Music platform Bandcamp appears to be the best bet for indie artists, as the site experienced double-digit growth in 2017 in every aspect of their business – digital album and individual track sales, merchandise, and physical sales of vinyl, CDs and even cassettes – while most stand alone music streaming platforms and industry-wide record sales continued to decline.
They also note that “allowing the distribution of an entire art form to be controlled by so few has troubling implications. The streaming giants exert tremendous influence over what music gets heard, and must primarily serve their most important supplier, the major labels. The result is that independent labels, and especially independent artists, are far less likely to be discovered on those platforms.”
To read more of this informative article, click on this link:
1. ALL THE STARS – Kendrick Lamar, SZA (2)
2. SAFARI SONG – Greta Van Fleet (1)
3. LOS AGELESS – St. Vincent (4)
4. WORLD GONE MAD – Bastille (6)
5. TWO HIGH – Moon Taxi (7)
6. PAIN – The War on Drugs (3)
7. LIVE IN THE MOMENT – Portugal. The Man (5)
8. RUN FOR COVER – The Killers (10)
9. BROKEN – lovelytheband (12)
10. BORN FOR GREATNESS – Papa Roach (11)
11. SCARY LOVE – The Neighbourhood (8)
12. YOU WORRY ME – Nathaniel Rateliff & the Night Sweats (14)
13. &RUN – Sir Sly (15)
14. SEVERED – The Decemberists (16)
15. SOBER UP – AJR ft. Rivers Cuomo (9)
16. BEST FRIEND – Sofi Tukker ft. NERVO, The Knocks & Alisa Ueno (17)
17. THE NIGHT HAS AN ALIBI – Wons Phreely + The Horses (18)
18. THOUGHT CONTAGION – Muse (20)
19. HAPPY HOUR – Weezer (13)
20. WHATEVER IT TAKES – Imagine Dragons (N)
London, UK hard rock duo Colt48 have existed as a band less than a year (they formed in June 2017), but are wasting no time making an impact on the indie rock scene with their aggressive, grunge rock sound. Consisting of vocalist/guitarist Adam Jerome and background vocalist/drummer Matt Savini, Colt48 have quickly gained exposure and fans by opening for such bands as Puddle Of Mudd, Fozzy, Trapt and Crazy Town, as well as issuing an impressive output of songs in quick succession.
In November 2017 they released their debut self-titled EP featuring three hard-hitting tracks, then soon followed up on New Years Day 2018 with the beautiful rock ballad “Start Again.” They’re now back with a new EP simply titled II, and it’s a banger! Keeping with the sentiments so vividly expressed on their first single “Hate Hate Relationship,” with II the band delivers three blistering songs that speak to the emotional toll caused by betrayal and deceit.
The guys get right to the point on “The Fire,” blasting the airwaves with an onslaught of gravelly shredded riffs and hammering drums. The guitars shift to machine gun mode on the verses, where Adam furiously snarls the biting lyrics:
I don’t care for the things you said Don’t know what is in your head I know, you left me for dead you’re just another liar.
Don’t matter how you try to fake No difference in the drugs you take Can’t say that it’s a mistake you pushed me on the fire.
“Out of Habit” is melodically complex, with outstanding guitar work. The track starts off with a gritty extended riff, transitioning to gorgeous jangly guitars on each verse, only to shift back to powerful shredded riffs in the chorus. Matt keeps the beat, adjusting the force of his drumming to match the changing intensity of the melody and guitars. Adam’s vocals are especially good on this track, sounding a bit like Chris Daughtry at times as he passionately sings of breaking free from a cycle of pain and regret from past mistakes in order to become a better person:
No, holding back now, breaking out of habit, time revealing now Days or if years, through the tears we shed we have to carry on now, Taking the best of me.
