100 Best Songs of 2018: 1 - 20
As yet another year rolls to its feckless end, it is once again time for every blog on the internet to start publishing their “Best Songs of the Year” Lists. We here at Big Smile Mag think most of these lists are stupid and trivial. We also think they are loads of fun, and a great way to discover some killer tunes. If this list doesn’t start an argument somewhere, then I haven’t done my job properly.
This list operates on two assumptions:
1. That “Poptimism” is stupid.
2. All that matters is the music.
In spite of what poptimists claim, the idea that something is good just because it’s popular is inane and soft-headed. It’s as silly as looking at the IMDB Top 100 and accepting that “The Shawshank Redemption” is actually the best film of all time.
Which brings me to point number two. Seriously, guys, all that matters is the music. I don’t care who you are. I don’t care what your identity is, nor about your politics. And the fact most critics do nowadays is a disgrace. I’ll refer you to this article, to illustrate why this is a problem.
A song, like any work of art, should be judged on its own terms. That’s the most objective standard possible. When Pitchfork criticizes Black Rebel Motorcycle Club for being too rock ‘n roll, it reeks of bitterness and an inability to grasp the point. By that logic, why not trash Kandinsky for being too abstract? Or Dali for being “too weird”? But I digress, lest I start ranting. Without further ado, here is my best attempt to summarize the year in music.
Note: I should mention that I do indeed play in a band of my own, which released an album this year. For the sake of objectivity, I’ve removed our music from consideration. But I will be a bit shameless and mention that this blog placed it in the top five of their end-of-year list, and it’s pretty sweet.
Check out rankings 21 - 60 and rankings 61 - 100.
Here's the full 100 best songs of 2018 playlist:
1. Straight at Me - Josh T. Pearson
The first thing we hear in “Straight at Me” is a drunken bellow: “Hang my reputation out to dry/I don’t care at all”. Josh T. Pearson sounds absolutely sloshed on this track, as he displays a Dylan-esque vocal fluidity that makes one question just how authentic his affect is.
The song, however, is no sloppy affair. It’s tightly constructed with brilliant lyrics and an inventive structure. “Be my Indian princess/They’re giving blankets for half off” opens the second verse, as a little eastern inflected melody plucks away, Pearson’s irreverent wit on full display. The song is a direct examination of love and it’s folly, as Pearson bemoans: “I just got infected/I’m in head over heels . . . cuz cupid’s gone and shot his poison arrows of love/ straight at me”.
To prove this is no typical slice of Americana, after the second verse we are treated to a simultaneously hallucinatory and operatic wash of synthesizers, strings and guitar feedback, while Pearson croons to high heaven. We return to the central groove, as a pulsating organ keeps time, and Pearson’s sublimely harmonizes with himself.
Everything about this song, from the precise craftsmanship to the deliberately unhinged performance, is pitch perfect. It’s not just a fantastic lesson in American songwriting, it’s proof that there is still new territory yet to be mined from the format. Also, there aren’t many things my friends and I find more fun than hollering this song at the top of our lungs while tanked.
GENRE: Folk Rock, Psychedelic Country, Drunk Rock
2. Little Dark Age - MGMT
With the title track to “Little Dark Age”, MGMT reminds us of why they were the last mainstream pop success that equally pleased everyone, from ardent snobs and callow rubes. In 2007, when “Oracular Spectacular” came out, the whole world used to agree on one thing: MGMT was the bees knees.
“Little Dark Age” as an album was intended to be the band’s “comeback”, after a wildly dissociative and turbulent third album, five years prior. That album was like shooting digital ketamine straight into your ear sockets. I loved it. This followed a sophomore album that was lackluster in terms of sales and garnered mixed reviews. I loved that album too. I also think the best songs on “Oracular Spectacular” are the ones most fans of MGMT’s hits would refer to as weird.
Yes, the band intentionally drove their mainstream audience away. I personally think that’s rock ‘n roll as fuck. Most people hated it. So the band needed money, er, a hit with this album, and while I’m not sure they found it (a few songs cracked the Top 40, but none could replicate the runaway success of “Kids” or “Time to Pretend”) they definitely crafted an album that showcases their skills as pop songwriters, while not sacrificing their integrity as some anticipated.
