| Sputnikmusic


With all of our March Madness brackets sufficiently busted (and my Red Wings slowly morphing back to the Dead Wings as their 25-year playoff streak’s been snapped and they pivot to the Little Caesars Pizza Pizzarena next season), we look forward to one of the best days of the year:

Rather than building a diamond in corn fields, though, we’ve constructed our first quarterly mixtape of the year. At 28 songs deep this time out, it’s also the first opportunity for some of the new staffers (and long-lost friends) from our crew to flex their blurb-writing muscles on the blog this year.

In cases where a track isn’t on Spotify, we’ve included either an embedded YouTube clip or a link to the artist’s Bandcamp and/or Soundcloud.

We hope you enjoy. Next edition will be in Q2. See you then and enjoy April-June!

Carly Rae Jepsen & Lil Yachty – “It Takes Two” (prod. Mike-WiLL Made-It)

Listen if you like: pop music, artistic seven-car pileups (in a good way), capitalism, anti-capitalism (?)

“It Takes Two” is effectively the musical equivalent to an unfortunately-patterned sweater: gaudy, incomprehensible, sold for $29.99 at your local Target (there’s the Target reference quotient for this blurb filled!), and only worn well by people whose aesthetic sensibilities fall so firmly outside traditional fashion standards that it turns out to look pretty fuckin’ great on them. Nothing about this song should work, until you recognize that the one common thread binding Mike-WiLL, Yachty, and Carly Rae is a tendency to make killer tunes just enough outside typical 2010s-pop tropes that they end up kind of reshaping the game in their image. It’s a bizarre experience, but enough discordant elements smash into each other in precisely the right way that a few months after the song’s release I’m still curiously hooked. Go buy the sweater. –Brostep

Bedwetter – “Stoop Lights”
Volume 1: Flick Your Tongue Against Your Teeth and Describe the Present.
Listen if you like: Lil Ugly Mane (shocker!), Eyedea & Abilities, Earl Sweatshirt

“I don’t got hate for myself, I got nothin’ to say to me.” Travis Miller – too many aliases to list – hasn’t come too far since Oblivion Access, and I don’t mean that as a critique. Like all of us, he’s stuck in a system which encourages routine to the point of repetition; like some of us, he has the additional burden of mental health problems to claw him down when he’s trying to rise above; and like just a select few of us, he’s decided to rap about it. If “Stoop Lights” sounds exactly like you’d expect Lil Ugly Mane in 2017 to sound, it’s because Travis has been circling a drain and just doing his best to stay out of the hole. Everything seems tailor-made to reflect this theme, from the hypnotising cyclical chorus which could easily run for another five minutes, to the mechanical cut-and-paste drone of the beat. His rhymes are as sharp as ever, trading out some of the venom from Oblivion Access for a defeated near-monotone that ends up being even more unsettling. If nothing else, Travis Miller as Bedwetter is documenting the view from rock-bottom with an unflinching eye that refuses to skim over the grislier details. Some of them may not leave your head after the last chorus has spun out. –Rowan

Arca – “Anoche”

Listen if you like: Arthur Russell, James Baldwin

In contrast with Xen, in which Arca (might’ve) tried to rap, “Anoche” is grisly fare. Though its Venezuelan lyricism prevents itself from touching on any obvious profundities, the minimalism – and the emphasis on the dynamic of what sounds like fewer than three pared-back synths – lends itself to Arthur Russell, all impressionistic and unsettling twangs and drones. Because of that, “Anoche” isn’t any less affecting than Arca’s material prior, instead a continuation of his cabaret of grotesqueness: think Mutant without the headache, or a less-affected, horribly damaged James Blake. –Jordan

Sunless – “Magpie”
Listen if you like: Ved Buens Ende, Artificial Brain, Ad Nauseam