The anger boils over on “Never (Let You Live It Down),” a seething ‘fuck you’ to someone who’s hurt you beyond any hope of redemption or forgiveness. Raging guitar riffs, pummeling drums and crashing cymbals convey the seriousness of the situation, as Adam wails the brutal lyrics:
You think it’s OK to lie Playing games always on the winning side You’ve got a simple design Crush them down, hold them by the windpipe
Been too long, hate so strong, you broke the straw with a hammer blow.
I will kill you, break you, never let you live it down Make you, regret, everything you ever said Think you’re winning, never strive for anything Victim ,victor, all the same to me, you’re dead to me.
As the vocals end with an air of pained resignation, we’re suddenly head-slammed by a thunderous barrage of gritty bass, guitar and pounding drums that extends for a minute and a half until gradually fading out. It’s a mind-blowing end to an awesome little EP that really packs a wallop in under 11 minutes.
JD & The Straight Shot is a folk rock/Americana band based in New York City, and in September 2017 they released their sixth studio album Good Luck And Good Night. Drawing inspiration from such legendary acts as The Beach Boys, Pink Floyd and The Beatles, along with traditional Irish folk music, Country and classic rock’n’roll, JD & the Straight Shot deliver pleasing and sometimes topical songs that range from introspective folk ballads to catchy bluegrass foot-stompers.
The band is comprised of musicians with impressive credentials. Front man Jim Dolan, (lead vocals/guitar) is also CEO of the Madison Square Garden Company, which owns the New York Knicks and New York Rangers; guitarist Marc Copely has worked with B.B. King and Rosanne Cash; bassist Byron House with Robert Plant, Emmylou Harris and Dolly Parton; violinist/fiddler Erin Slaver with Martina McBride and Rod Stewart; drummer/percussionist Shawn Pelton with Sheryl Crow, Levon Helm, and the Saturday Night Live band; and backing vocalist/guitarist Carolyn Dawn Johnson with Miranda Lambert and Kenny Chesney. The all-acoustic Good Night and Good Luck was produced and mixed by Copely and engineered by Chuck Ainley at Soundstage Studios in Nashville.
The album kicks off with “Redemption Song,” a rousing bluegrass number about searching for salvation and forgiveness. Slaver’s exuberant fiddle is one of the highlights on the track, and plays a major role in the band’s overall sound. Keeping with the gospel theme of finding redemption, “Ballad of Jacob Marley” is a an updated interpretation of Charles Dickens’ classic A Christmas Carol. The lyrics speak of making amends with one’s greedy ways before it’s too late. “Every day another link, you’ve taken yourself to the brink. / Time is short to right what you’ve done wrong.” Banjo and fiddle are the standout instruments on this great track, and Dolan and Johnson’s vocals harmonize well together, as they also do on “Moonlight” and the lovely “I Know You Know I Know.”
One of my favorites on the album is “Run For Me,” a stirring song with a delightful Irish folk melody. The track opens with a sound imitating a galloping horse, followed by a catchy guitar riff and charming fiddle that continue throughout the song. The lyrics are a plea of hope that a bet on a horse race will pay off, easing worries about how to pay the bills: “Gotta pay my bills, running out of time, I’ll never get ahead. It’s all riding on the line. God help me win this time, just once to feel alive. Come on take the lead, come on baby bring it home to me.”
Referencing the phrase that the legendary early TV newsman Edward R. Murrow uttered at the end of every newscast, the compelling title track “Good Luck and Good Night” addresses the political divisiveness that permeates today’s news. “Hear a rumor make up a quote. Put it out there to see if it floats. Found your secret, told everyone. Doesn’t really matter as long as we won. Black and white. Must be right.” The languid country/folk song features a child chorus similar to that used to dramatic effect on Pink Floyd’s “Another Brick in the Wall.”
The deeply moving ballad “Tonight” takes on the horror of domestic abuse: “From up above comes a terrible scream. Woke me up, I thought it was a dream. Sounds of breaking dishes and slamming doors. One big thud as something hit the floor. / She says she’s going to heaven, that’s right. I hope she’s not going tonight.” The band pays homage to their departed friend Glenn Frey with a lovely cover of the Eagles’ song “It’s Your World Now,” and incorporates lines from Maya Angelou’s poem Alone on their contemplative, gospel-like “Never Alone.”