“Little Dark Age” (the song), is a brilliant piece of Electronic Pop songwriting. In many ways it’s a middle finger to all the mediocre synth music coming out today, with its sparkling production and big, bass heavy beat. The song’s structure deviates somewhat from the typical format. We open with the standard verse-chorus-verse-chorus, but are then treated to nice little oddball interlude with modulated synths innocuously plinking out a wonky little ditty.
Then right back we jump to the chorus, and what a chorus it is! Singer Andrew VanWyngarden’s voice is washed in a unique cocktail of vocal effects that is signature MGMT. Plus, I’m a sucker for refrains that depend on melodic repetition but allow for lyrical variation. And this is, in my opinion, the strongest chorus that MGMT has ever offered us, rivaled only by “Kids”.
Beyond this VanWyngarden, underrated writer and vocal personality that he is, delivers us some real lyrical gems. The general hook (the specifics vary each time), “I grieve in stereo/the stereo sounds strange/I know that if you hide/It doesn’t go away/If I get out of bed/You’ll see me standing all alone/Horrified/On the stage/My little dark age”, is poetry for the 21st Century, made more poetic through its changes over the course of the song’s running time. I could analyze the political and personal meaning of the lyrics all day but I’ve already blathered on long enough.
So just to recap: Killer performances. Killer production. Killer lyrics. Killer music. Rarely are songs this addictive this intelligent.
GENRE: Electronic, Neo-Psychedelia, Pop
3. Ninth Configuration - Black Rebel Motorcycle Club
Black Rebel Motorcycle Club may have dropped their best album this year, I’m not sure. It’s honestly hard to tell with a band this consistent, especially when their previous effort “Spectre at the Feast” was such an exceptionally strong outing. One thing’s for sure, 2018’s “Wrong Creatures” is superb, front to back.
“Ninth Configuration” is the centerpiece of the whole moody affair. The song has lofty ambitions, tackling mortality, loss and reality itself in the brooding lyrics. The vocal performances feel urgent and mournful, as guitarist Peter Hayes’ morose verses transition into a pre-chorus sang in duet with bassist Robert Levon Been, before Been takes over on the uplifting, bittersweet refrain.
The dark tapestry of sounds on display here seems lifted from The Verve, Ride, The Cure, and classic post-punk, yet is pure BRMC. The entire track is a slow rolling dynamo, churning it’s vaporous guitars and fuzzy, subterranean bass and building momentum ever more over its first five minutes, until bursting into a final, cathartic deluge of sound. The end result is a gloriously moving experience.
GENRE: Psychedelic Rock, Post-Gaze
4. Every 1’s A Winner - Ty Segall
Ty Segall and Steve Albini combined forces yet again this year, and thank god they did. “Freedom’s Goblin” may be the best record Ty Segall has ever made. After an uneven eponymous album, the team of Albini and Segall has clicked and it’s the best thing Albini has done since he stopped working with The Jesus Lizard.
“Every 1’s a Winner” is the standout track, a sexy romp that echoes Queens of the Stone Age, while being produced more ragged and scuzzy than anything Josh Homme would ever put his name on. The main riff is absolutely unstoppable, and like all great smile-inducing riffs it’s stupidly simple. Combined with some indispensable auxiliary percussion, Segall and his band crank out a hot slab of grimy rock ‘n roll that’s got more guts than any other song to come out this year.
GENRE: Rock, Stoner Rock, Garage Rock
5. Je travaille dans la banque - The Amazing
The french title of this song translates to “I work at the bank”. Understanding this lends some interesting context to a wistful piece of music, which showcases Swedish indie prodigies The Amazing’s penchant for laid back, nocturnal, mid-tempo numbers that really stick with the listener. Not to mention their inimitable ability to create a particular musical space.
What sets “Je travaille dans la banque” apart from The Amazing’s many other six-minute-plus (this song clocks in at just over nine minutes) reverb heavy dream jams? The first four minutes of the track actually make for a striking, economical pop song, before eventually descending into the band’s trademark improvisation for a five-minute journey that’s well worth taking. The interplay between the bands guitar players, not to mention the driving, yet relaxed, rhythm section, is absolutely stellar. There’s a nice relationship between the chord progressions in this segment, as each section flows perfectly into the other, always answered tactfully with a shrewdly placed guitar flourish or harmony. In a genre which generally relies on ambiance over musicality, “Je travaille dans la banque” highlights an uncommon musical chemistry one rarely has the privilege to experience.