When Demilich took the extreme metal formula, burned it, pissed on the ashes and spawned the ungodly Nespithe in 1993, little did they know what their musical transgressions would continue to spawn almost a quarter of a century later. Dissonant, technical metal is all the rage nowadays, to the point where complaints of “derivative” material are about as commonplace as they are in the infinitely-more saturated revival-OSDM scene. Sunless seem to be the latest victims of this narrow thinking, bombarded with erroneous comparisons to Gorguts and Deathspell Omega because they like to throw a major 7th chord or a chromatic lead into their tunes every so often. The reality is these guys are simply carving their own niche into perhaps the only scene in metal where you stand any chance of regularly hearing something new. Their song “Magpie” is angular, yet uncharacteristically groovy for this style of metal — in addition to being surprising mellow, relatively speaking. Think of a heavier, growlier Ved Buens Ende with a bit of Artificial Brain spliced in, and you’ll have a decent idea of what they’re going for. But don’t let that sell them short: listen for yourself. –Jacquibim

Dot Hacker – “Beseech”
Listen if you like: Radiohead, John Frusciante, Red Hot Chili Peppers

Dot Hacker returned this year with a fairly impenetrable record, N°3. The songs play along as a cohesive unit, while Josh Klinghoffer rarely makes himself clear regarding his stories. Still, a certain highlight is the bittersweet “Beseech”, a tad lighter in sound than most of the songs here. The catchy drum patterns are joined by simple, yet lovely piano and keyboard leads, creating an airy atmosphere that stands somewhere between warm and uneasy. Contrasting the melodic parts, Josh’s lyrics portray a troubled relationship where the man seems to deceive his partner, who’s too insecure for her own good. When the sweeping bass steps in, the track intensifies even more, building up for the hazy finale. Overall, this is one of the most immediate and addictive cuts Dot Hacker have recorded so far. –Raul Stanciu

Demonic Resurrection – “Matsya – The Fish”
Listen if you like: Melechesh, Orphaned Land, Amorphis, Nile

It is not unusual to come across bands that try to incorporate seemingly dissimilar elements to their music so as to create dynamics. Indian act Demonic Resurrection, mostly known for their symphonic black metal akin to Cradle of Filth or Dimmu Borgir, have demonstrated their pioneering spirit on their latest LP Dashavatar (“The ten faces of Vishnu”). The ever-evolving outfit have combined melodeath and a power metal feeling with traditional Indian instruments, such as the sitar and tabla, infusing lyrics from their culture in order to create an epic and mystical offering. Anyone looking for dynamics and an exotic flavor need not look further. –manosg

Kath Bloom – “I Just Can’t Make It Without You”
This Dream of Life
Listen if you like: Vashti Bunyan, Suzanne Langille, Joanne Robertson

Folk singer-songwriter Kath Bloom has been recording, in some form, since the mid-’70s (then, primarily, with experimental musician Loren Mazzacane). She shows her age here in dignified fashion. Few artists could sound so weary and weathered, yet graceful. “I Just Can’t Make It Without You” feels sudden and unrehearsed, and her voice creaks and wavers like a Johnny Cash swan song. With the sounds of carefree children closing off the track, we get a sense that Kath is the type of woman to put her life on hold, even just for a few minutes, to relieve (and relive) decades of burdens while lamenting what’s to come. It’s oddly stirring to hear someone with so much experience in their wake still feeling so uncertain about their future. Kath could (speculating a bit here) be anticipating a lonely journey to the afterlife; or, imagining her last years deprived of someone irreplaceable. She isn’t super specific, often speaking in ambiguities, but that might be for the best. –Tristan

Breed of Bacchus – “Bonapapst Syndrom”
Listen if you like: The Kill, Shackles (AUS), Sunlight’s Bane

What is totally commendable about grind and its ecosystem of sub-genres is the dichotomy between a total “F.O.” attitude from the groups that lead the way to bands like Breed of Bacchus, with the latter half appearing with new material every once in a while. In this case, the Germans are particularly unrelenting, as Oculus feels like a punch in the face, whether it’s punk that dictates the pace or the techy, but dirty in sound, grindcore vibe that’s abound. For better or for worse, lyrics are mixed between English and German, and an accurate sense of what “Bonapapst Syndrom” talks about is currently out of reach, even with Google Translate. However, don’t wait until you learn German or until Silicon Valley get its AI deal up there with every human natural language — make sure the DJ at your local venue gets Oculus and cram yourself in an appropriate mosh pit. –Voivod

