastic and exhilarating song. It’s one of my favorite tracks on the album, as I love its urgency and deliriously infectious melody. He really lets loose on the final track Part 8, with furiously pounding drumbeats and frantic riffs of joyously upbeat guitars. It’s an exuberant and celebratory head-banger, and the perfect track to finish the set.
I love this album, which gets better with each listen, as there’s a lot of nuance to David’s compositions and guitar work. If you’re a fan of guitar-driven instrumental rock, then Elevation should be part of your collection.
Stream his music on Spotify / Apple Music / Soundcloud Elevation will be officially released on all major music platforms on January 4, 2019, but is currently available for download on Bandcamp
Being a music blogger who’s earned a reputation for writing reviews, I receive a continuous stream of requests from indie artists and bands to listen to – and hopefully review – their music. So it was a pleasant surprise when I was contacted by Welsh band Revolution Rabbit Deluxe (is that not a great band name!) about their debut album Tales From Armageddonsville. I gave a few songs a listen and was immediately intrigued by their lively, Brit-rock sound and deep, thought-provoking lyrics.
Revolution Rabbit Deluxe began as a solo act by guitarist & vocalist Revolution Rabbit (RR), but eventually grew into a four-piece band with the addition of three very talented ladies: May Dupp (guitar, vocals), Una Corne (drums, vocals) and Chanda Lear (bass, vocals). How can you not love a band with such a sense of humor? In their bio, they describe themselves thusly:
“Revolution Rabbit Deluxe live in one house, just like the Monkees, and in between writing, recording and gigging, they tour the world looking for suitable crimes to solve. They lost their summer jobs as archaeologists on Time Team after a drunken lunchtime argument with Tony Robinson led to an unfortunate incident with a toilet, some dynamite, and a very angry, wet, red-faced, tender-assed TV host. To this day, Tony twitches violently when he passes a lavatory.”
The album kicks off to a rousing start with “Tarred and Feathered,” a pointed attack on racism and inequality that are institutionalized by the state: “When you’re judge and jury to approve but are disapproving. / Our best qualities are arrogance and pride.” The band delivers chugging riffs of gritty guitars set to a hard-driving beat and strutting bass line. The piano keys used throughout the track provide a nice melodic counterpoint to the guitars, making for quite an exciting and powerful song.
The band takes on cultural and media mind-control on “Pavlov’s Dogs,” driving home their message with a barrage of punchy guitars, fuzzy riffs, screeching synths and thumping drumbeats. RR fervently laments of the false expectations we fall victim to: “See that girl, she’s so unhappy. Thinks her life should be like the silver screen. Sometimes she wants to scream./ The video is so seductive. Feeds the dream, but denies the needs.”
One of my favorite tracks is “In God We Trust,” a song that calls into question one’s faith in God with an air that exists somewhere between a catchy Beach Boys-esque vibe and a darker psychedelic tone. RR implores “Save me, why don’t you save me?” He goes on to ask why not save a whole assortment of entities that society deems ‘undesirable’ – like the hookers, the pushers, the pimps, the dealers, the one-parent family and the union local. He finally caustically beseeches “And while you’re at it, you can save the man. And while you’re at it, save the man in the moon!”
“I Can’t Change Your Mind” speaks to mental illness, with jangly guitars and spooky synths that lend a strong 80s feel. RR laments of his feelings of loneliness and irrelevance: “I’m alone here in the dark. / Please don’t throw in scraps of hope. / Fade away, I fade away. A shadow lost on sunny days” while a backing chorus whisper/sings the refrain “I cannot take much more. I cannot change your mind” throughout the track.
The terrific lo-fi guitar-driven tracks “Going Solo” and “Chords Played All Wrong” would have been right at home on the Beatles’ White Album, and “Blackwood Calling” has a throwback 60s Brit-rock vibe, but with an early 80s New Wave sensibility. More grungy lo-fi goodness abounds on “Helen Needs,” a song about a woman looking for relief from her negativity and self-pity. “Helen needs another love song. Spitting sweetness from her headphones.” I especially like the quirky little guitar notes and powerful drumbeat that continue throughout the track.
