| Blazin's Top 40 Songs of 2021 |
| 41 |  | Wheel (FIN)
Resident Human
Honorable Mentions:
41. Wheel - “Hyperion”
42. Low Roar - “Fucked Up”
43. The World is a Beautiful Place and I Am No Longer Afraid to Die - “Died in the Prison of the Holy Office”
44. Black Midi - “Ascending Forth”
45. Between the Buried and Me - “Human is Hell (Another One With Love)”
46. Brockhampton - “Buzzcut”
47. Godspeed You! Black Emperor - “Job’s Lament”
48. Mastodon - “Sickle and Peace”
49. Sweet Trip - “In Sound, We Found Each Other”
50. Little Simz - “Standing Ovation” |
| 40 |  | Black Midi
Cavalcade
“Diamond Stuff”: On Cavalcade, black midi had challenged their musical capabilities to ridiculous degrees on three of the four tracks up to this point. So the placement of a somber, post-rock-like with a relatively reserved climax in “Diamond Stuff” completed the atmosphere shift fantastically. The lead guitar sounds fittingly authentic as a precursor to the grandiose string section swells and jazzy finishes on the song’s second half. Like most of Cavalcade, black midi prove their capabilities as underrated, yet excellent songwriters with the lyrics, which beautifully capture the toxicity of self-deprecation with a guise of vampiric immortality in its wording. |
| 39 |  | Parcels
Day/Night
“Nightwalk”: It took a while to decide which track on this album best represented the fantastical urban atmosphere that Day/Night paired with in my head, and I decided on several listens that it was the criminally underrated “Nightwalk”. This is a gorgeous, dream-like cut with an orchestral view of Parcel’s nu-disco sound. It feels almost progressive in how many movements the song sifts through with wonderful flow and the song is surprisingly layered, giving it great replayability. |
| 38 |  | Spellling
The Turning Wheel
“Little Deer”: What a way to kick off an album as special as The Turning Wheel. Not only does this track hardly skip a beat in its majesty, but the arrangement and production on this elevates that magic to arresting heights. I get that the vocals aren’t for everybody, but between the enunciations, the suitability towards the lyrics and instrumentation, and the sheer vocal range, I’d say the vocalist absolutely killed it here. It’s just an overall fantastic effort. |
| 37 |  | Lingua Ignota
SINNER GET READY
“PENNSYLVANIA FURNACE”: A damning, yet somewhat accepting ballad that wonderfully balances the interpersonal sorrow of trauma with the relational frustrations stemming from that trauma in its music. Sinner Get Ready was perhaps Lingua Ignota’s most captivating work on vocals, and that is on full display here with how humbling, yet hauntingly she defines hell in reality and its conditions. This single rightfully generated high anticipation for the record to come. |
| 36 |  | Nick Cave and Warren Ellis
Carnage
“Balcony Man”: This was an early-year highlight that preserved as one of this year’s best piano ballads. The production wonderfully wraps around an unconditional love from someone running out of self-purpose. It provides a fantastic finish to an excellently reserved pop record with striking imagery and plenty of memorable lines. Nick Cave continues to be a songwriter you can trust at making “bittersweet” sound so gorgeous. |
| 35 |  | Deafheaven
Infinite Granite
“Great Mass of Color”: As soon as this single came out, anybody who had previously followed Deafheaven could easily predict a divide forming in the fanbase on how the band’s shift in genre focus would turn out. That divide would continue with further singles and the album release, the latter of which I was mostly disappointed in due to a lack of convincing identity as a shoegaze record. However, I can’t deny the greatness of the first single, “Great Mass of Color”, which has one of the most captivating vocal-production pairings of the year. The lush, soaring chorus is extremely memorable and the often overlooked drummer does a fantastic job with percussion duties, especially during the verses and bridge. It’s a wonderful Summer shoegaze track if you’re looking for something on the heavier side. |
| 34 |  | Converge
Bloodmoon: I
“Blood Moon”: LP-long collaborations have not had the greatest track record on the whole, but the insane profile of artists like Converge and Chelsea Wolfe were guaranteeing at least one spectacular piece to hold dear. That piece came right out of the gate with their collab LP’s first single. The backbone of the song’s instrumental has a fantastic groove that only provides more and more texture upon further listening. As projected, both vocalists do a splendid job working around the gothy doom vibe cast by the synths and guitars. Even if the LP didn’t entirely reach my expectations for such a high-profile collaboration, this track undoubtedly did. |
| 33 |  | Shame (UK)
Drunk Tank Pink
