#10 “Take Me to Church”- Hozier

“Separation of Church and state.” A phrase that’s been under fire since Thomas Jefferson, up until the fight for marriage equality has engulfed the world. Hozier’s political ballad isn’t just a battle for gay rights, but a battle against government’s praise for the crucifix long before the American Constitution was even penned. His vocals roar like he’s singing in a massive cathedral, but only one in a world of equality- not religious restraints.

#9 “Video Games”- Lana Del Rey

The alt-pop movement of this decade to the likes of Billie Eilish and Lorde can be traced back to a single launching point. The nostalgic backdrop, grainy video, and willowy textures of Lizzy Grant’s alter ego exploded with this monumental single, one of the decade’s first viral music videos. Say what you want about her love-it-or-hate-it Born to Die, but “Video Games” complimented every trademark of the gangster Nancy Sinatra.

#8 “Still Into You”- Paramore

Enter Hayley Williams, an auteur of the alternative pop star brigade. Her band is one of the earliest invaders of an iPod shuffle for hits like “Misery Business,” and their pop punk persona continued well into the 2010’s with this fruity track about as colorful as Williams’ hair.

#7 “Formation”- Beyoncé

Despite being the only Lemonade cut off the beaten path from its dramatic narrative, the final track from the 2016 masterpiece is the dessert you’ll want to eat after taking your man to Red Lobster. Those instantly recognizable beginning zigzag chords flaunt Bey’s black pride anthem, oozing with lyrics ripe for an elaborate music video, a symbolic symphony of her heritage, and arguably music’s finest visual component to date. 

#6 “High Horse”- Kacey Musgraves

If John Wayne and KC & the Sunshine Band had a child, it would be Kacey Musgraves’ disco-country banger. A sneer at pretentious people that’s also a midwestern roadhouse’s dance night necessity, “High Horse” saddles up everything that’s made the Texas native’s take on country a thrill, even to those with more Rihanna than Reba in their blood. 

#5 “Somebody That I Used to Know”- Gotye feat. Kimbra

Aside from the knee-slapper jab “Now Gotye is just somebody that we used to know” currently flooding the comment section of its radiant music video, the pair’s breakup classic still holds a seismic impact, chugging well past a billion views. It’s not hard to see why, from the Australian singer’s subtle buildup leading into the iconic chorus. Then Kimbra emerges with an equally enticing backstory, securing the pair a deserved Record of the Year Grammy.

#4 “Pompeii”- Bastille

In an age of Katy Perry and Robin Thicke dominating radio, it was unusual to hear a Gregorian chant that started Bastille’s swing for the charts. Yet another track immediately recalled from its opening, the world through Bastille’s eyes was crashing down like the historical city of its namesake. The single erupted the charts, despite not being your typical Top 40 radio choice.

#3 “Alright”- Kendrick Lamar

It may be #3 on our list, but “Alright” is the most 2010s track of the decade. What our elders would say about the work of the Simon and Garfunkels of their day- “it’s more than a song.” That’s what this era will say for Kendrick Lamar’s fight song that became a Black Lives Matter anthem. Within the context of its album, 2015 landmark To Pimp a Butterfly, “Alright” is set the morning after a drunken night in a hotel room contemplating suicide. But the simple yet powerful message was a rallying cry for social justice that dominated the latter half of the 2010s.

#2 “Pumped Up Kicks”- Foster the People

A clear option for all of those “jumpy songs with dark lyrics” lists for the Buzzfeeds of the internet, Foster the People’s breakthrough is another track written by the headlines. This list has made it obvious we hold a liking for songs that tell of our age, and this epic that’s aged too well is an easy pick for the present’s musical time capsule.

#1 “Do I Wanna Know?”- Arctic Monkeys

Whether you first heard it from a Bacardi commercial or that hipster girl at school who showed you all the bands that’d eventually cram your playlist, “Do I Wanna Know?” brought Alex Turner’s crew higher than anyone labeled as “indie” could dream of. Unlike the ‘Creep by Radioheads’ of the world, it catered to the band’s core fans as well as that group of listeners who aren’t as cultured as you are.