Another favorite of mine is the hard-hitting and provocative “Whore?” – a song that, in the band’s words, “deconstructs the modern Western family and asks why so many people in the Third World suffer to give us our standard of living.” “You perfect family, for you it’s milk and honey, while for others it’s a river of blood.” The song has a bit of a Depeche Mode vibe, with its strong, crunchy guitars, spacey synths and the kind of heavy, mesmerizing beat that I love. “Catechisms Cataclysms” urges us to change our wicked ways for the betterment of the world, delivered with a barrage of gritty guitars and a hard-driving beat.
“Armageddonsville” closes out the album with an ominous warning of the consequences of our wicked ways. The track opens with late 80s-sounding techno synths and a strummed guitar as RR cautions: “It’s getting hotter and they say we’re gonna fry. The ice is melting, polar bears are gonna die. Spilling blood for oil, it makes me want to cry.” The guitars, bass and drums intensify to become a tumultuous onslaught, driving home the seriousness of the subject matter. RR wails “Welcome stranger, take a seat and say a prayer. There’s nothing else to do in Armageddonsville.”
Tales From Armageddonsville is a fine work, and succeeds quite nicely as a concept album that speaks to a number of thorny issues currently facing Western societies. The songwriting, lyrics, instrumentation and arrangements are all exceptional, and I enjoyed this album immensely.
1. LOADING ZONES – Kurt Vile (1)
2. NINA CRIED POWER – Hozier featuring Mavis Staples (2)
3. MY BLOOD – twenty one pilots (5)
4. ALL MY FRIENDS – The Revivalists (4)
5. IN MY MIND – Draft Evader (8)
6. BODY TALKS – The Struts (6)
7. SHE’S KEROSENE – The Interrupters (7)
8. UH HUH – Jade Bird (9)
9. HAPPIER – Marshmello featuring Bastille (10)
10. GUIDING LIGHT – Mumford & Sons (11)
11. GHOST – Badflower (3)
12. SHAME – Elle King (14)
13. HURT PEOPLE – Two Feet featuring Madison Love (15)
14. SUPERWOMAN SWAY – Brett Vogel (16)
15. UNREALITIES – Dying Habit (17)
16. YOU’RE SOMEBODY ELSE – flora cash (18)
17. THESE ARE MY FRIENDS – lovelytheband (19)
18. TIDAL WAVE – Portugal.The Man (13)
19. DIZZY – The Million Reasons (12) 18th week on chart
20. VISIONS – Dirty Heads featuring Kitten (21)
21. MAKE IT UP AS I GO – Mike Shinoda featuring K.Flay (23)
22. FOREVER – Billy Raffoul (26)
23. “99” – Barns Courtney (27)
24. WANDER – Vox Eagle featuring Pierre Fontaine (28)
25. IN THE WATER – The Underground Vault (29)
26. BURN THE HOUSE DOWN – AJR (20)
27. YOU SHOULD SEE ME IN A CROWN – Billie Eilish (30)
28. PANIC – Agency Panic (22)
29. CLOSER – IAMWARFACE (25) 19th week on chart
30. BACK DOWN – Bob Moses (N)
James Bakian is an exceptionally talented, hard working and charismatic young singer/songwriter from London, England. He wrote his first song at the age of six, began studying piano at seven, and released his first EP By Your Side in 2016 when he was only 13. In the two years since, the prolific musician has continued recording and building a loyal fan base. He released his appropriately-named second EP Unstoppable – a really fine effort featuring six tracks – in late 2017 (which I reviewed), and so far in 2018 has released an astonishing 12 singles, the latest of which is “Terrified,” which drops today, November 23.
Now 15, James possesses a phenomenal vocal styling with a depth and maturity beyond his years. He writes all his own lyrics and music, records all the instruments, and is now even producing his songs. I’ve been following him for about two years, and it’s gratifying to watch him grow professionally and hear his vocals and music style get better and better as he matures. He was recently a Featured Artist on BBC Radio London’s BBC Introducing show, where his song “Ice Cold” was played.