The Flight of Sleipnir – “Tenebrous Haze”
Listen if you like: Galar, Khemmis, Windhand

Flight of Sleipnir’s new album Skadi is an absolute earthy metal delight (emphasis on the earthy, because with the riffs you also get the folks). This is best exemplified by the varied “Tenebrous Haze”, which features killer earworm riffs, a strong melodic climax, and is just a really smartly written near-10 minute metal opus. The riffage on the whole album has a lot in common with doom rock bands like Khemmis or The Sword, but the black metal-like shouts and rasps give it that extra edge. Not only that, but the harsh vocals (which are complemented by noble cleans) actually sound more accessible than some of the more unorthodox harsh vocal performances in the genre, mainly because they go so marvelously hand-in-hand with the rest of the music. The folky side of the album also sits really well next to the doom-tinged riffs, as a result of which Skadi is a beast unto itself. It’s a great album as a whole, and “Tenebrous Haze” is its highlight. Just don’t be shocked if you pick the record up and after being seduced by some juicy riffs in the first two songs, you afterwards get lulled by Scandinavian folk, which is strongly weaved into the second half of the record. A romp and a cuddle all in one. —Magnus Altküla

Eskiz – “Deliriyorum”
Beterin Beteri Var
Listen if you like: MC5, Led Zeppelin, Red Hot Chili Peppers

In 1976, female Turkish folk icon Esengül released the song “Betterin Beteri Var” (a Turkish proverb that roughly translates as “There’s much worse than the worse”). Its lyrics largely make reference of emotional struggles and their detrimental result on human psyche over time, and yet the title could be, by large, an indirect innuendo to Turkey’s tumultuous political state during the late ’70s. Fast forward some 40+ years, and not much has changed in the region, hence Eskiz’s deliberate (?) reference to Esengul’s song. The Istanbul natives, though, are a different musical story, as their delirious sound owes a great deal to ’70s psych and hard rock proponents like MC5 and Led Zeppelin, but also to modern rock powerhouses such as Red Hot Chili Peppers. Although Eskiz stumble on the footsteps of giants, their notoriously genuine drive makes sure that the time invested in them will not go in waste. — Voivod

Magna Carta Cartel – “Sway”
The Demon King
Listen if you like: U2, R.E.M., The War on Drugs

In a video released in early March, Martin Persner disclosed that he performed in Swedish outfit Ghost for seven years. This was a bit of a brouhaha given Ghost’s penchant for secrecy, even if five minutes with Google could point you in the direction of the band’s other members. With reports that Ghost have an entirely new cast of Nameless Ghouls on the band’s current European run, rumors have swirled that Ghost’s frontman essentially performed a ‘hard reset’ and terminated the rest of the band. In Persner’s case, it sounds like he is disheartened by the circumstances, but the time away has also reinvigorated his spirit and allowed him to return to masterminding the once-slumbering Magna Carta Cartel. In re-recording “Sway”, the revisited track features brighter guitar leads, a fervently steadfast rhythm section, and augmented vocals. While its passionate intro and hearty main theme are certainly noteworthy, “Sway”‘s true highlight might be found in its last seventy-five seconds, reminiscent of Pink Floyd-meets-All That You Can’t Leave Behind-era U2. The Demon King is slated for a Q2 release, but based on the tracks and teasers released thus far (including the harrowing title track shared this week), Persner’s perseverance and Magna Carta Cartel’s revival suggest that there might be more than just new music on the horizon. –Jom

Vince Staples – “BagBak”
Big Fish Theory
Listen if you like: untitled unmastered., Yeezus, DS2

It’s amusing to hear Vince Staples progress in less than a minute from ‘fuck[ing] all night, regardless,’ all expensive sports cars and baby mamas, to throwing up prayers for McLarens and an end to police brutality whilst quoting Baldwin and Flavor Flav just a few bars later. Truthfully, Staples isn’t a cerebral rapper – at least, not in the sense that he preaches or is antsy about appearing woke – but his subversion, asking for you to ‘clap your hands if the police ever profiled’ is certainly peerless in a field that features a lot of oblivious white kids that like to sing along to a pretty song. On “BagBak”, he owns the field, tossing out phonetic threats over an anxious bounce courtesy of a colder, barer beat selection. It stands up well against “Senorita” or “War Ready” in terms of Staples’ pedigree; bangers that don’t shy away from intimidating, guileless provocations or unnerving subject matter. –Jordan