“Born in Luton”: Shame was undeservedly wept under the rug of the “big three” that broke out of the Windmill scene in 2021. Although I already loved one of those bands and grew to love another, Shame were not that far behind the caliber of either act regarding Drunk Tank Pink. It was probably January’s best album, supported by a shining gem in “Born in Luton”. This is a true-to-heart post-punk number with explosive production and a spectacular, impassioned performance by singer Charlie Steen. The lyrics provide a simple, yet effectively powerful story about returning to an abandoned past. Even if this wasn’t a single, it shouldn’t be slept on. |
| 32 |  | Porter Robinson
Nurture
“Unfold”: I’ve learned over the years seriously covering music that familiar writing about familiar topics can not only be done refreshingly well, but also beautifully. Such is the case some of Nurture, but especially the last single, “Unfold”. It’s arguably the album’s most “theatrical” showing production-wise, but how that power is converted into unique songwriting and an emotional delivery is remarkable. TEED’s hand in the production and vocals help create a magical and essential penultimate cut from the year’s best electropop record. |
| 31 |  | Magdalena Bay
Mercurial World
“Hysterical Us”: The resurgence of disco pop in the indie scene has become immense over the past several years as the popularity and quality of Jessie Ware’s last record would best exemplify (along with Carly Rae Jepsen, Robyn, etc.) While Magdalena Bay’s own output displayed excellence in subgenres with heavier electronic doses, their single dabbling with stronger disco vibes was (very) arguably their best to date. The song’s grooviness is undeniable with fantastic interplay between the guitars, pianos, and synthwork. It’s also a fitting lyrical treat that puts existentialism in this bubbly, almost sensual light. The pairing is certainly odd, but it all seems to make sense with the nature of Matthew’s work here. Also, does anyone else get Danganronpa V3 vibes from the chorus or is it just me? |
| 30 |  | Dvne
Etemen Ænka
“Si-XIV”: I’ve seen this track get plenty of hype for the intro riff alone, and I can say with confidence that it is indeed one of the most memorable guitar lines of 2021. Not only does the terrific production job maximize the impact of the riff’s “crunchiness”, but its several variants throughout the track are flowed into seamlessly with great attention to detail for both timing and tone changes. Of course, the rest of the songwriting competents are excellently handled. That middle section with the electronics and heavy hi-hat usage was a fantastic surprise amidst all the post-metal roughage. It’s also difficult to satisfy me with a breakdown in 2021, but Dvne’s approaches to them on here somehow make them feel like album highlights on an already awesome record. |
| 29 |  | CHVRCHES
Screen Violence
“How Not to Drown”: I personally thought “He Said She Said” was a great, even if overblown, first single. It wasn’t until “How Not to Drown” where the group’s return to greatness was understandably recognized by older fans of the group. The prominence of the drums in the mixing provides a poignant groove for Lauren and Robert to work their magic over. Lauren’s resentful melancholy in the chorus brings a persuasive relatability hardly rivaled by other synthpop singles this year. Robert’s comparatively raw delivery brings a wonderful change of pace and makes for a fantastic feature on both his verse and his harmonies in the song’s closing minutes. What a resurgence this was. |
| 28 |  | Der Weg Einer Freiheit
Noktvrn
“Immortal”: I don’t care about what people say with the cleans; this song is awesome. It’s in such a great spot on the record where an unexpected ambient palette is introduced after several minutes of atmo-black metal. “Immortal” is probably the simplest song on the album regarding song structure with 2 verses, a chorus, and a climatic outro. However, elements surrounding the outro do so well with their roles in the build-up. The bass synth presence on the intro is a wonderful add with the dark-folk nature of the cleaner sections. A rather divided cut by some listeners results in one of my favorite black metal songs from 2021. |
| 27 |  | The Armed
Ultrapop
“Average Death”: ULTRAPOP is an amazing record where consistency is a major name of the game. So choosing a true standout was difficult, but I went with the angular and shockingly emotional “Average Death”. The dissonance of the instrumentals pair remarkably with the story of misogynistic objectification in the acting industry, the writing in which is well-conducted. The track is crazy compositionally, but it all flows sensibly and smoothly. Noise pop/rock combinations are not going away any time soon, and this was a textbook example of a successful piece based on those combinations. |
| 26 |  | Injury Reserve
By The Time I Get To Phoenix