GENRE: Dream Pop, Psychedelic Rock, Art Rock
6. Spiral - Brad Mehldau Trio
Pianist Brad Mehldau’s “Seymour Reads the Constitution” is my favorite jazz album to come out in a long time. As a big fan of classic hard bop and bebop groups, it’s refreshing to hear something that utilizes the classic jazz combo format while injecting new life into a genre that often blends together for those who aren’t as musically educated as it’s performers tend to be.
I certainly fall into this category, and I couldn’t tell you accurately what it specifically is that makes “Spiral” work as well as it does. I can tell you that the song completely lives up to its name, with dizzying rhythms and melodies. It’s abnormal time signature contributes to the effect, while Mehldau’s mastery of dynamics and all things technical crafts a climax so transporting the song has literally imbued me with a sense of vertigo. It’s quite easy to find oneself lost in the extraordinary interplay of Mehldau and his rhythm section, and on “Spiral” they completely outdo themselves.
7. Respect Commander - Jack White
This song is basically a fuck you to Danger Mouse and any other producer who has attempted to merge hip-hop production with rock music. For the first time in his career, White mixed his album digitally, with ProTools, instead of straight to analogue tape, and he utilizes the possibilities of the technology in all the ways a true visionary should. Instead of simply compressing everything and making the drum kit sound like a drum machine, White mines completely new territory on “Respect Commander”, and the rest of his remarkably experimental album “Boarding House Reach”.
The standard rock format White is known as a master of is completely thrown by the wayside on this track. The proceedings begin with a bangin’ beat and some warm guitar fuzz, before abruptly cutting out. “Let’s get back to our song” White mutters, as the drums shift into frenetic double time, as White layers on a true commotion of guitars, percussion and old school rap sound effects. Abruptly, once again, we grind to a halt. Then the song settles into a sultry groove, as White finally begins to sing. “She has all my respect” he groans, with lyrics that really seem more concerned with being impressionistic and swaggin’, before bursting into a cacophonous, trademark guitar solo. Finally we return to the beat from the introduction, as the song comes full circle. It’s a virtuoso, avant-garde evolution of rock music that many White fans will reject as gimmicky or baffling. In reality, after almost two decades of refining the same sound, “Respect Commander” is the sound of one of rock’s last remaining masters finally challenging himself to do something new. It’s exhilarating and bizarre, and you have to hear it to believe it.
GENRE: Electro-Rock, R&B, Electro-Fun
8. “You” Are The Problem - Ron Gallo
Let me be clear: Ron Gallo’s “Stardust Birthday Party” is the best album of the year. Every single song is strong, melodically, lyrically and conceptually. Gallo is one of the most exciting, and thus far consistent, songwriters to come out in the past five years, no doubt about it.
One thing I love about “‘You’ Are The Problem” is the way Gallo puts “You” in quotation marks. On the surface the song seems to be an accusation, but in reality it’s a reflective look in the mirror. Not just for Gallo, but for all humanity, as the song seems to apply more to human nature itself and the problems our egos cause for our planet. Rarely can songs tackling such heady subject matter such as morality itself, and manage to not be preachy, let alone actually be moving and thought provoking. All this is communicated in a harmony laden chorus that is a finer distillation of the same thing Gallo has gone for before on ballads like “Emotional Impact for Sale”.
Each note is played perfectly, with bass and drum fills appearing at just the right points of emphasis. Gallo’s rhythm section is wildly impressive, as they fill all the necessary space while maintaining a certain minimalism. The production is astral and trippy, while remaining lo-fi and boxy. “‘You’ Are The Problem” is one of the softer outings on Gallo’s punky, jagged sounding album, and it proves to be the albums single most inspiring moment.
GENRE: Rock, Singer-Songwriter, Alternative Rock
9. Feels Alright - The Nude Party
There’s nothing like a good, propulsive slice of party-ready rock ‘n roll. And that is exactly what The Nude Party, with its percussion heavy, drubbing grooves and Rolling Stones inspired attitude, deliver on “Feels Alright”. Throw this song on the jukebox at any bar in America, you won’t receive any complaints.
The song itself reminds me of if Lou Reed had joined Commander Cody & His Lost Planet Airmen, and brought some New York cocaine and strippers along for the ride. The bands performance, with insistent drumming and chunky, barebones piano, sounds completely unhinged and alive. The production is big and palatable without softening any of the bands rough edges. The lyrical conceit is memorable and well-executed, if nothing profound. It delivers us one of the best choruses of the year: “Oh it don’t look good/But it feels alright”.