The only miss on the album for me is their cover of the Three Dog Night hit “Shambala.” The song just feels lifeless and flat compared to the original, and lacks the energy or emotional depth of their other songs. Oddly, JD & the Straight Shot chose to perform “Shambala” when they appeared on The Tonight Show Starring Jimmy Fallon on March 8. They would have been better served performing one of the many better tracks on Good Luck and Good Night, an otherwise terrific album.
The band kicks off a month-long tour in Chicago beginning this evening, March 14, where they’ll be opening for The Eagles. They’ll also open for Chicago and The Doobie Brothers for some shows. I will be seeing them in Rancho Mirage on April 6th.
3/14 Chicago, IL @United Center w/ the Eagles
3/15 Grand Rapids, MI @Van Andel Arena w/ the Eagles
3/17 Thackerville, OK @Winstar Casino w/ Chicago
3/18 St. Louis, MO @Scottrade Center w/ the Eagles
3/23 Nashville, TN @Bridgestone Arena w/ the Eagles
3/24 Nashville, TN @Bridgestone Arena w/ the Eagles
3/30 San Antonio, TX @Majestic Theatre w/ Chicago
3/31 Sugar Land, TX @Smart Financial Centre w/ Chicago
4/6 Rancho Mirage, CA @Agua Caliente Casino w/ The Doobie Brothers
4/7 Las Vegas, NV @ Chelsea at Cosmopolitan w/ The Doobie Brothers
4/8 Columbus, OH @Nationwide Arena w/ the Eagles
4/10 Lexington, KY @Rupp Arena w/ the Eagles
4/11 Charlotte, NC @Spectrum Center w/ the Eagles
Loveproof is a studio project by singer Ciaran Megahey and instrumentalist & producer Brendan McGarvey. Based in Toronto, Ontario, Canada, the duo have a long, albeit interrupted, history together. The two met in high school while living in the Toronto suburb of Scarborough, formed a band that quickly fizzled, and eventually went off on separate music career paths. Ciaran is also a member of Canadian indie band The Autumn Stones, which I featured on this blog in 2016, while Brendan is or has been involved with Jerkbank, Stereohoax and Sugarkill. As luck would have it, one day in 2013 the two ran into each other on the street as Ciaran was headed to an open mic. That reconnection got them reminiscing about old times, and ultimately deciding to once again collaborate musically.
Ciaran Megahey
They began writing songs and soon had an interesting collection of dark and cryptic doom pop on their hands. Originally setting out to create a sound that would combine some of their early favorite bands Joy Division, Guided by Voices and My Bloody Valentine, they later decided to throw in some dub for good measure. They named their project Loveproof, in honor of the My Bloody Valentine classic “Loveless.” Referring to their sound as “Dreamy, Dubby Doom Pop,” the songs they wrote and recorded culminated in the production of their debut album Neon Blood, Volume One, which dropped on December 5, 2017. Ciaran sang all the vocals, while Brendan, who’s primarily a bassist, played and programmed all instruments and produced the album. The album was recorded at Brendan’s home studio in Toronto and mastered by Harris Newman (Handsome Furs, Craft Spells).
Many albums require a couple of listens for the music to grow on me, but this gorgeous album dazed my eardrums the moment I heard it. It kicks off with “The Power,” a dreamy soundscape of crystalline synths set to a hypnotic beat. Ciaran’s smoldering, breathy vocals are captivating as he asks “Couldn’t we do this over? Shouldn’t we do this over? / From your tower, feeling sour by the hour. Have you got the power?” The beautiful track really sets the tone for the album’s moody vibe. The songs deal mostly with relationships that are uncertain or fraught with danger, and the music is darkly mysterious or even sometimes menacing, but always stunning and never depressing or maudlin.