Acrimonious – “Incineration Initiator”
Eleven Dragons
Listen if you like: Thorns, Dodheimsgard, Dissection

Due to the fact that it wasn’t neighbor to any of the other newly-emerging extreme metal scenes, the Greek metal circuit has developed its own brand of black metal through trial-and-error; yet, it didn’t remain insular, band-wise and fan-wise, to those scenes, especially those coming from the Scandinavian peninsula. As a result, selected bands chose to mutate to the point where a multiverse of elements led to their own vision as to how the preaching of the left-hand path should sound. With their new album, Acrimonious stand at the epicenter of the previously mentioned disposition; they are terribly proficient at their musicianship, yet their adventurous death/black metal sounds arcane in coating the parables of the cult in which they are affiliated. The soothingly convoluted album opener stands as testament of everything that this Greek-Athenian duo craves from its art, and more. –Voivod

Gorillaz – “Hallelujah Money”
Listen if you like: Performance poetry, sadness

It’s immediately clear that “Hallelujah Money” is unlike anything else Gorillaz have ever released. Benjamin Clementine’s beautifully sad voice takes the lead, playing the role of a corrupt politician with unnerving conviction. His verses give us empty promises and rumour-mongering about “scarecrows from the far East” while reassuring that “it’s not against our morals; it’s legally tender” and closing with a truly skin-crawling “thank you, my friends, for trusting me, hallelujah.” When the familiar monotone of 2D finally arrives to give fans something to cling onto, the usual Gorillaz near-nonsense is cast aside for some pretty tough and heartfelt questions – “how will we know, when the morning comes, we are still human?” The irony of an animated character singing this line is not lost on me, but “Hallelujah Money” raises some confronting points that are hard to dismiss with a ‘they’re not a serious band’ handwave. The tone is so somber it’s hard to know what to make of it at first; when the heavenly choir sings “hallelujah money/past the chemtrails”, I genuinely didn’t know whether to laugh or chalk it up as another important point about stuff raised by Albarn and co. This is not a hyper-political Gorillaz, posting #woke on their Instagram and criticising American politics from their comfy British armchairs. This is a hyper-emotional Gorillaz; a hurt, defeated kneejerk reaction to a world where few people have time for goofy animated bands anymore. It’s been a long time since 2001, and the Gorillaz who told us to get the cool, get the cool shoeshine are gone; we might just have something far more special and important in their place. –Rowan

Priest – “The Pit”
The Pit 7″
Listen if you like: The Knife, Front 242, Skinny Puppy

In parallel with Magna Carta Cartel’s resurrection, an industrial-tinged synthpop outfit reared its head at approximately the same time in early March. Purportedly linked to this project are other former members of Ghost (as both performers and in production credits) along with at least one other affiliated act. While the imagery, music video, and related social media could be construed as one gigantic piss-take, there appears to be some palpable venom amidst the satire (“Visually, we obviously stripped down the shell of a current, successful rock band. We opened it, re-painted it and filled it with mechanical parts. A machine does not get corrupted by greed, insanity, and envy like some humans do”). The pulsating electronics and pitched-down, Erasure-like vocals consistently propel the gratifyingly retro song forward as haunting synthesizers oscillate to-and-fro between channels.  While the debut LP is slated for a Q3 release, “The Pit” is a pleasing throwback that might have easily found a home on Wax Trax! or Nettwerk if we cranked the time machine back to the mid ’80s. –Jom

Thomas Dybdahl – “3 Mile Harbor”
The Great Plains
Listen if you like: Jeff Buckley, Wilco, Damien Jurado, Fenomenon