The post SCAD Radio’s Top 10 Songs of the Decade appeared first on SCAD Radio.

#10 III– The Lumineers

Run the Jewels and The Weeknd had successes this decade crafting trilogies, and The Lumineers added themselves to the list with one single album. III is an epic spanning three generations of a family ravaged by addiction. In the heat of the opioids crisis, the folk-rock band’s release is cinematic excellency aided by music videos pumping even more life to their universe that sadly isn’t unfamiliar.

#9 thank u, next– Ariana Grande

If a pop album has its playlist in all lowercase these days, that’s an inexplicable indication it’s gonna be great. What’s not inexplicable is that barely six months off of Sweetener, the former Nickelodeon star added another dose of sugar with thank u, next. Emanating as much fearsomeness as humility, it hosts different aspects of Grande’s worldview to the steamy (friends with benefits-ballad “bloodline”) to the serious (lowkey feminist anthem “fake smile”). The final trio is the dessert, a spicy Sound of Music mix in “7 rings,” the deliriously trappy “break up with your girlfriend, i’m bored,” and of course, the title track: an antithesis from the sappy heartbroken heroine cliché to cement Ari as one of pop’s most forward-thinking delights.

#8 Father of the Bride– Vampire Weekend

The flappy sounds of Vampire Weekend’s fourth LP mimic the pleasantness of your wedding day, but Koenig & co’s dark lyrics give the fear your loved one’s skeptical father would subliminally emit. The six-year hiatus taken by the band proved to be no downgrade whatsoever, even with the departure of one of their members.

#7 Cuz I Love You– Lizzo

With depression on the rise and the world seemingly crashing down for many people, Lizzo was the musical Prozac we needed. Though “Truth Hurts” and “Good as Hell” exploded this year, her debut offering is destined to go down as one of the most quotable albums ever. “Slow songs are for skinny hoes,” “only exes that I care about are in my f**king chromosomes,” just a few of the treasured chants for your shower concerts.

#6 Zuu– Denzel Curry

What Illmatic is for New York hip-hop, Zuu is where Miami throws their hat in the rap ring. This Zuu is where Curry showcases his roar. He’s an aggressive force on the mic with anecdotes of a place proven to be more than a flamboyant Spring break spot. You could call it one of the most well-written hip-hop albums of the era- until you find out Curry freestyled the entire thing.

#5 Dedicated– Carly Rae Jepsen

E•MO•TION catapulted Carly Rae Jepsen beyond just being the lady behind “Call Me Maybe,” and Dedicated proves her pop music alternative is here to stay. It’s caressing, but never feels too mushy with some slamming production here (“Now That I Found You”) and moderate hip-swaying there (“Want You In My Room”).

Read our review of Dedicated here.

#4- Norman F**king Rockwell!– Lana Del Rey

From Pepsi cola-flavored privates to erotic duets with The Weeknd, Lizzy Grant’s journey has been one of a kind. On her complex fifth album, she enters her final form as a sorrowful savant. Rockwell’s writing channels some of Lana’s finest work yet and has a heavier focus on piano than you’d ever hear from the Born to Die era. It’s stripped down compared to its predecessors, but moments like the outro on “The greatest” and the silky “doin’ time” cover helped Lana own 2019- let’s just forget about that Charlie’s Angels song…

Check out our review for this landmark album here.

#3- Igor– Tyler, the Creator

Once envisioned solely as a rapper, Tyler, the Creator dips his feet into some retro funk, a similar road Childish Gambino took with “Awaken, My Love!”. Igor plays like some kind of R&B opera, Jerrod Carmichael narrating the title goblin’s soupy love triangle that sonically speaking, is as abstract as the man behind it. 

#2 Better Oblivion Community Center– Better Oblivion Community Center

Lil Nas X and Billy Ray Cyrus weren’t the only duo to dominate 2019: Phoebe Bridgers and Conor Oberst’s terrific collaboration is as odd as their namesake would suggest. The pair fuses their powers marvelously, creating a dynamic with Oberst as the indie rock veteran and Bridgers as a rising star, but neither of them tries to outdo each other. This is their first collab (save for his feature on Bridgers’ 2017 debut), and tricks you into thinking they’ve been playing with each other for years- almost a modern-day Sonny and Cher.

