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Top 10 Songs of the Month: Young Thug, The Killers, and Sam Smith

After a fairly sluggish summer, September came out swinging

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    After a fairly sluggish summer, September came out swinging to tip off the fall season proper. What started with The National, Tori Amos, and Rostam continued with Foo Fighters, Phoebe Bridgers, and The Killers. Looking ahead, that momentum doesn’t appear to be slowing down anytime soon thanks to forthcoming releases by St. Vincent, Beck, Kelela, Courtney Barnett and Kurt Vile, Wolf Parade, and yes, I could keep going on and on.

    That’s why this month’s list was particularly tough. Hell, we could have done a top 20 and still not even scratched the surface, which means the songs you’re about to hear are really, really, really fucking great. So much that we’re willing to place them on Spotify playlists and keep them around long after our pumpkins have rotted and our Halloween costumes become politically incorrect. Did we miss a track or two up ahead? Of course.

    But that’s why we’ve got you to tell us in the comments below.

    –Michael Roffman
    Editor-in-Chief


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    10. Sam Smith – “Too Good at Goodbyes”

    Life’s good when Sam Smith is back in our lives. Sure, we’re emotional wrecks, and shit gets real way too fast, but what good is music if it doesn’t leave you teetering on the edge of depression. “Too Good at Goodbyes”, the first song from the British balladeer in god-it’s-been-too-long, is actually empowering. Kind of. “So I’m never gonna get too close to you/ Even when I mean the most to you/ In case you go and leave me in the dirt,” he sings in that all-too-catchy cadence of his, later concluding: “Baby, we don’t stand a chance. It’s sad but it’s true/ I’m way too good at goodbyes.” Okay, so it’s a little depressing, but c’mon, love is never black or white. For most, love tends to exist in that murky gray area, where the glaring negatives always ride shotgun to the occasional positives. It’s a stupid thing we do as human beings, but it’s necessary, because we’re complicated souls, willing to run away as soon as we’re ready to embrace. What makes Smith’s latest meditation feel so vital is that he’s at that transitional point where he feels strong enough to actually say “goodbye,” and while there are lyrical hints to suggest otherwise, mostly his use of repetition (as if he’s saying this again and again as he’s hurt again and again), we’re willing to bet he’s a few blocks away from badness. Can’t wait to see what else he’s got in store for us. –Michael Roffman


    09. Charlotte Gainsbourg – “Deadly Valentine”

    Somehow, even the simplest words can gain immense weight and meaning when they’re repeated, time and time again, over centuries. Human beings cherish ceremony and have reserved certain phrases and sentences for the most important occasions in life. On her new song, “Deadly Valentine”, Charlotte Gainsbourg taps into that deep linguistic well, reiterating the language of the marriage ceremony through the arching drama of a grand electropop song. But then things aren’t as blissful and sweet as that might seem; in the midst of all that iconic language, the little tweaks shatter the illusion. We are talking about a “deadly valentine,” after all. This song, and others featuring everyone from Sir Paul McCartney to Daft Punk’s Guy-Manuel de Homem-Christo, will be featured on Rest, out November 17th via Because Music. —Lior Phillips


    08. Nao – “Nostalgia”

    Here in Chicago, the leaves are starting to turn bright orange, and there’s a chill (oh that chill!) coming on, no matter how much we wish it wasn’t. So, when Nao sings, “You feel like summer/ You bring me back to life/ You got me reminiscing ’bout a better time,” on “Nostalgia”, the idea of a happier moment full of sunshine and warmth hits home particularly hard. The self-professed “wonky funk” vocalist showcased what she was capable of on 2016’s excellent debut, For All We Know, and the bubbly, shimmying “Nostalgia” promises that there’s much more to come. The details of the follow-up to that debut haven’t yet been announced, but we’ll be sure you know as soon as we do. —Lior Phillips


    07. Maggie Rogers – “Split Stones”

    It’s always a positive feeling when we seriously impress our teachers. Not only do we nearly burst with the bubbly satisfaction of seeing that triangular letter at the beginning of the alphabet stamped on our work, but we also get that little nudge of encouragement so critical to someone just starting out. Maggie Rogers felt that nudge from no less than Pharrell Williams at a songwriting master class, and it sparked a 2016 trio of instantly catchy singles, quirky accompanying videos with their own unique aesthetic, and a major-label debut EP, Now That the Light Is Fading, that left us pining for more. Like breakthrough hit “Alaska” and Rogers herself, “Split Stones” finds that casual compromise between a young woman who can’t decide whether she wants to go backpacking and sightseeing or break out into an unapologetically goofy dance in the middle of a public sidewalk. Again, as on prior singles, we hear the poetic singer-songwriter verses spilling into ebullient pop choruses, all delivered with a take-me-or-leave-me sense of self that shines through all her recordings. Rogers considers “Split Stones”, an old song of hers, to be a gift to fans and a signal to the end of one journey and the start of another. Consider our bags already packed. –Matt Melis


    06. Ariel Pink – “Another Weekend”

    Great songwriting often comes down to dynamics. Whole genres have been built around ideas of loud-soft-loud, launchpad transitions from restrained verses to explosive choruses, and countless other combinations of change-ups that keep listeners both guessing and anticipating. On “Another Weekend”, the dreamy lead single off Ariel Pink’s recent Dedicated to Bobby Jameson album, we waft through the songwriter’s familiar throwback brand of lo-fi radio pop, drifting from hazy to even hazier, electronic glitches, like a flickering light bulb, all that’s reminding us to hit reset and not float away all together. “Another Weekend” spins like a fading photograph or a song taped off the radio and showing wear from being copied hundreds of times. We long for something, or someone, in our past, but time and its toll on our memories has made it impossible even to truly pine for what we once had. We’re left replaying a copy in our minds, a recording that slowly deteriorates with each rewind and longing sigh for something gone for good. –Matt Melis


    05. King Krule – “Dum Surfer”

    You might think you know what King Krule sounds like, but if we’ve learned anything about the 23-year-old songwriting prodigy, his music defies easy definition. Maybe it’s the fact that he burst onto the scene at such a young age several years ago, but his jazz-infused songwriting gave way to the more electronic-leaning material he released under his proper name, Archy Marshall. With a new album coming out next month, King Krule has rebooted again. “Dum Surfer” sounds ideal for music being released in October — one part fuzzed-out garage, one part monster mash. As a follow-up to the spoken-word “Czech One” from last month, “Dum Surfer” is notable for its commitment within its free spirit. Even if Marshall dabbles in many interests, never does he sound half-hearted in his experiments. “Dum Surfer” is a cannonball into the deep end, with his past standing as a warning to not get to comfortable within its confines. King Krule isn’t trying to find himself. He’s just always moving, like a shark. –Philip Cosores
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    04. Margo Price – “A Little Pain”

    Margo, Margo, Margo. It’s a name on many lips right now — and surprisingly, on the lips of many listeners who never would’ve imagined they’d be singing along with a fixture of the Nashville scene. But with a little help from Jack White’s Third Man Records, singer-songwriter Margo Price appears poised to become one of the few crossover artists who can make rock and pop fans mosey on over to the country section at their local record shops. “A Little Pain”, the first single off her upcoming album, All American Made, points to that being the case in the near future. It’s such a straightforward tune and yet defies simple classification. The retro country pop definitely borrows from rock and pop’s shiny past — there’s even a psychedelic breakdown for a bridge — and Price surprises and wows when she suddenly launches from a small, girlish voice into a hold-my-breath belt-a-thon in the song’s choruses. We may have heard all of these elements before but rarely arranged quite like this or delivered with such irresistable, genre-smashing allure. –Matt Melis 


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