Thomas Dybdahl is renowned for his highly emotional, lush songs where he paints detailed pictures of several moments in life whether happy or sad. Having released a new record, The Great Plains, lead single “3 Mile Harbor” serves as the perfect gateway to this journey. The gorgeous, uplifting acoustic strums, piano leads and steady beats are beautifully playing alongside Dybdahl’s croon, sharing his memories about a special place that’ll always remain in his memory. All the sweet moments of a summer spent with a former lover are haunting him. Although long gone, a keepsake refreshes his mind and brings back every detail (the town, certain scents, and the like). This is the kind of tale anyone can relate to, set to a really nice melody. –Raul Stanciu

Swimmer’s Lungs – “Michael Phelps Bong Rips”
No Expectations | [Bandcamp link]
Listen if you like: Usurp Synapse, Kilgore Trout, Louise Cyphre, Norma Jean

Swimmer’s Lungs have a sound that is self-evidently appealing to fans of their genre. They’re a band that I’m happy to recommend to acolytes of emoviolence, but hesitate to write about, as there isn’t much to say that wouldn’t become immediately obvious thirty seconds into “Michael Phelps Bong Rips”, the opener from their No Expectations 7-inch. It’s an unpredictable track, but without sounding contrived or muddling the elemental balance. It does more in under three minutes than many semi-serious bands might accomplish with an entire full-length.  There’s engaging time changes, creative guitar diddling, catchy, tumbling drum work, and impressive harsh vocal chops from Sput legend Mappy – so if that doesn’t sell it for you then idk tbh. –Tristan

Jamiroquai – “Cloud 9”
Listen if you like: George Michael (RIP), Funkadelic, Sly & The Family Stone

At this point in their career, Jamiroquai don’t have anything to prove anymore. Their music is timeless and Jay Kay still looks 20 years younger than he is. After a 7 year gap, the band is back with a new album, Automaton. After debuting the heavily electronic title track, they assure us the funk side is intact too by dropping the elegant “Cloud 9”. The classy keyboards and drum beats drive the song as guitars discreetly embellish it. Kay’s voice is just as smooth as it was in the ’90s, yet it doesn’t feel like a rehash of past classics. Jamiroquai will never become obsolete and this song proves how easily can they create good music three decades into their career. –Raul Stanciu

Soen – “Orison”
Listen if you like: Opeth, Katatonia, Karnivool

While the comparisons to Tool, Opeth, et al. will likely never perish, Soen’s junior effort sees the band gravitating more towards forging their own identity. Lykaia is a true tour-de-force, with robust, well-crafted songwriting and considerable breadth and depth that goes well beyond the scope of a passive, paint-by-numbers approach. The opening 1-2 punch of “Sectarian” and atmospheric, key-laden “Orison” sets the tone with plenty of groove and gusto – the guitars and rhythm section are especially tight-knit in their progressions – and Joel Ekelöf’s stellar vocal performance is a frequent highlight. Other memorable songs include “Jinn” with its Middle Eastern flair and magnificent closer “Paragon”. –Jom

Fit For An Autopsy – “Black Mammoth”
The Great Collapse
Listen if you like: Gojira, The Red Chord, Aversions Crown

Fit For An Autopsy keep on improving with each record. I think their last one already flew under the radar here because of the dreaded deathcore moniker, but both that album and this new one are great heavy music records, no matter what tag you slap on them. The newfound Gojira influence is super evident, but last time I checked, most everybody loved Gojira, so this progression should only delight the majority. If on Absolute Hope, Absolute Hell the band learned how to effectively infuse more melody into their songs, then on The Great Collapse they’ve further improved in the art of composition, as the songs on it run more smoothly than ever before. While the middle part of their last album did feel weaker than the beginning or especially the end (“Out To Sea” through “Swing The Axe” is still the greatest eleven minutes of music Fit For An Autopsy have created, in my view) there is no such drop off here, as consistency reigns. The album is another step forward for a hardworking band, and to us it offers 40 minutes of pummeling metal. Up isn’t the only way, but taking into account the steady, continued progress throughout their brief career, it is a most probable one for Fir For An Autopsy. Here’s “Black Mammoth” – the band’s rallying cry in support of the fight against the Dakota Access Pipeline – to drive that point home. —Magnus Altküla

Charli XCX – “ILY2”
Number 1 Angel
Listen if you like: Lady Gaga, SOPHIE, Avril Lavigne, moshing, not giving a fuck, moshing while not giving a fuck