#1 WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?– Billie Eilish

It’s the culmination of the pop music redrawing that’s dominated this decade. Artists like Lana and Marina flipped the script with an authentic sound of their own, and Eilish and her brother’s craft is a clearly distinguishable method in their weird world. Finneas’ sunken set pieces, Billie’s ominously muffled vocals, it all may as well have a “TM” printed next to it. She isn’t one to try to baffle you with her enigma, rather one aware of her surroundings and wholly in touch with today’s youth- equal parts sarcastic (dad seducing on “bad guy”), swaggering (fiery “you should see me in a crown”), and self-depreciative (suicidal “listen before i go”). Every generation has a beloved musician journaling the era they were raised in- now Gen Z has Billie Eilish.

The post SCAD Radio’s Top 10 Albums of 2019 appeared first on SCAD Radio.

#10 “Juice”- Lizzo

“Mirror, mirror on the wall/Don’t say it ’cause I know I’m cute.” Could there be a more on-brand way to begin a Lizzo song? Making self-appreciative quips while never sounding conceited is Lizzo’s strong suit, the Donna Summer of motivational speaking. You could witness a dog getting run over by a truck while walking out of your mom’s funeral and still be thrown into a good mood after “Juice.”  

#9 “All Mirrors”- Angel Olsen

The indie folk-rocker’s grand project thanks to an orchestra sidekick, the titular lead single for Angel Olsen’s fourth studio effort is her most bewitching and mysterious addition yet. Starting gently like the songwriter was in the days of her debut before diving headfirst into a titillating crescendo, it’s as coruscating as it is cryptic, giving just enough leeway for lyrical sleuths to toy with.

#8 “bad guy”- Billie Eilish

After removing her Invisalign, hushed vocals welcome us into Billie Eilish’s freak show on “bad guy,” a baroque pop gem bathed in badassery. Riddled with potentially naughty phrases brought down to Earth by her innocent whispers and bizarre but memorable chorus, it’s the perfect gateway into the 17-year-old’s unorthodox library.

#7 “Talk”- Khalid

Khalid Robinson’s second LP may have been a dud, but its lead single is certainly salvageable. Some luscious synths courtesy of Disclosure carry the Georgia native’s 21st-century shortcoming we all know too well- trying to work things out while they’re too busy watching Netflix to respond to your text. He’s definitely been left on read before, and the mundanity strikes Millennials and Gen Zers everywhere.

#6 “Hot Girl Summer”- Megan Thee Stallion feat. Nicki Minaj & Ty Dolla $ign

No Summer is complete without its seasonal jam, and 2019’s choice is a product of the increasingly mainstream hip-hop genre. It’s one clearly primed for Song of the Summer: multiple features and pool party value, to name a few. But while many SotS meet the same fate as the leaves when Fall comes around, Juicy J’s mix has kept the dog days alive well into the year’s conclusion.

#5 “Cellophane”- FKA twigs

The mystique behind Tahliah Barnett took a hiatus over health troubles, so when she dropped her most intimate and haunting piece of music yet, it proved the disappearing act had only sharpened her growth as an artist. “Cellophane” can serve as a quiet sneer at racist Twilight crazies or a cultural rewrite on how we perceive pole dancing in its tranquil and subversive music video. It’s a simple, yet complicated track- none of of twigs’ twingy background noises, just minimalistic perfection.

#4  “Borderline”- Tame Impala

Fans have been divisive over Kevin Parker’s ventures into new territory, though “Borderline” satisfies those unsure if 2015’s genre-flipping Currents should be canon. The spacey sounds feel right at home in a Tame Impala track, passing the stoner-approved test with flying colors. Dwelling on the nature of life in the lyrics, it may be his tightest trip yet.

#3 “Social Cues”- Cage the Elephant

You’re an acclaimed indie act selling out shows across the world, you should be happy, right? Not to Cage the Elephant’s Matt Schultz, who wrote “Social Cues” and its accompanying LP with personal struggles like his recent divorce in mind. Whether in 2019 or in the retro era the beat hails from, the theme of the tormented star is a timeless topic in an age where Avicii and David Berman have met the same heartbreaking fate as Kurt Cobain and Ian Curtis.