“Terrified” is a lovely, soulful track, with sublime jazzy synths set to a gentle drum loop. James’ tinkling piano keys are exquisite, driving the delicate melody forward and creating a beautiful backdrop for his smooth, heartfelt vocals that speak to feeling lost, aimless and alone, without purpose or love in his life. James states that it’s “about someone going through a dark time but choosing to remember and hope for the good times, and reaching out for help.” Despite his youth, he manages to convey the sense of pain and despair expressed in the lyrics in a way that’s believable and convincing. It’s another stellar effort from James that only bolsters my belief that this talented young man has a very bright and promising future.
Though he’s been putting out music since 2016, I didn’t learn about the tremendously talented singer-songwriter Two Feet until this past Spring, when I first heard his dark and sultry “I Feel Like I’m Drowning.” Immediately blown away by his soulful, bluesy sound, I quickly made up for lost time by devouring all of his earlier music and becoming a huge fan. When I learned this summer that he was playing a show in Los Angeles at the legendary Fonda Theatre in November, I wasted no time ordering my tickets.
Based in New York City and born Zachary William “Bill” Dess, Two Feet has had quite an eventful year marked by major highs and lows. He toured extensively throughout the U.S. earlier in the year, also playing venues in Germany, The Netherlands, France and England in May. “I Feel Like I’m Drowning” topped the Billboard Alternative Chart (it also spent three weeks at #1 on my Weekly Top 30 Chart), and he appeared on the Late Show With Stephen Colbert in June. Yet he also struggled with periods of severe depression, which he’s openly discussed with his followers on social media. Thankfully, he’s now on the mend and feeling stronger and more positive, and I and his fans couldn’t be happier. He released his album A 20 Something Fuck on October 5, and played shows in Washington, D.C. and Brooklyn that same month, and then this concert I attended in L.A. on November 16th. (He’s also scheduled to begin touring with Panic! At the Disco on the East Coast in January, which includes a return to L.A. in mid-February.)
DJ/producer tim909 opened the show at 9:00 pm, a pretty late start time for an old codger like me. He’s opened a number of shows for Two Feet, and quickly got the crowd energized with his non-stop mix of exciting and hard-driving EDM & Nu-tech music. Some of the tracks he played included “Jamie Foxx,” “Machinarium” and “Kiba.” (You can check out his music on Soundcloud.) I’d really like to hear his music played at a club where I could let loose on the dance floor. I enjoyed his set a lot, but was eager for Two Feet to perform.
After a short intermission, Two Feet appeared on stage at around 10:00 pm to deafening cheers from the sold out crowd. Accompanied by his bandmate Huff, who does the live setup and handles the Ableton, drums, keys and other instrumentals, Two Feet opened with his instrumental “Felt Like Playing Guitar and Not Singing,” a track off A 20 Something Fuck. The moment his bluesy guitar notes filled the theatre and washed over our ears, we were in thrall. He often seemed to get lost in the music, his eyes closed as he sang in his gentle, sultry tones while coaxing sounds from his guitar that dazed our senses and gave us chills. On some songs, he’d let out an occasional exuberant “wooh” in a higher pitch than his usual singing voice. And one of the signature elements of his sound is the deep, heavy bass that adds tremendous impact and heft to his songs, and it was set to maximum for this show. The bass was so heavy at times that it reverberated off the walls and into our cores.
He moved about the stage as he played, which gave the show greater intimacy by bringing him closer to more people in the audience. He spoke a little between songs, but overall, he exuded a shyness and humility that was endearing. And even more endearing was the fact he wore a Back Street Boys T-shirt. He seemed genuinely touched by the size and enthusiasm of the crowd, and I’m pretty confident in saying he had our undivided love and respect. I don’t have a song set list, but he played most of them, including his popular tracks “Love is a Bitch,” “Had Some Drinks,” “Your Mother Was Cheaper,” “Same Old Song,” “Back of My Mind” and “You Say,” as well as his newest songs “Lost the Game” and “I Want It.” He even played a pretty good cover of the Bill Withers classic “Ain’t No Sunshine.”