“I’m not afraid! It’s OK!” saith the XCX, perfectly summing up her own M.O. Charli’s made a career of very loudly not giving a shit – from her jubilant, snarling features on “I Love It” and “Fancy” to her claiming of the bizarro-pop-princess throne on “Vroom Vroom” – and Number 1 Angel, aside from being very good in its own right, is worth a listen at least to hear the Brit sing more loudly and carelessly than ever before. Behind her brat-poppy veneer, though, there’s always been a sense of premeditation to everything she does. When she doesn’t care, she doesn’t care because she’s weighed the options and concluded that caring would be a waste of her time. When she’s telling a boy to kindly fuck off, it’s because he truly deserves her scorn. And when – as with “ILY2” – she’s finally dropping some of her hedonistically emotionless facade to say that thank God, she’s finally fallen for someone, it’s because she’s figured out it’s finally time to say it. The song’s bombast – huge, arena-filling guitars, gloriously cheesy trance synths, massive boom-clap beat – is only right for a song as loud and triumphant as Charli XCX makes it. She loves you, too – and the world needs to know. –Brostep

Blanck Mass – “Silent Treatment”
World Eater
Listen if you like: Ben Frost, Forest Swords, 65daysofstatic

Luscious synthesizers and profusive bass accentuate the vivid imagery that permeates throughout World Eater. The album effortlessly sways between quixotic and dystopian – the latter being no surprise in surveying the news of late – and standouts like “Rhesus Negative” do little in comforting listeners with its make-no-bones-about-it raucous onslaught. On occasion, though, there is time to recover, and “Silent Treatment” is a welcome respite from the anxious tension, with sampled vocals interwoven into the song’s comparatively soothing fabric. Even with breakneck pacing amidst a despairing backdrop, World Eater is strikingly immersive. –Jom

Pallbearer “I Saw the End”
Listen if you like: Black Sabbath, Khemmis, Pentagram

Pallbearer have quickly grown into an old school doom/heavy metal force, and their latest epic Heartless brings forth a constant onslaught of riffs. The strong opening track “I Saw the End” pretty much presents us with what the record has to offer in 6 concise minutes. The beautiful meld of melodic and hard riffage is both catchy and powerful, while the clean vocals are some of the best these guys recorded yet. They also leave a lot of room for the instrumentals to expand, taking off with a really cool dual guitar solo during the coda. It’s amazing how high have they raised the bar with the latest album, and “I Saw the End” is an essential Pallbearer track. –Raul Stanciu

Pedigree – “Coming Back Alive”
Standard Sundown
Listen if you like: No-Big-Silence, 16Volt, Skrew

“Coming Back Alive” is a symbolic track for Estonian industrial metallers Pedigree, because in a lot of ways, their 12th studio album is a resurgence. One of the most consistent groups in Estonian music history, the band have never dipped below-par territory, but Standard Sundown, the album from which “Coming Back Alive” originates from, is succinct and fresh-sounding in a way the band haven’t been for a while. It’s got a rock ‘n’ roll swagger to it in parts, which hasn’t really been the band’s trademark, but it works alongside and within the revigoratingly streamlined approach. Both the song and album reek of a band who have found their comfort zone, but manage to sound compelling within those parameters. There’s little that’s entirely new here fot the band (aside from the aforementioned post-apocalyptic rock ‘n’ rollness), but by trimming the fat and playing on veteran know-how, Pedigree have come out with a stellar album that doesn’t coast on the band’s legacy, but cements it. —Magnus Altküla

Sampha – “(No One Knows Me) Like the Piano”
Listen if you like: Solange, Frank Ocean, piano music

“(No One Knows Me) Like the Piano” is far-removed from many of the more jarring, experimental tracks on Sampha’s debut album, but it’s just as engaging in its own right. The track is built around intimacy; there’s a sense you’re in the same room with the young producer as he confesses his overwhelming love for music – always over a delicate trickle down of piano notes. As gorgeous as the song is, it’s the portrayal of music’s power to influence us all that makes it so affecting. Of course, it doesn’t hurt that Sampha has the radiant voice to back it all up. It’s a love song between man and music, and it’s one of the most beautiful things to come out so far this year. –Atari