GENRE: Alternative Rock, Proto-Punk, Southern Rock, Party Rock
10. It Was Not Natural - Wye Oak
Over the years, Wye Oak has evolved from a garage-rock two-piece banging out tense, introspective and raw grunge songs to an electro-pop act that has mainstream crossover appeal. Often this sort of move is perceived as a cynical cash grab, a perversion of artistic integrity. But Wye Oak have more successfully negotiated this tricky territory than any of their electro-bandwagon contemporaries. The transformation in many ways breathed new life into a band who risked stagnation with their one-dimensional sound.
The band consists of just two members, vocalist Jenn Wasner (who traded in her guitar for a bass as the group’s sound shifted) and drummer/keyboardist Andy Stack. Their commitment to live instrumentation is the band’s key to success, meshing together remarkably well, regardless of which genre they play. They play together so well that you forget it’s only two people playing. And this is well before Royal Blood, I might add.
“It Was Not Natural” is the best track that Wye Oak has produced since their transition into electronic music. It’s a song that sounds uniquely of it’s time, not too indebted to any one era and utilizing modern technology to forge a savory sound that stands apart from their many synth heavy contemporaries. The bass line here is a real gem, as is the grandiose chorus that perfectly utilizes Wasner’s sultry vocal timbre. The synths also have an iridescence to them that indicates the intensity of the band’s aesthetic specificity.
It’s all packaged together in a song that nails what so many other song’s tried to do this year, better than any of them. Wye Oak has delivered an indie-electro song that I hope will be remembered for its transporting affect. Something about “It Was Not Natural” communicates “dusk” to me, the colors I see when I close my eyes mirroring that of sunset on a cloudy day.
GENRE: Synth Rock, Indie Pop
11. Wheel of Fortune - Protomartyr
Detroit post-punk heroes Protomartyr collaborated with The Breeder’s Kelley Deal on this riot of a number. Adding a backing vocalist actually does quite a deal for vocalist Joe Casey, who usually sounds as if Mark E. Smith travelled back in time and started hanging with Jack Kerouac and Allen Ginsberg in their heyday. It enables his percussive, aggressively spoken cadence to be punctuated in a way that adds verve and depth.
Beyond that small detail, however, “Wheel of Fortune” is one of the best songs Protomartyr has ever written. The dominant melody of the verse is quintessential Protomartyr: dissonant, staggering and foreboding. Along with Deal, Casey gives us one of his most anthemic motifs: “I decide who lives and who dies!”
The song then descends into a quiet, weary dirge, as Casey spins poetic imagery and vague politics into some of his best lyrics yet. The entire song feel deliberately paced, with a vitriolic intent to incite musical violence. It’s a thrilling listen.
GENRE: Post-Punk, Garage Rock, Noise Rock
12. Peach - Slothrust
What I respect most about “Peach” is it’s parsimony.
In and out, we go. Here’s a dandy little guitar lick. Enter the robust rhythm section. Things come to a lull with some 90s inspired nonsense lyrics. Immense walls of distortion! Ridiculously catchy chorus!
Then do it all again, toss in an eight-bar guitar solo and a couple more runs of that insanely good chorus and we’re done. In and out, like I said.
Next thing you know you’ll be singing “But damn you’ve got the sharpest teeth/And I am as soft as a peach” to yourself for an entire week.
GENRE: Alternative Rock, Neo-Grunge
13. Vermillion Pink - Mind Over Mirrors
A nine-minute meditation on the impressionist qualities of music, “Vermillion Pink” is cosmically haunting. It’s creators, Mind Over Mirrors can’t be called traditionally electronic. Their raga-meets-english-folk style drones are crammed full of violins, live percussion and various exotic instruments.
Just listen to those whistling horn things at the beginning. I don’t know what they are. I just know they sound eerie and awesome. As the song unfolds, we are greeted by more and more sonic souvenirs from the ether.
The piece (I don’t know if I could call it a proper song) enigmatically progresses, slowly but surely building towards a release. But there is no traditional release, only the songs end. The band’s drone itself is so smooth, the songs evolution so deliberate and camouflaged, that it’s hard not to get lost and forget where exactly in the piece we are. The effect is transcendental and stirring, like a psychedelic symphony from another dimension.