The crowd went wild when he played his seminal track “Go Fuck Yourself,” and of course his biggest hit “I Feel Like I’m Drowning.” I apologize for the sound quality of this video I filmed on my Samsung Galaxy, as the heavy bass sounds overpowering and distorted at times (not to mention the added vocals of the women standing next to me!). But his awesome guitar-playing and on-stage charisma is strongly evident, and the lights and visuals are pretty terrific as well.
Two Feet played for approximately one hour and 15 minutes, then humbly thanked the crowd and walked off stage. The audience shouted for an encore, whereupon he and Huff returned as the stage lights went back on. He asked the crowd what he should play, then decided to do an encore of “I Feel Like I’m Drowning.” We would have been thrilled had he played “Twinkle Twinkle Little Star”! He gave us his all, and we left grateful, happy and devoted fans.
1. LOADING ZONES – Kurt Vile (3)
2. NINA CRIED POWER – Hozier featuring Mavis Staples (1)
3. GHOST – Badflower (2)
4. ALL MY FRIENDS – The Revivalists (4)
5. MY BLOOD – twenty one pilots (6)
6. BODY TALKS – The Struts (7)
7. SHE’S KEROSENE – The Interrupters (8)
8. IN MY MIND – Draft Evader (9)
9. UH HUH – Jade Bird (10)
10. HAPPIER – Marshmello featuring Bastille (11)
11. GUIDING LIGHT – Mumford & Sons (12)
12. DIZZY – The Million Reasons (5)
13. TIDAL WAVE – Portugal.The Man (13)
14. SHAME – Elle King (17)
15. HURT PEOPLE – Two Feet featuring Madison Love (23)
16. SUPERWOMAN SWAY – Brett Vogel (19)
17. UNREALITIES – Dying Habit (20)
18. YOU’RE SOMEBODY ELSE – flora cash (21)
19. THESE ARE MY FRIENDS – lovelytheband (22)
20. BURN THE HOUSE DOWN – AJR (14)
21. VISIONS – Dirty Heads featuring Kitten (24)
22. PANIC – Agency Panic (15)
23. MAKE IT UP AS I GO – Mike Shinoda featuring K.Flay (25)
24. CLOSER – IAMWARFACE (18) 18th week on chart
25. BETTER NOW – Post Malone (16)
26. FOREVER – Billy Raffoul (27)
27. “99” – Barns Courtney (28)
28. WANDER – Vox Eagle featuring Pierre Fontaine (29)
29. IN THE WATER – The Underground Vault (30)
30. YOU SHOULD SEE ME IN A CROWN – Billie Eilish (Re-Entry)
The Silence Kit is a Philadelphia-based band that plays dark indie alternative rock inspired in equal parts by post punk, shoegaze, neo-psychedelia, goth rock and avant-garde. Formed in 2002 by singer/guitarist Patrick McCay, the current lineup also includes Justin Dushkewich on bass, Darren O’Toole on drums & percussion, James Gross on guitar, and Bryan Streitfeld on synths. The band has released a number of albums, EPs and singles over the years, and in late October, they dropped their fifth album Fall Protection, which follows their acclaimed 2014 album Watershed.
Their music has been compared to bands like The Cure, The Smiths, Echo and the Bunnymen, The Psychedelic Furs, Nick Cave, and Television, but they’ve forged their own signature sound over the years, and Fall Protection sees the band continuing to grow and evolve, fusing together the atmosphere and intensity of early 80s post-punk and goth rock with the spirit of early 90s grunge and indie rock. In the recording of the album, the band had assistance from guest musician Kristin Kita, who played guitar on tracks #1, 7, 9, 10 and synths on #3, 5, 6, 8. The album was recorded and mixed by band front man Patrick McCay and mastered by Dave Downham.
“Supermarket” kicks off the album with dark, almost psychedelic synths and grungy guitars propelled by a strutting bass line and infectiously melodic drumbeat. McCay’s vocals are wonderful, with a vulnerable urgency as he croons “In the glow of the supermarket. I wanna feel like I’m in my own dream…again. I miss the kiss of your first attraction. I want to be in deep and sleepless love…again. Time and time again, I will find you. / Lucky me, you found me too.” “New Year’s Eve” speaks to the random nature of our lives year in and year out: “There’s no such thing as karma, or what other’s like to call fate. What you give is irrelevant, and what you get is random…” The music features exuberant layers of fuzzy and jangly guitars and powerful drums.