Ciaran dials up the thermostat a couple notches on the sultry “Sister Moonlight,” where he seductively sings of the spell a woman has cast over him: “Sex at dawn. Her every movement turns me on. In her arms I’ve found shadows and light.” Though a bit haunting, the instrumentals and Ciaran’s vocals are breathtaking. The fitting video features scenes from the 1961 B-movie The Devil’s Hand, a horror film about a man who falls in love with a woman who turns out to be involved in a satanic cult.
The mesmerizing “Post” delivers more shimmering synths and a bass-driven beat, and in his soothing, breathy vocals Ciaran reassures an insecure loved one of his eternal support and commitment: “And I am your signpost? With our worlds entwined. Post. Am I just in time? Post. When I make you shine. Post.” Their video for “Post” contains footage from the 1957 film Here Comes Tobor.
“The Vortex” features Brendan’s enchanting Spanish-sounding guitar floating above layers of mysterious synths and a determined drum beat. Ciaran sings of a doomed relationship that seems to be based on lustful passion but filled with bitterness and anger: “Hold you close just like a keepsake. Slow to learn. Quicker to slash and burn when we dance into the vortex. Blinds on. Pile on. The lights came on. That’s when I came around. The sounds we made of hate gone twice insane. Dying on the vine.”
Now is a good time to point out that Ciaran’s sublime vocals are strikingly similar to Bryan Ferry’s on several tracks. And some of those tracks even seem to channel Ferry’s sound and music style, especially the spellbinding “The Lowdown,” “Tabula Rasa” (which reminds me of “Don’t Stop the Dance,” a song I adore), “Modern Ecstacy” and album closer “Death’s Flower.”
The mysteriously moody “Clever As” has more of an electronica feel, with pulsating synths and a languid kick-drum beat. The biting lyrics speak to the damage caused by people who cleverly lie and intimidate to get what they want: “Anyone can break your heart in two, mind you. Anyone as clever as you. Where ‘benign’ lecherous tribes prattle on ‘heaven won’t take long.’ When the crude credulous boob follows through all over the news.” That last line seems to perfectly describe the sociopath currently occupying the U.S. Presidency.
The title track “Neon Blood” is perhaps the most haunting song on the album, both musically and lyrically. The brooding, razor-sharp synths and crisp percussion create an icy aura that’s beautiful yet menacing. The lyrics are somewhat ambiguous, but my take on their meaning is that people in search of fame – represented by ‘Neon Blood’ – will cheat, lie and prostitute themselves to get it: “Faceless plagiarists, aimless and dangerous playboys, movies stars grovel at your feet. You’re serpentine inverted mind. My Neon Blood.” In reality, those searching for fame are actually the victims: “Howling at your wounds. But you’re the sheep and I’m the wolf.” Some pretty heavy stuff there, and a great example of Loveproof’s exceptional songwriting.
Neon Blood, Volume One is a marvelous and flawlessly produced album that provides a stunning listening experience that draws you in, enveloping your senses in a dreamy, otherworldly soundscape.
1. SAFARI SONG – Greta Van Fleet (1)
2. ALL THE STARS – Kendrick Lamar, SZA (6)
3. PAIN – The War on Drugs (2)
4. LOS AGELESS – St. Vincent (5)
5. LIVE IN THE MOMENT – Portugal. The Man (3)
6. WORLD GONE MAD – Bastille (9)
7. TWO HIGH – Moon Taxi (8)
8. SCARY LOVE – The Neighbourhood (4)
9. SOBER UP – AJR ft. Rivers Cuomo (7)
10. RUN FOR COVER – The Killers (11)
11. BORN FOR GREATNESS – Papa Roach (12)
12. BROKEN – lovelytheband (13)
13. HAPPY HOUR – Weezer (10)
14. YOU WORRY ME – Nathaniel Rateliff & the Night Sweats (14)
15. &RUN – Sir Sly (16)
16. SEVERED – The Decemberists (N)
17. BEST FRIEND – Sofi Tukker ft. NERVO, The Knocks & Alisa Ueno (18)
18. THE NIGHT HAS AN ALIBI – Wons Phreely + The Horses (20)
19. GOD’S PLAN – Drake (17)
20. THOUGHT CONTAGION – Muse (N)
I receive lots of submissions from artists and bands asking me to listen to their music or, hopefully, write a review of it. Most of the time the music is decent or better, and I rarely turn anyone down (which is why I’m always running behind schedule). But every so often, I’m immediately blown away the moment I hear their music. Such is the case with Malaysian singer/songwriter Lyia Meta, a lovely woman with a voice to match. Her rich, soulful vocal style is impressive, with a powerful arresting quality reminiscent of the legendary Shirley Bassey.