GENRE: Experimental, Ambient, Avant-Garde Electronic
14. Just Dumb Enough to Try - Father John Misty
Who knew Father John Misty had a song like this in him? Discarding the over-verbose folly of 2017’s “Pure Comedy”, “Gods Favorite Customer” is full of laid back, well constructed pop songs.
“Just Dumb Enough to Try” is good enough that it merits genuine comparisons to classic 70s piano rock. Father John seems highly indebted to Elton John on this song in particular, beyond the massively produced piano and crowded string arrangement. His vocal affect, the way he hangs on and subtly trills between notes seems drawn straight from “Dont Shoot Me I’m the Piano Player” and “Madman Across the Water”. All this is accomplished without sounding overly retro or derivative.
Perhaps this is due to the excellent songwriting, arguably the best item in Father John Misty’s resume thus far. The lyrics are sincere and emotive without being too precious, and they are communicated via an incredible strong melody. There are some beautifully subtle motifs, (“You can take what I know about...”) all of which convey a sense of maturity not previously seen in Father John Misty’s other, over-stuffed albums. The song ends abruptly, precisely and fittingly, mirroring the content of the lyrics.
GENRE: Singer-Songwriter, Soft Rock
15. Dead Set Eyes - Emma Ruth Rundle
Emma Ruth Rundle does one trick really, really well. She makes dense, intensely personal music that draws from folk and classic pop in it’s format, but from post-metal in it’s tones and execution. She has carved such a singular space for herself, that it’s hard to hear any song of hers and not immediately know who is singing.
“Dead Set Eyes” features one of Rundle’s strongest choruses. It’s catchy and melodically satisfying, but also full of pathos and sonic weight. The ethereal guitars of the verses transform into overdriven slabs of impenetrable bluster, while the subdued, tribal drum beat slams into a titanic, yet still subdued, backbeat. Rundle’s voice is still peerless, and every word drips with more emotion and authenticity than most singers can hope to convey. This is a song for a dreary day, when you need to wallow in darkness while still inspiring yourself to do better.
GENRE: Alternative Rock, Post-Metal, Neo-Grunge
16. Laughing Gas - The Fratellis
Pretty much every year I’m blown away by how much Jon Fratelli wrings from such a seemingly limited creative sponge. The man is a traditionalist like no other, and part of me thinks he’s just a lazy drunk who knows he’s that good. So he just rests on his laurels and pumps out booze soaked anthems and adroitly crafted love songs, one after the other. Or that’s how it seemed, until last year’s “Eyes Wide, Tongue Tied” where his often cutesy, greasy-McCartney love songs transitioned into Bukowski referencing tales of heartbreak and woe. I hate to say it, Jon, but divorce has been a blessing in disguise, artistically speaking.
This years effort, “In Your Own Sweet Time”, is coated in bright, luminescent production. Synthesizers, mellotrons and other sonic knick-knacks abound on the outskirts of almost every song. It’s the sound of denial and ironic acceptance of life’s great joke.
“Laughing Gas” is one of the best examples of Fratelli’s perspective on “In Your Own Sweet Time”. Aurally it’s like a party full of balloons and carnival attractions. Lyrically it’s a beautiful and brilliant ode to the ephemerality of love. The narrator sees the end on the horizon, yet longs to feel loved and happy. “So break out the laughing gas/you and I know this joke soon will pass”.
It’s a plea to make the moment last just a little longer, while also giving us a cynical subtext, admonishing his lover. What is she doing hoping for a relationship that isn’t completely chaotic and messy? Do they even exist? Who knows.
But Jon Fratelli is a self-aware enough writer to mean this as simultaneous condescension towards the woman who he lost and bitterness at his all failings. These are incredibly honest and emotionally profound lyrics. Anger, sadness, love, bitterness, hope. All are communicated here, in a song that sounds like it should be moving asses on the dancefloor more than it should be drowning it’s sorrows in booze. In a way, it does both.
GENRE: Alternative Rock, Indie Pop
17. Diamond - All Them Witches
“Diamond” is a song that grows on you. The first time I listened to it, I kept waiting and waiting for the pay-off. The slow burn is All Them Witches specialty, and as the song unfolded I found myself getting more and more excited. When the release of tension finally came, I initially felt underwhelmed. 16 Bars of classic Sabbath guitars rumble forward, unmolested by vocals or musical experimentation. This was different than most All Them Witches songs, which often divert into five-minute passages of Grateful Dead meets Led Zeppelin bombast.