“This Time” serves up a deep, thumping bass line, delicious jangly guitars and the kind of strong, pummeling drumbeat that I love in songs. McCay’s emotionally wrought vocals seem to channel The Cure’s Robert Smith on this track. And the stunning chiming guitar work and sweeping melody on “Can We Skip This?” really showcase The Silence Kit’s strong musicianship. By the fifth track, the stellar, hard-hitting “Everything You Feel Good About,” I’m pretty well hooked on this band’s arresting music style and McCay’s slightly off-kilter but always captivating vocals.
The phenomenal “Wound” is another great example of what I’m talking about. The dark song starts off with a melancholy piano riff, accompanied by ominous synths, a deep, buzzing bass line and chugging guitars as McCay sings with a low, almost menacing voice. “I got this one thing on my mind. I’ve got to keep from losing you. / I wear this like it’s my own, a fine wound, so much to lose.” Two thirds of the way in, the tempo speeds up to a frantic pace as guitars rage and McCay screams “Don’t say a word” several times, then the music slows back down through to song’s end.
One of my favorite tracks is the brooding “Worry,” with its reverb-heavy layered guitars, sweeping psychedelic synths and tumultuous percussion that create an immense backdrop for McCay’s intensely passionate vocals. Another standout is the monumental six and a half minute-long “Never Say Goodbye.” Its haunting melody, lush, soaring instrumentals, and intricate guitar work are all positively breathtaking. The band keeps dazing our senses with raging riffs, dark synths, thunderous drums and raw vocals on “How Does it Feel?” and “Tablecloth.” McCay’s vocals sound decidedly British on the former track as he wails “How does it feel when you’re down and you find out everyone loves your best friend now? How does it feel when you’re gone?”
They seem to pull together all the elements of their signature sound and put them on full display on the gorgeous album closer “Discard.” The stunning reverb-heavy jangly guitars that open the epic track and continue throughout are fantastic, serving as the foundation for this magnificent song. Waves of sparkling, psychedelic synths wash over the guitars, aided by a deep bassline and layer upon layer of crashing cymbals and turbulent drums. It’s a massive song and the perfect ending to an equally massive album that leaves me awestruck.
1. NINA CRIED POWER – Hozier featuring Mavis Staples (1) 3rd week #1
2. GHOST – Badflower (2)
3. LOADING ZONES – Kurt Vile (8)
4. ALL MY FRIENDS – The Revivalists (5)
5. DIZZY – The Million Reasons (3)
6. MY BLOOD – twenty one pilots (16)
7. BODY TALKS – The Struts (9)
8. SHE’S KEROSENE – The Interrupters (10)
9. IN MY MIND – Draft Evader (12)
10. UH HUH – Jade Bird (14)
11. HAPPIER – Marshmello featuring Bastille (15)
12. GUIDING LIGHT – Mumford & Sons (17)
13. TIDAL WAVE – Portugal.The Man (11)
14. BURN THE HOUSE DOWN – AJR (4)
15. PANIC – Agency Panic (7)
16. BETTER NOW – Post Malone (6)
17. SHAME – Elle King (18)
18. CLOSER – IAMWARFACE (13)
19. SUPERWOMAN SWAY – Brett Vogel (20)
20. UNREALITIES – Dying Habit (21)
21. YOU’RE SOMEBODY ELSE – flora cash (22)
22. THESE ARE MY FRIENDS – lovelytheband (23)
23. HURT PEOPLE – Two Feet featuring Madison Love (27)
24. VISIONS – Dirty Heads featuring Kitten (26)
25. MAKE IT UP AS I GO – Mike Shinoda featuring K.Flay (28)
26. NATURAL – Imagine Dragons (19)
27. FOREVER – Billy Raffoul (30)
28. “99” – Barns Courtney (N)
29. WANDER – Vox Eagle featuring Pierre Fontaine (N)
30. IN THE WATER – The Underground Vault (N)