Lyia released her debut EP This is Lyia in 2016 to wide acclaim, garnering airplay on radio stations in Europe, as well as indie internet music radio stations in the UK, U.S., Germany and Australia, including Radio Wigwam (UK), Home of Rock Germany, LA Rocks Radio, Banks Radio Australia and many more. In August of 2017, she won the award for Best Female Artist from Radio Wigwam. In January of this year, she dropped a new single “Without Walls,” and it’s fantastic.
The track opens with soft, mysterious synths and Lyia pensively singing “I’m thinking of yesterday. She’ll find a way. And everything I remember, would stay. ‘Cause life without walls, feels like it’s love.” The music builds into a powerful soundscape of shimmering synths and a sensual, bass-driven dance beat, while Lyia’s smoldering vocals raise goosebumps as they soar to the heavens. Those moments of exuberance alternate with interludes of relative calm, where lovely synths with piano and strings dominate. She sings: “Forever in my mind, forever in my heart. Promises that came undone. We played it from the start. This life without walls. It feels like it’s love. We’re bending rules and skipping stones. Know your worth.” It’s a gorgeous song that I guarantee will have you on your feet dancing and hitting the replay button.
Lyia is also an accomplished visual artist. Check out her work on her art website.
I’m back in Milwaukee, Wisconsin (having just written about progressive metal band UNDER AEGIS) to shine my spotlight on Brave You, one of my favorite indie bands that I’ve also previously featured on this blog. In 2016 I reviewed their outstanding debut Six Songs EP, and now have the pleasure of reviewing their new full-length album Places, which dropped in late February. Released through Halloween Records, Places is a concept album. The band’s guitarist & lead vocalist Alex Meylink explains: “Places is entirely about addiction, but we tried to avoid ever mentioning drugs or alcohol. We focused primarily on how addiction interacts with one’s emotional state and relationships, so I think it’s applicable to anyone suffering a mental health issue. These are songs written across a few years: in the early stages of recovery, in relapse, at ‘the bottom’, and finally coming to a place of good mental health and sobriety.”
Brave You plays alternative rock that’s highly melodic, but with an honest, post-grunge sensibility that gives them a distinctive style all their own. In addition to Meylink, the other band members are Noah Snyder on bass & backing vocals, and Erik Burtraw on drums & backing vocals. Outstanding, complex guitar riffs, aggressive drums, and really fine harmonizing vocals are the defining elements of their sound. Add their solid songwriting to the mix, and the result are songs of exceptional quality and depth. And if all that isn’t enough of a winning combination, they’re also pretty nice guys.
Places is aptly named, as each track title is about a specific location, whether it be a geographical one or simply a bedroom. The album kicks off with a distorted riff and voice over of a guy inviting his friends to go to the amusement park on “Lake Michigan.” Swirling guitars, Snyder’s humming bass and Burtraw’s crashing drums ensue, as Meylink earnestly sings of being in a precarious mental state: “So I’m safe for now. Even if it’s just one moment I could crack a smile, goddamn it.” Determined to make it, he defiantly sings “So I’m safe for now. So let’s burn that fucker down and build it up from better ground.”