“Outside”: For an opener with such an unexpected sound for a group like Injury Reserve, there’s something so apt about its erraticism and seemingly confused state. One part of that is thanks to the outstanding production, supporting freeform vocal performances with drumless synth loops and vocal sample layering. Its part in the second half’s climatic rise perfectly expands on the psychedelic atmosphere introduced in the first half with a space rock-esque composition. Ritchie’s contribution is just as, if not more, outstanding with his verses. It’s a challenging, yet impassioned track whose set-up for the record’s somewhat novel instrumental palettes was nearly unmatched this year. |
| 25 | | Porter Robinson
Nurture
“Musician”: Nurture wasn’t the absolute best album of 2021, but I listened to it a lot over the Summer. Every time I thought I had my favorite tracks figured out before a full listen to the project, that listen would almost always make me second guess to some degree. It took until the very end of the year where I decided on “Musician” as Porter’s greatest achievement. I love the heartfelt lyrics and have shared the same experiences and perspective on life passions for several years now. The writing in the lyrics tie splendidly with the instrumentals, making room for catchy melodies and great usages of vocal effects. There’s a wonderful mix of the old and new in the instrumentals with the sample from that one 90’s dance song with Porter’s staple electropop sound. If there’s one song not to miss from Nurture, it’s certainly this one. |
| 24 |  | Arab Strap
As Days Get Dark
“The Turning of Our Bones”: This is one of those songs so cool that it makes the rest of the album’s task of living up to its potential nearly impossible. This indeed happened with that album, but I’ve listened to its opener countless times since. While its nocturnal seductiveness is apparent, classifying how it all comes together isn’t as easy. The mix of post-punk likeness in the free-flowing verses, indie rock roots in the guitars and pianos, and pop motifs in the chorus and synthetic elements make for a uniquely fantastic tune. What really propels this track to its heightened success with me is its clever writing, which captures an attraction on all scales one can think, from death and the solar system to Costco runs. Although some had recognized this track’s significance upon the group’s comeback, I still feel that its excellence is severely understated. |
| 23 |  | Mastodon
Hushed and Grim
“Pain With An Anchor”: With each album since Crack the Skye, Mastodon outdo themselves with track highlights and, as someone who has listened to Mastodon for years, I’d probably consider “Pain With An Anchor” among 10 of their greatest songs. Mastodon’s new opener sees a return to the fast and pummeling rhythms of openers like “The Wolf is Loose” from their 2000’s material. It’s the band’s familiarly sludgy sound with light touches of doom in the lyrics and some of the guitar work. The outro wraps everything up with a spectacular riff that plays out for just the right amount of time. Here, the boys put up their best performance in a while. |
| 22 |  | Thy Catafalque
Vadak
“Vadak (Az Atvaltozas Ritusai)”: I’ve loved the vast majority of Thy Catafalque’s work in the 2010’s to current, regarding both whole records and individual songs. As for the latter part, however, there’s just something different about those progressive epics that he nails on every album. This time around awaits a journey through the patented Thy Catafalque black metal into a Hungarian folk segment with some beautiful string sections and suitably bouncy percussion to pair. These two worlds eventually collide in a truly awesome fit of riffs and metal songwriting highlights. |
| 21 |  | Tropical Fuck Storm
Deep States
“The Donkey”: A complete sleeper cut that hardly anyone but avid listeners of the record noticed. “The Donkey” sports an intriguing narrative about a donkey who was left behind by Noah’s ark before The Great Flood. I can’t imagine there’s a more expressive and emotional performance from the perspective of a donkey than what Gareth gives in one of this year’s most overlooked vocal performances. Post-punk is the primary course in the composition, but a healthy dose of post-rock in the song structure and tension building supports the heavy impact by the song’s finish. |
| 20 |  | Kayo Dot
Moss Grew on the Swords and Plowshares Alike
“Brethren of the Cross”: Now this is that stuff I’ve been missing from Toby since Hubardo. Not that anything since has been necessarily bad, but I knew his amateurishly awesome metal side would take hold again. Sprawling, atmospheric, proggy, and a little avant-garde, “Brethren of the Cross” does wonders in immersing the listener into this fantastical, yet catastrophic world with its somewhat dry production value, as if the recordings were on a live stage. Toby’s vast vocal range on this track cements every segment on the track into their own awesome sounds. The solely instrumental sections definitely can’t be dismissed either with the explosiveness of the midsection and outro. |
