Apple  Music here, Spotify here and below.
Here’s one thing I love about each of these songs:
IN THE PARK
I love the juxtaposition between the flighty piano sample and the booming bass which leaves a depression in my chest cavity
LADDERS
I love how the joyful horns are the manifestation of his desire to “find a way”
1539 N. CALVERT
I love how clipped his syllables are on the first verse
HIGH
I love that this exists. I love the “high” after the drop that undulates in and out so you have to lean in to hear it and then it washes over you, like “hiiiIIIIIIiiiiIIIIIiiiiiigh”
TRIED UP
I love the forceful piano break at 2:15 that turns the song from trap into some Andrew Lloyd Webber hyper-dramatic shit
DOPE QUEEN BLUES
I love the effect of the double tracked vocal
CUT ME OFF
I love the tone of the guitars: the abrupt high one and the warm funky mid one
HEAVEN
I love 1:52 which is one of most badass moments in music this year
POWDER BLUE
I love the guitar lick on the chorus
NICO’S RED TRUCK
I love how the scratchiness of the recording quality matches the nostalgia of the lyrics
SOUTHERN CROSS
I love you
MARINERS APARTMENT COMPLEX
I love this line:
“They mistook my kindness for weakness
I fucked up, I know that, but Jesus
Can’t a girl just do the best she can?”
GOODIE BAG
I love how when he says “why” it sounds like the “whomp” of the bass
YUNG STUNNA
i love when singers linger on some syllables only to rush through others, like here: “riiiight ooooon thepassengerside”
ELECTRICITY
i love at the end of the chorus when she’s singing in unison with a pitched down and distorted version of herself. I also love how Diplo does the whole song and then allows Mark Ronson literally three and a half bars of his Mark Ronson TM drums at the end
OMG
I love how this evokes the pivotal gymnasium dance scene in an 80s romcom
WHITE BRONCO
I love the Janet Jackson shoutout and how he’s settled into exactly what he’s good at
PRAYER SONG
I love how the high hat shuffle is on some Max Roach shit
BOY DON’T BE AFRAID
I love how the two singers don’t hold back their own singing style which gives the harmonies some grit
SUSPIRIUM i love how vulnerable Thom sounds especially when he’s singing “no tomorrow”

 

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