Check out our coverage of Cage the Elephant’s Shaky Knees Music Festival performance here.

#2 “Dylan Thomas”- Better Oblivion Community Center

Conor Oberst and Phoebe Bridgers have worked together before, but no one predicted their surprise collab album drop in January. At the crux was was “Dylan Thomas,” named for the famed poet who was pissed off with the world- much like the duo behind BOCC. The pair’s flow plays like a couple that’s too good at karaoke, structured with quirky lyrics referencing everything from Bridgers’ mascot to a Trump meme.

#1 “Old Town Road” (Remix)- Lil Nas X feat. Billy Ray Cyrus

It’s not like it was a “Stairway to Heaven” epic, the original didn’t even clock in at two minutes. It certainly didn’t have an Illmatic sense of depth, either. It was the seamless bridging of Lil Nas X’s self-described “country trap” setup that broke not only new ground in music, but Billboard’s chart record as well. While the original surged months after it was released, the cowboy struck real gold when the countless remixes poured in: throw in Hannah Montana’s dad, and they become Butch Cassidy and the Sundance Kid.

The post SCAD Radio’s Top 10 Songs of 2019 appeared first on SCAD Radio.

In the opening number, Kacey and James Corden attempt to sing “Let It Snow” but are continuously bombarded by a blizzard pounding them through flimsy windows. A redundant laugh track kicks in as the scene sets the corniness bar for the rest of the 45-minute special. During Fred Armisen’s spot on “Silent Night,” the two are interrupted by a carpenter doing obnoxiously loud work in the same room. The gags are rather lame and predictable- after the guy hammers a wintery landscape painting above the fireplace, you know it’s gonna come crashing down while Kacey and the Portlandia star perform the gentle carol.

However, it can’t help but feel on-brand for Kacey. The cheese is much more stomachable coming from someone known for silly yet clever songwriting. Remember, this is the woman who told us on one of her best singles to “mind your own biscuits and life will be gravy.” She’s already got viewers in a suspension of belief for seriousness, so the lowbrow jokes fit in- including the ones delivered by Dan Levy’s banal narration. 

“The covers opt to instead throw in another one of Musgrave’s celebrity friends instead of putting a spin on the originals.”

The best songs are easily the ones Musgraves wrote herself. “Present Without a Bow” with Leon Bridges appeared on 2016’s A Very Kacey Christmas and is easily the angel on top; it’s a cute and much less controversial replacement for “Baby, It’s Cold Outside.” The covers, on the other hand, toss in one of Musgraves’ celebrity friends as their main selling point instead of putting a spin on the originals. Basically, if you like the guest artist, you’ll like their number only because it has them on vocals. It’s a missed opportunity that they chose not to rework a single classic to match the featured artist’s subgenre. For Lana Del Rey’s “I’ll Be Home For Christmas,” the pair duets nicely, but there are no spacey harmonies or Hollywood sadcore to truly make it a Lana track. A Latin pop-twist akin to “Havana” could’ve been an exciting direction to take Musgraves and Camila Cabello’s “Rockin’ Around the Christmas Tree,” but we’ll never know.

While the special may be saccharine at times, it never goes full-on Hallmark Original. The “Christmas Makes Me Cry” sequence is another present from Musgraves, a track for those spending the season alone. It’s handled with her usual empathy, contrasting with the persistent red and green twinkle to keep the sappiness in check. It comes in as just the right time, too, directly following the tacky comedy from Armisen’s bit. 

The album version of the special is identical to the show itself, the audio broken up into LP format. The only thing that would get you to watch the special over listening to the record is the visuals, which fail to add extra tinsel to the songs. Despite the large Amazon budget, the sets aren’t any more magical than your local theater group’s production of A Christmas Carol. In most scenes, we’re treated to typical mistletoe-decked living rooms, save for that gaudy pink mess in the “Glittery” segment with Troye Sivan. The concluding “Ribbons and Bows” is an exception, with The Rockettes and many other dancers delivering the explosive sendoff we knew Musgraves would live up to. Unfortunately, that’s the only part with plenty of choreography. The other numbers fail to reach the same energy, with Musgraves and her guest mostly stagnant for the duration of each song. By the time you get to the finale, you’re ready for New Year’s.