| 19 | | Injury Reserve
By The Time I Get To Phoenix
“Superman That”: This is easily the best 2021 cut under 3 minutes long. It makes the most of that relatively short runtime with informal song structure and unexpected turns in the production, which makes spectacular use of a Black Country, New Road sample of all things. If there was ever proof for total autotune cynics of where autotune can be used in an interesting and tasteful context, this would certainly act as that proof. The sentimental “Ain’t no saving me or you” mantra in the core of the lyrics is a wonderful contrast of supposed realism with the wild imagination designed by the production. |
| 18 | | Lingua Ignota
SINNER GET READY
“I WHO BEND THE TALL GRASSES”: Listening to this song is the audiological equivalent to having someone viciously ripping your throat out, but that mixture of aggression and desperation makes this cut as potent as it is. With the newfound context behind some of the record’s themes, particularly regarding this track, one could consider this is a genuine depiction of how her experiences with the lyrics’ sentiments have played out in Kristen’s mind. For how much the song seems to “ramble”, the musicality of her performance and strength in writing weren’t sacrificed in the slightest. It’s an amazingly emotional piece that I hope Kristen will never have to make again. |
| 17 |  | The World Is a Beautiful Place...
Illusory Walls
“Invading the World of the Guilty as a Spirit of Vengeance”: I am very rarely a “high-end contrarian” on unpopular music opinions, but I strongly disagree with the surprisingly large amount of passerby who were disappointed with this initial single of Illusory Walls. Sure, the lyrics and instrumentals can come off as corny to come, but the composition’s epicness has always seemed earnest and even astonishingly creative in how it’s used around the aforementioned lyrics. It’s a dramatic vision of the modern struggle, an angle in which I thought was pulled off magnificently here. |
| 16 |  | Godspeed You! Black Emperor
G_d's Pee AT STATE'S END!
“Cliff’s Gaze…”: Almost everyone, including me, knows about the early Godspeed days where they were simply unmatched in experimental post-rock. If acts like Slint and Talk Talk were dissociating rock from previously known structures, GY!BE expanded on that idea into grander scopes, resulting in at least two of post-rock’s greatest works ever. I’m in a rare crowd that considers the new album to be a glorious return to that grandeur, even just as much as those first two records. “Cliff’s Gaze…” is the most fulfilling individual piece of the whole record that blends the album’s ambient, orchestral, and post-rock flavors into one piece, providing a striking end to cap off the record. |
| 15 |  | BRUIT
The Machine Is Burning...
“Industry”: Bruit provided the most creative project stemming from the GY!BE brand of apocalyptic post-rock probably since GY!BE did it themselves. The first impression of that album was certainly a significant foundation for that show of creativity. The drumming performance is extraordinary along with a magnificent build consisting of enthralling synth patterns and some gorgeous synth work that would go on to take center stage in the song’s second half. Although the song’s climax is indeed amazing, it’s the build that really sets it far apart from the thousands of “decent” other post-rock groups that don’t utilize that kind of outside-the-box thinking with the song’s build. |
| 14 |  | Adjy
The Idyll Opus (I-VI)
“In Medias Res (Between Longing and Mystery)”: My experience with The Idyll Opus was somewhat awkward. I found the writing incredible at most and admirable at least, but the music around the writing was sorely lacking consistency, which wasn’t helped by an overlong album runtime. The opener sees the album at its fully realized potential with both the magnificence of the lyrics and a densely layered composition with loads of nuances to pick up on from repeated listens. It’s effectively emotional in presentation with fantastic performances from the band all around and in how well it tells its story. If the many references to Christian theology and Jewish tradition weren’t enough to unpack, just imagine how those ideas relate to the alchemist’s experiences. It’ll take a little bit. |
| 13 |  | Sweet Trip
A Tiny House, In Secret Speeches, Polar Equals
“Tiny Houses”: It’s only appropriate following such a somber experience that I introduce an opener with an ungodly amount of euphoria behind it. This sort of warmth and lushness is what I imagine as the soundtrack to the pinnacle of love in a relationship, and the duo does an amazing job to make sure that sticks in one’s head. It’s a texture-packed journey with a reverb attachment so heavy, one would think of it as a detriment. However, that’s exactly what sparks the production’s magic. Especially during the instrumental breaks, this allows the guitars and synths to blissfully soar over the other instruments. What a start to an album stretch I’d consider as one of 2021’s best. |