I may be off base, but my take on “The Hospital” is that it’s about being depressed over the impending onset of winter, which symbolizes the possibility of having a relapse that would necessitate going back into rehab. The lighthearted video puts a happy face on a rather serious subject, namely trying to stave off winter, or preventing a downward spiral and keeping an upbeat attitude by having fun playing sports with friends. By video’s end, the band members are all wearing giant teddy bear heads, indicating they’re getting ready to hibernate, another metaphor symbolizing the inevitability of returning to the hospital for rehab.
One of my favorite tracks is “Mound St.” It starts off with Meylink’s echoed vocals and a gentle riff and drumbeat, then explodes with a barrage of wailing guitars and thunderous drums. Still in a fragile mental state and feeling pessimistic, Meylink sings: “I’d spent a few years treading water in stagnant pools. You asked me where my head had wandered off to. I’ve been lost. / If these are the best days of our lives then we are fucked. I am fucked. / On Mound Street, I let my losses pile up. Refused to claim stake in the rubble and the sum of the stories I told you and to myself: that I’m alright and getting by. So I coasted on hope or the concept of having it. Got myself dry as a bone til mine were cracking, but I couldn’t help but sink into quicksand and pits. A morass of “faultless” debt I could never hope to pay back.”
“Wind Lake” and “King Cross” are a couplet, with the latter being a precise continuation of “Wind Lake.” It’s interesting the band would create a separate track in “Kings Cross,” as it begins with the exact same riff that “Wind Lake” ends with. Both tracks feature Meylink’s gritty, screaming guitars and Snyder’s deep, droning bass line, sounding fantastic.
The guys’ wonderful harmonizing is well represented on “Washington.” The nimble guitars and bouncy drumbeat lend an optimistic tone for lyrics that speak to a resignation that though things aren’t going so great, we’ll just continue acting like they are: “So let’s just make it through this winter. Toss off the sharp and jagged splinters. No matter, all of this is fine.”
“Hometown” speaks to the depression that began while growing up, and wanting to escape that environment in the hope things will get better: “Always remember how you felt at this moment, in this place. Alone and inconsolable in the house that you grew up in. You wanted to burn that fucker down. Erase twenty years on solid ground.” The track has a great melody, and is filled with loads of jangly guitars and gritty bass. “South Milwaukee” is a short and beautiful track with chiming guitars and warm bass, but sad lyrics about feeling hopeless and alone. Meylink sadly sings “Overworked and underfed, in need of rest, I drove the twenty minutes to South Milwaukee instead, to you and your shitty friend. Towards a beacon of light in an otherwise meaningless night. / Selfish, I expected too much of your company. That just one night could fix me. It didn’t help me at all.”
“Bedroom” finds him trying to escape his demons by isolating in a safe place: “Me and these ghosts, still talking until I’m finally sleeping. I just want to stay home, stay in my bedroom alone. Me and these ghosts, still talking until I’m finally sleeping. I just want to be whole.” As always, the frenetic instrumentals and vocal harmonies are first-rate.
The hard-driving, bittersweet “Your Bedroom” speaks to the pain and feelings of loss after the sudden death of a friend. “You’re no ghost, you’re a warmth. A ringing in the ears. A reminder. Stay in motion now. Make the movement matter. And this will freeze and crack, thawed only by the embers. You’re twenty seven forever.By the back door, your old pair of blue Tiger shoes we didn’t throw out, as if after a day or two like Lazarus you’d come from your room. We’d get a sandwich at Lulu’s. God, I’d do whatever you want to. I’d get clean. I’d sing loud. Just come on out.”
Places closes on an optimistic tone with the anthemic “Everywhere.” He’s now confident things will be OK: “I wanna take back this city from dead memories, take back my body. Call off the funeral procession for all these loves that built me. Those years searching for something greater than these homes. Well, I found it. Found it in my bones.” It’s a gorgeous track with layered guitars that start off as tender strums, gradually building to celebratory jangly riffs. Likewise, Meylink’s heartfelt vocals build along with the music, eventually soaring to a crescendo of spine-tingling harmonies. It’s a satisfying conclusion to a brilliant effort from a really fine band. I love Brave You and hope they continue making music for years to come.