The Kacey Musgraves Christmas Show is a sweet little special, but not one that’ll become an annual household tradition. It doesn’t do enough to expand on the music, and the jokes don’t hold a peppermint-scented candle to Christmas Vacation. It’s by no means coal in your stocking, but it’s better suited in album form to pop on during your Christmas Eve drive to grandma’s house.

The post ‘The Kacey Musgraves Christmas Show’ is Very Campy, But Very Kacey appeared first on SCAD Radio.

As is the case with Lana’s songwriting, Rockwell is chock-full of pop culture references to musicians (many reigning from California) and the album’s title artist. But it’s her T-shirt-ready quips like “It’s me your little Venice b*tch” that showcase her skills as a songwriter. The album plays like a book of novellas with homespun tales anchored by Del Rey’s breezy flow. Listening to the sentimental voice on tracks like “Mariners Apartment Complex” or the long-titled finale hold the feeling of resting in a spa while waves crash onto the shore despite their obvious desolation. That’s always been Lana’s kindling in her music, giving off this therapeutic sense with her words and vocals.

Lana taps into the legendary ska band Sublime for “Doin’ Time”, one of the best covers of recent memory. The objective for artists when it comes to doing this in music is presenting the song as their own while respecting those who made it a hit. Del Rey’s team beautifully crafted her atmospheric sound for a true ode to the Golden State classic.

Though it may not be her flashiest album, the LP holds special moments all around. The apocalyptic closing lines on “The Greatest” maintain the dread we’ve become used to as a society lately, and the instrumental outro on “Venice Bitch” is the perfect score for driving on a late night with the uncertainty of the world looming behind you. It’s all a perfect fit for Del Rey’s entertaining gloom tour through California.

It’s a work that demands more attention, but ultimately becomes one of Del Rey’s most rewarding playthroughs. Slick writing makes the songs more like intricate poems than the “look at me, I’m bad” theme that’s garnered her both love and hate over the years. Part of it is this advanced new direction that makes Norman F***ing Rockwell! so f***ing good.

SCAD Radio gives it an 8.7/10.

The post Lana Del Rey’s New Album is the Most Artistic of Her Career appeared first on SCAD Radio.

Artist Børns and his debut album, Dopamine, came out in 2015, and I have been not-so-patiently waiting for two years for anything new from him. Børns is like the male version of a manic pixie dream girl. With his long hair, Gucci clothing, and 70s rock/glam sound; I’m completely obsessed.

His first album was a work of art. You might recognize some songs off of it, most famously “Electric Heart”, or others like “American Money” and “10,000 Emerald Pools”. Not only are his songs beautiful pieces on their own, accompanying them are also magnificent music video companions that uphold his whole Gucci-floral-neon aesthetic.

His sophomore album, Blue Madonna, was released on January 12th of this year. A date of which that I had marked in my calendar months in advance.

Since they’ve come out, I have been listening to his two pre-released singles “Faded Heart” and “Sweet Dreams”. Both songs were unapologetically Børns. Based on the rest of the album that came out later, I would consider those two songs as some of the best on the album. They’re a good way to introduce you to Børns if you’ve never listened to his music and want to listen to his most current stuff.

The album began to gain more attention when it was announced that Lana Del Rey would be featured on the album in the song “God Save Our Young Blood”. In my opinion, the song melds Børns and Del Rey’s voices with an ethereal, dreamy sense. Which is favorable to both artist’s sounds.

My favorite song on the album though is the summery/catchy tune, “Second Night of Summer”. The song is the embodiment of the aspects and ideas that I’m trying to better incorporate into my life this year. It makes me want 2018 to be a better year for me and everyone in my circle.

His sound is all his own, and he owns it. The new songs don’t stray far from the direction of his first album but also verge on the edge of a 70’s pop sound he never fully embraced in his debut album.

3.5/5 Stars

The post Ready to be Børn Again appeared first on SCAD Radio.