| 12 |  | Sufjan Stevens and Angelo De Augustine
A Beginner's Mind
“Reach Out”: Sufjan’s return to a folk focus blew everything else out of the water for that genre this year, but the immensely tall task of achieving the best songwriting on A Beginner’s Mind would go to its opener. “Reach Out” is heartfelt and beautiful in its approach to self-discovery and the realization of life’s worth, not short of several quotable moments. The integration of the themes behind the film The Wings of Desire is also masterfully realized. Upon further listens, I also found this as very impressive instrumentally with intricacies in the guitar’s tempo, tone, and focus in production at various points throughout the song. It’s a highly accessible, yet masterful work with easily relatable optimistic qualities. |
| 11 | | Spellling
The Turning Wheel
“Boys at School”: Well, this is one of the most celebrated underground pop singles for a reason; it’s simply amazing. I don’t mean this as an offense to Spellling herself, but I found her somewhat child-like vocal style to fit perfectly within a school setting. While that match fit and was performed pretty much flawlessly, there’s something striking about the contrast of a child’s view of the world from experiences of objection and isolation that last long into adulthood. The “progressive” element of this track is played out excellently, giving each thematic segment just the right amount of time to shine before putting it all together at the end. |
| 10 |  | Genghis Tron
Dream Weapon
“Great Mother”: Let’s kick the top ten off with one of the most improbably, yet truly most-listened-to songs personally throughout the year. Many understandably blew this track off on their experiences with Dream Weapon, but that Gong/Cynic/Oceansize soundscape blend I mentioned in my album write-up was too personally appealing to pass up. This song simply had the strongest sense of that appeal, from the heavy psychedelic elements in the production to tense-building nature of the composition. The song’s become an utterly hypnotic showstopper for me over the past six months, in large part due to its sneaky catchiness and spectacular drumming by the insanely talented Nick Yacyshyn. Much like Dream Weapon itself, I can see why this might be a “for me” song, but I simply can’t shake off how much I love its sound. |
| 9 |  | Parannoul / Asian Glow / sonhos tomam conta
Downfall of the Neon Youth
“Colors”: For as lo-fi as its production value is, Parannoul produced one of this year’s most textured, creative, and resonant rock pieces. The song essentially comes in three stages: a guitar-led first act, a synth-prominent interlude, and a piano-centered final stage. All stages are individually alluring and magnificent, but how each feeds into each other brings the song to towering highs for its entirety. It’s a perfect balance of being a spectacular headbanger with plenty of atmospheric fuzz and stunning melodies that front the whole experience. If Parannoul has the ability to top something like this, I’m honestly scared for what might come next. |
| 8 |  | Lil Ugly Mane
Volcanic Bird Enemy and the Voiced Concern
“headboard”: The best anthem for a doomer crowd I can think of. That fuzzy, monotone makeup was hopeless to pass in terms of quality despite being on an excellent album. The electronic touches hanging in the background are given just the right amount of prevalence in the mix to make the most out of any impact there. While it’s clear the guy had probably listened to a lot of MBV around the conception of “headboard”, how he uses a commonly lush aspect of shoegaze into themes of depression and hopelessness is absolutely admirable. |
| 7 | | Kayo Dot
Moss Grew on the Swords and Plowshares Alike
“Void in Virgo (The Nature of Sacrifice)”: Ironically, Kayo Dot’s greatest showing in what has felt like years is perhaps the most accessible piece on the album. “Void in Virgo” is a patient, churning prog metal single with a very healthy dose of doom infusion in its lyrics and instrumental tones. The production has this spectacular live feel to it, creating a unique experience, especially with it acting as such a pivotal “calming” point on the record. The song’s production is wonderfully layered and its catchiness, a word not often associated with Kayo Dot material, gave this single one of the best replay values 2021 had to offer. |
| 6 | | Black Midi
Cavalcade