UNDER AEGIS is a phenomenal Progressive Djent Metal band who kick ass and take no prisoners. Their brutal sound – forged from explosive guitars, buzzsaw bass lines, speaker-blowing drums and fierce vocals – is a full-frontal assault on the ears, while their provocative lyrics call out societal evil, hypocrisy and bullshit. The Milwaukee, Wisconsin-based foursome released their monumental EP [Extinct] in 2016, followed by the scathing single “Sedated” in August 2017, both of which I reviewed on this blog. They’ve now dropped a brand new single “Point Blank,” delivering more of their signature face-melting metalcore we’ve come to expect.
Photos by Luke Steffens
Along with their new single, UNDER AEGIS also has a charismatic new vocalist Carl Martin (who also mixed the track). He sounds amazing whether he’s aggressively singing and rapping in clean vocals or ferociously screaming guttural metalcore. Rounding out the band lineup are the talented original members Bao Vo on guitar, and brothers Avery Gaitens on bass and Parker Gaitens on drums.
The powerful track is brutal yet melodic, with relentless wailing riffs and Avery’s bone-crushing bass providing a fitting backdrop for Carl’s furious vocals. Through it all, we hear Bao’s eerily beautiful recurring guitar riff that seems to rise out of the maelstrom, while Parker pummels his drum kit with all the strength he can muster. The three minute fifteen second long track leaves us drained but still wanting more. It’s awesome.
My take on the song’s meaning is that we’re all brain-dead and living a hopeless existence in a dystopian society fed a steady diet of pernicious misinformation and thought-control. Carl snarls and growls the bleak lyrics:
The only plan that will meet our demand is when we don’t exist. Our lives are staged, stuck in a cage. Projecting conscience in our brains. When will you begin to conceive it as fake? Everyone is the enemy. Point blank to the side of our head they pull the trigger but they didn’t know we’re already dead. Sweet dreams when they fill us with lead I’d rather die alone than live with regret. No life is the ultimatum when you follow in the trail of misinformation. Every opportunity becomes an altercation, but according to the facts on foreign relations, It’s inevitable that we can’t change the way the world sways upon the main stage, and they don’t really give a fuck what we say they can have the world and we’ll take the day. Cut the fucking strings, the operation of change is in motion. So take a shot at me point blank and watch expression leave my face. I’ve always wanted to escape this fucking place. Dissemination’s upon us, we live a lie, it’s larger than a nation. Point blank to the side of our head they pull the trigger but they didn’t know we’re already dead, so fuck it.
1. SAFARI SONG – Greta Van Fleet (2)
2. PAIN – The War on Drugs (1)
3. LIVE IN THE MOMENT – Portugal. The Man (3)
4. SCARY LOVE – The Neighbourhood (4)
5. LOS AGELESS – St. Vincent (5)
6. ALL THE STARS – Kendrick Lamar, SZA (8)
7. SOBER UP – AJR ft. Rivers Cuomo (6)
8. TWO HIGH – Moon Taxi (7)
9. WORLD GONE MAD – Bastille (9)
10. HAPPY HOUR – Weezer (10)
11. RUN FOR COVER – The Killers (11)
12. BORN FOR GREATNESS – Papa Roach (13)
13. BROKEN – lovelytheband (16)
14. YOU WORRY ME – Nathaniel Rateliff & the Night Sweats (15)
15. ALL ON MY MIND – Anderson East (12)
16. &RUN – Sir Sly (18)
17. GOD’S PLAN – Drake (17)
18. BEST FRIEND – Sofi Tukker ft. NERVO, The Knocks & Alisa Ueno (N)
19. ONE FOOT – WALK THE MOON (14) 22nd week on list
20. THE NIGHT HAS AN ALIBI – Wons Phreely + The Horses (N)
ECLECTIC MUSIC LOVER 