UK Band Sorry Are the Future of Indie Rock with "More"

It's the latest song from the band's upcoming debut album.

Sorry are tricky to pin down.

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Bright Eyes Have Plans for 2020

The seminal indie rock band just launched an Instagram page.

Could I please have the attention of everyone who sported side bangs in 2008: Bright Eyes, the mid-aughts indie band who made devoted fans out of granola hipsters and emo kids alike, have resurfaced.

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BTS at the American Music Awards

By Featureflash Photo Agency

Congratulations–you've survived 2019

We've been through haunting commercials, traumatically bad movies, and the fall of a favorite childhood author. But through it all, there's been Spotify, judging our music tastes like a disapproving boomer. And yet, we persisted. In alphabetical order, these are the top 50 musical lifelines of the 2010s. In the top 25 are the likes of BTS, Bon Iver, Kendrick Lamar, and Childish Gambino. Among the bottom 25 are FKA twigs, Tayor Swift, Julien Baker, and Charli XCX. Notably absent is anything by Ed Sheeran or Justin Bieber, because we don't believe bad listening habits should be encouraged. Happy listening in 2020!

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Leon Bridges and Khruangbin: Texas's Sun-Drenched Dream Team

Bridges and Khruangbin invite you to soak up the Texas sun.

Photo by: Jonathan Velasquez / Unsplash

There's something particularly satisfying about seeing incredibly talented artists collaborate with each other.

Today, an unexpected but beautiful collaboration entered soundwaves when Leon Bridges and Khruangbin announced their forthcoming joint EP and dropped their first single.

Khruangbin is a group inspired by '60s and '70s Thai rock, borrowing from psychedelia, funk, surf rock, and Zouk, Indian, and Middle Eastern music. Leon Bridges is a soul singer-songwriter who also draws from '50s and '60s styles, but the two artist's music is most similar in terms of its emotional resonance and peaceful, expansive atmosphere.

Leon Bridges - River (Video)

Khruangbin - Cómo Te Quiero (Official Video)

They're also tied together by shared roots: Both groups are from Texas, which might explain their connection. There's no question that their forthcoming EP's lead single—called "Texas Sun"—is inspired by their homeland.

Cinematic and distinctly evocative of the desert landscape, "Texas Sun" feels like it could easily soundtrack the next dreamy Western or Americana masterpiece. Centering Bridges' weather-worn voice and Khruangbin's distinct beachy, reverb-soaked guitars, it's a masterful melding of talents.

Their EP, also called Texas Sun, will be released on February 7th, via Dead Oceans and Columbia Records. It will consist of four tracks, "Texas Sun," "Midnight," "C-Side," and "Conversion."

Khruangbin & Leon Bridges - Texas Sun (Official Audio)


Pitchfork's Top 200 Songs of the 2010s Actually Gave Me Hope

Kendrick Lamar tops Pitchfork's pleasantly surprising list of the top 200 songs of the 2010s.

I dipped into Pitchfork's list of the top songs of the 2010s tentatively, not knowing what to expect.

Considering the sheer amount of music released in the past decade, there's simply no way one could ever hope to listen to it all, let alone compare it. Also, music rankings are inherently subjective, entirely reliant on the opinions of those curating the list and their respective definitions of what makes "great" art.

Don't get me wrong—the Pitchfork list has issues. First off, it essentially consists of popular American music. You won't find too many deep cuts here, nor many country, K-pop, classical, or non-English-language tracks. If you're someone who "dislikes pop," you might as well leave. Also, some of the blurbs are very odd. "Hotline Bling" is described as a "human centipede of modern music," which is a unique metaphor—I'll give them that—and apparently Lorde "[dissects] love like it's a frog in science class." Justin Bieber's "Sorry" is somehow painted as a track that asks for redemption in an era of #BlackLivesMatter protests. A lot of the writing is beautiful, though, and we get phrases like, "Pop songs, trends, and life itself are a constant cycle of death and rebirth" (in reference to Ariel Pink) to balance out the other stuff.

In terms of the song choices, I like and respect Grimes, but I'm not sure "Oblivion" deserves its number two slot. There are countless glaring omissions, with innovators like Lady Gaga, Mariah Carey, Donald Glover, and Sufjan Stevens notably absent (though Gaga and Stevens appeared on Pitchfork's equally solid best albums of the 2010s list). Also, "The Louvre" is objectively not the best song on Melodrama.

Even so, scrolling through the list made me remember that a lot of fantastic music has been released this decade, and a lot of creative visionaries have come out of the woodwork, selectively utilizing new technologies to create ambitious works of art. Plus, in contrast to the vast majority of best-songs-of-all-time lists, a lot of these songs are by women and people of color. Yes, there's still inequality in the music industry, but music has never been more diverse, both sonically and demographically.

The list is evidence that the concept of listening to one genre or disliking music just because it's pop has been steadily dying over the past decade. In today's world, pop hits like Carly Rae Jepsen's "Run Away With Me" and Robyn's "Dancing On My Own" exist comfortably next to indie powerhouse ballads like Mitski's "Your Best American Girl" and ANOHNI's "Drone Bomb Me," and rap and ambient and metal all appear on the same playlists. The kind of pretentiousness that discredited pop music in the past is largely disappearing, and in its own respect, pop is getting more daring, more willing to experiment and pull from other genres.