“Slow”: As I’ve said in the past, black midi have become one of my favorite groups due to how successfully far reaching they can be with their own style of modern post-punk music. It’s difficult to mainly classify them as post-punk now, but a heavier lean towards aggressive visions of progressive rock has somehow produced some of their best work, including the highlight second single “Slow”. This is a creeping, yet explosive track that plays perfectly into their new mix of genres, never shifting too much in one direction. Once again, “Slow” displays an underrated lyrical side of black midi about a character in a mental downward spiral. Even if that lyrical side is better portrayed on other cuts from Cavalcade, this is easily the standout from performance and compositional perspectives, and it’s a magnificent one at that. |
| 5 | | Sweet Trip
A Tiny House, In Secret Speeches, Polar Equals
“Chapters”: If anyone who’s heard this album hasn't told you already, this song is absolutely incredible on a record that had a ridiculous stretch of great songs. The textures sell an immense, heavenly sensuality that simply outclasses even the other pop songs on this very list. It’s vocally humble in contrast to the grander instrumentals as a beautiful hint towards realistic intimacy in our own grand world. The subject matter on “Chapters” might not be as personally significant as most of the others in the top 10, but I would argue that the pure ecstasy this song provides allows it to compete with such tracks. Its massive success as a standout adds an exclamation mark to the many in-song successes. |
| 4 | | Injury Reserve
By The Time I Get To Phoenix
“Knees”: Even knowing the context behind this single and several retrospective themes on its featured album, it still takes several listens to grip you emotionally. Once it does, however, it’s about as long-lasting as one can be. This song almost sounds like an emanation of yearned solace and realization of current times, perhaps for Injury Reserve themselves; Groggs’ verse is particularly telling of this. The track is structurally erratic and it’s difficult for the outside listener to piece it all together, but it’s also one of those pieces that anyone can find significance in, positive or not. Not only is this Injury Reserve’s best work from a songwriting standpoint, but also from a point of emotional impact elevated by both the vocal production, performances, and lyrics. It’s an unforgettable hip-hop song, if one can really call it as such. |
| 3 | | Lingua Ignota
SINNER GET READY
“THE ORDER OF SPIRITUAL VIRGINS”: Kristen Hayter had a phenomenal performance on pretty much all of her new record and I believe this turned out to be her best release so far as exemplified by the entries on this list. However, I don’t think she did anything better than the stunner that was the opener, “THE ORDER OF SPIRITUAL VIRGINS”. The difference in both vocal styles and instrumentation from the first to second half of the track make for a fully enthralling experience. This track’s lyrical content and Kristen’s vocal emphasis of the lyrics spectacularly balance the paradox of a ritualistic, cult-like demeanor and a realistic portrayal of belonging. How this song sets up its album’s narrative themes is hauntingly magnificent, and proves a significant feat in making this 2021’s best opener. |
| 2 |  | Floating Points, Pharoah Sanders & The LSO
Promises
“Movement 6”: This is the idea of catharsis as a song and it’s one of the most powerful blends of classical, jazz, and electronic I have ever heard. The production makes everything come to life, especially the string sections and its interactions with the core melody on Promises. After listening to this song for many times at this point, it’s still hard to expect what comes at every turn due to countless intricacies in the performances. That’s besides the more iconic moments like the breathtaking string melody at the halfway point and the screeching at the end. All the more impressive about “Movement 6” is that it still stands alone as a masterpiece within a surefire concept album, where it should be impossible for a highlight to stand out to this degree. It’s a brilliant feat from a brilliant song composed by brilliant artists at hand. |
| 1 |  | Squid
Bright Green Field
“Narrator”: 2020’s competition for best song was admittedly more distant than now, but I was well confident that “Narrator” would be here at the end of it all. “Narrator”, as many followers of the Windmill scene are aware, is a once-in-a-generation post-punk masterpiece where there’s hardly a fault within. Vocalists Ollie and Martha are completely cracked out on this track as evident through sheer passion. During the climax, the repetitive vocal harmonies and inflections are elevated to sky-high levels as the gorgeous guitar work continues throughout. What nailed this as the standout cut in an honestly fantastic year of music was its involvement in my own self-improvement. I spent my final year in college at a crossroads on what to do after graduation. I could have technically done anything I wanted to, but this song was essentially a premonition of a potential downward spiral had I not taken care of myself first above material success. That I can’t thank this song enough for. |
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