But “Diamond” isn’t about big massive riffs or sludgy interludes. At least not any more than it needs to be to make structural sense.
It’s all about the build, the sexiness of its groove and the power of self-restraint. With this song the band has crafted one of their most accessible songs, while still remaining undeniably heavy and not sacrificing any of their purist credibility. Drummer Robby Staebler’s incredibly relaxed yet hefty drum beat drives forward as temporary keys player Jonathan Draper (the band will continue forward as a power trio) adds much needed atmosphere with subtle synthesizer runs. Vocalist/Bassist Michael Parks Jr. delivers one of his finest, most singular vocal performances, his hushed baritone creeping up your spine, making the hairs on your neck stand up.
After enough listens, by the time the song gets to it’s inevitable climax, you’re angry they distracted you from that chill build-up. Mercifully they bring it back post-haste.
GENRE: Psychedelic Rock, Proto-Metal, Stoner Rock
18. The Great Chain of Being - King Gizzard & The Lizard Wizard
In 2017, King Gizzard & The Lizard Wizard promised to release five albums. As the year ran to a close, only four had been released and the world smugly thought the Australian psych heroes fools for embarking on such a lofty and ambitious project.
Then on 12/31/17, “Gumboot Soup”, their fifth album of 2017, was released. And it was awesome. Also for all practical purposes, an album released on New Years Eve 2017 counts as an album released this year.
“The Great Chain of Being” is the single heaviest track King Gizzard has ever released, as the band seemingly embraces their inner Melvins. Methodically thunderous drums insistently pound out a beat, while the band’s three guitarists all battle to prove who likes Black Sabbath the most. The result is a sludgy, yet cleanly produced, stomper that far and away transcends its influences.
Much of this is due to vocalist Stu Mackenzie, who has multi-tracked and processed his voice here to sound like a nightmarish spirit from some Lovecraftian netherworld. The effect showcases how truly inventive King Gizzard gets with their vocal production, but also their mastery of tone. Without this monstrous, gurgly hell-voice, none of the song’s other elements would make sense.
Also seriously when I say this song is a stomper, I mean it. Try stomping around to it like an idiot sometime. It’ll be worth it, I swear.
GENRE: Psychedelic Rock, Prog Rock, Proto-Metal
19. Major League Chemicals - Unknown Mortal Orchestra
Unknown Mortal Orchestra very aptly approximates the sound of your old transistor radio slowly falling apart, piece by piece. The squirrely vocal production and throbbing instruments is completely new and original, yet feels ancient due to the artifacting and thinness of many of the glitchy tones. It’s music designed to be listened to on a mono bluetooth speaker, while not sacrificing the high fidelity experience for those (like me) who actually give a shit.
“Major League Chemicals” is a chirpy wallop of a song, with borderline unintelligible lyrics about, you guessed it! Drugs. But this song isn’t a glorification of drugs (although it’s psychedelic mix pretty clearly endorses them) as much as an examination of how it feels to do hard drugs, emotionally. The song is euphoric and zippy, yet dissociative and foreign. “She wanted to find a way to be someone else for a day” the lyrics inform us, and while the song is a temporarily fun ride, it also is uncomfortable and jarring in its twisted, sparkling production.
GENRE: Lo-Fi, Psychedelic Rock, Glitch Pop
20. Wild Coyote - The Nude Party
In spite of The Nude Party’s place in the top ten with “Feels Alright”, “Wild Coyote” may be my personal favorite track from their stellar debut full length. Country Western guitars twang about, over an infectious Latin-indebted beat. Singer Patton Magee’s blusters out a series of immediately distinctive and memorable melodies, echoed on the chorus by the sublime guitar lines.
What makes “Wild Coyote” so effective is its commitment to The Nude Party’s rowdy, Growlers-meets-Black Lips southern party-rock sound, while pushing further past that barrier than any other track on the album. From this song we can hear the promise this young band has. This song would work equally well on a college radio station, being spun on vinyl at a hipster bar or in a commercial for blue jeans. These days it’s not often one hears a band produce music that is simultaneously commercial and artistically uncorrupted.
GENRE: Garage Rock, Psychedelic Rock, Spaghetti Western Rock
Check out rankings 21 - 60 and rankings 61 - 100.
Photo at the top of the article is by Eric Nopanen on Unsplash.