Carly Rae Jepsen - Run Away With

Mitski - Your Best American Girl (Official Video)

You could analyze the list forever on this kind of macroscopic level, but music is never only collective or political; it always has a microscopic, personal dimension. Personally, as I scrolled through the list from the bottom to the top, I began to feel something that I don't usually feel while on the Internet. The list was strangely heartwarming. It brought back good memories. Many of the songs on it are extremely special to me, intertwined with specific places, people, and emotions.

For example, Sampha's breathtaking ballad "No One Knows Me (Like the Piano)" took me right back to a time I got lost on a bus in Queens and ended up listening to that song as a woman delivered a sermon from the seat across me while rain poured down around us. The Kanye selections are particularly wrenching; "Runaway" is eternally powerful, "Ultralight Beam" sparks several memories immediately—driving over a bridge under a purple sunset, or another time, astronomically high in the woods, blasting the song from speakers and clinging to every note. "Queen" by Perfume Genius made my jaw drop the first time I heard it. Listening to "Mary" by Big Thief is always a religious experience. SZA, Tyler the Creator, the National, Vampire Weekend, Chance the Rapper—they've all held special places in my heart and life over the years. They're as real and significant to me as any friend, and I doubt I'm alone in that.

Perfume Genius - 'Queen' (Official Video)

Reading through the list made me remember that while the world may be incredibly chaotic and painful to exist in, there's so much good music to soundtrack our journey through this brief and absurd life. The 2010's gave us revolutionary opuses like Kendrick Lamar's DAMN. and "Pa'lante" by Hurray for the Riff Raff. It gave us Frank Ocean's mystical, effervescent Blond, which I must give thanks for roughly once per week. It gave us Katy Perry's early exquisite pop and Courtney Barnett's dry ramblings and the soft electricity of Yaeji, whose "Drink I'm Sippin On" soundtracked so many of my night walks around the city.

Hurray For The Riff Raff - Pa'lante (Official Video)

It gave us ample drama and good stories, too—there was the gleeful spite of "thank u, next," and the thrill of watching Cardi B rise with "Bodak Yellow," Miley's chaotic metamorphosis and Solange's ascendance. The 2010s took David Bowie and Lil Peep. It gave us unforgettable images, Bon Iver and his mythological cabin and FKA Twigs' surrealist masterpiece "Cellophane," images that connected to us on personal levels and bind us together across space and time.

FKA twigs -

I think that the best kind of music is taps into something much bigger than us, like a collective unconscious, something that extends way beyond the reach of one person. In order to make it, and to make any kind of art that can reach others on a profound level, you have to let go of the limitations of your singular self. That's what so many of these songs do—they tell individual stories, but they also channel something greater, and bring us together on a higher plane.

In many ways, I suspect that the 2020s will be even more full of change and tumult than the 2010s were. But I have complete faith that, when 2029 rolls around, there will be another Pitchfork list of songs that tap into the deepest emotions and most powerful connections we have. And maybe sometimes, the songs that help us personally are what give us the strength to engage with the world on a larger scale and speak truth to power. Maybe our greatest songs are the ones that, like Kendrick Lamar's "Alright," give us the strength to go on.

Kendrick Lamar -


Superet Releases Live Studio Performance of "YDS2M"

The indie alt rock band releases a live studio performance of "YDS2M."

L.A. indie rock band Superet continues to combine their laid-back, psych-synth pop tendencies with grungy and dynamic instrumentations in their latest music video for their song "YDS2M."

The video, which has been released in support of their debut album How To Work A Room, is a minimalistic yet engaging visual shot live in studio. Viewers first see drummer Sam KS sitting at his drum set, shaking a pair of maracas as the band makes their way down a mirrored staircase. The rest of the band makes their way to their instruments, with lead singer/guitarist, Matt Blitzer, being the first to join the persistent percussion line with a cohesive guitar riff and his zestful vocals.

"Director/Editor/Ethan Berger and Cinematographer Stefan Weinberger have been good friends of ours for a long time," says Blitzer. "They did an incredible job at taking a simple concept and making it a pleasure to watch all the way through. We hope to work with them on larger video projects soon."

The video, like the song, continues to tug and pull the viewer's focus from one band member to the next with its quick intercuts, successfully reflecting the confusion and frustration expressed in the track's lyrics. We feel a tension rise with the band's effortless layering of attention-grabbing synths, steady bass, and invigorating guitar lines, finding ourselves reflecting on what the "breakdown at the corner of love" really is and sorting through the changes we may go through as we hopelessly fall in love with someone.

"YDS2M" is just one example of the band's ability to write songs full of emotional intelligence and infectious energy. The band's debut album, How To Work A Room, continues this self-aware theme, especially in tracks like "Comes As Relief" and "Go To Sleep Kimberly," which were produced and mixed by Dave Fridmann (Tame Impala, MGMT, Spoon) and mastered by repeated Grammy winner Greg Calbi.

Blitzer shares, "When entering the 'room' in which this album exists, we carry with us a few things in common. Tales of heartbreak, isolation, confusion, and desire. The age of the conversationalist and the art of socializing is in rapid decline. The average attention span is dissolving by the second, and we are more anxious in social settings than ever. Our daily lives are filled with rooms. In each one, a potential risk. Our minds and bodies are designed to improve with disorder. Take the risk, embrace disorder, work the room."

In support of their new music, the band will be touring for the remainder of 2019. They recently wrapped up an East Coast tour with I Don't Know How But They Found Me.

Check out Superet's video for "YDS2M" below!