Sorority Noise – “A Better Sun”
You’re Not As _____ As You Think
Listen if you like: Brand New, Modern Baseball, depression

“A Better Sun” has a kick-ass build-up if I’ve ever heard one. It’s not until its final moments the guitars finally stop holding back, and all the song’s fortified tension comes pouring out in a glorious finale of distortion. The track feels stuck in a steady loop of repetition, yet it’s always subtly and cleverly expanding as vocalist Cameron Boucher delivers lines of apathy: “This is the part where I am empty / This is the part where it hurts.” As the song reaches its peak, even the depressed frontman must succumb to its massive conclusion, and does so with a sudden release of abrasive, shout-along vocals. Even though you know exactly what the song’s working up to after repeated listens, it somehow manages to be just as thrilling and cathartic every time it circles its way back around. –Atari

Dropkick Murphys – “I Had a Hat”
11 Short Stories of Pain & Glory
Listen if you like: Flogging Molly, The Tossers, not conflating “St. Paddy’s” with “St. Patty’s”

The Boston legends’ take on this traditional Irish song injects life as 11 Short Stories segues into its latter half. If it wasn’t already a couple weeks ago, it should find a place in your St. Patrick’s Day bar crawl playlist. While their cover of “You’ll Never Walk Alone” is another worthy highlight, as is the ultra-melodic, shout-along anthem in opener “The Lonesome Boatman”, “I Had a Hat”‘s vigor is expertly buoyed by crunching guitars, soaring accordion, and Ken Casey’s and Al Barr’s tandem snarl. The Murphys are a little older and perhaps more contemplative and introspective than in albums past, but their blue-collar work ethic will always be their calling card without being overly saccharine sweet. –Jom

Becky G – “Todo Cambio”
Todo Cambio
Listen if you like:
The new Power Rangers movie

“Todo Cambio” or “Everything Changed” is the dope new single from Becky G. The song is a banger for sure, weaving various contemporary pop stylings into a nice little tale of lusty kinetics. Becky G’s rapped verses pump blood into her alluring choruses in a manner fitting for a song detailing changes of heart. Like young love itself, the song is an addictive bit of melodrama, so drink it in if you can. ¡Se repita otra vez! –theacademy

Terrific job everybody, the diversity of this mixtape is second to none.

Ty Jom for compiling this beauty, looks phenomenal as always

lookin lovely Jom, thanks for the opportunity to nerd out about gorillaz professionally

Looking great but some picks are eeeerrrr...

Looking good, love the length and variety on this one

Huge thanks to Jom for not only slapping the blurbs together, but helping proofread and edit them as well.

It takes two is a jam

Great job everyone and a big thanks to Jom.

Really looking forward to jamming the playlist.

Excellent feature, shout out to everyone who contributed to this.

articles like this make me proud to be a part of this community!

Hep Kat
c2p i'm gonna fucking scream swimmers lungs lyrix into da mic in may while mappy cries literal bitchviolence tears then we give each other the ol' pennsylvania dutch rudda, naked af save some sox from family dollar and air bethlehems.

bromance iz wat u make it: thats the softest shit since philly hxc in the 2010s 👊👊👊👊👊👊👊

mappy reference +1

'Little Caesars Pizza Pizzarena'
Please tell me that's really the name.

It takes two is a jam [2]

Arca and Sampha tracks are quality too. Looking forward to checking that Kath Bloom track.

This is the biggest mixtape we've done so far I think. Came out really cool, congrats to everyone!

really enjoying shuffling through this playlist and finding some cool stuff I wouldn't have heard otherwise. For those who don't have time to read the article, the spotify playlist is still highly recommended

This deserves more attention. Great songs and incredibly diverse list.

As soon as I saw the Sunlight's Bane LIYL on Breed of Bacchus I was sold.

Agreed, it does deserve more, for the diversity if nowt else ^ ^ Gonna give it a full listen through this afternoon.

Yo thank you so much for including Swimmer's Lungs on this/sry for being a wang a lot

Arca was the weirdest dude, super nice though

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