{"id":3409,"date":"2024-01-06T12:16:18","date_gmt":"2024-01-06T20:16:18","guid":{"rendered":"http:\/\/billchapin.net\/allthecitylights\/?p=3409"},"modified":"2024-01-06T15:38:27","modified_gmt":"2024-01-06T23:38:27","slug":"rankstravaganza-my-30-favorite-songs-of-2023","status":"publish","type":"post","link":"http:\/\/billchapin.net\/allthecitylights\/2024\/01\/rankstravaganza-my-30-favorite-songs-of-2023\/","title":{"rendered":"Rankstravaganza: My 30 Favorite Songs of 2023"},"content":{"rendered":"<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><a href=\"http:\/\/billchapin.net\/allthecitylights\/wp-content\/uploads\/2024\/01\/2023_tracks-collage.png\"><img loading=\"lazy\" decoding=\"async\" width=\"645\" height=\"412\" src=\"http:\/\/billchapin.net\/allthecitylights\/wp-content\/uploads\/2024\/01\/2023_tracks-collage.png\" alt=\"Collage representing each of the Top 10 songs on this list.\" class=\"wp-image-3411\" srcset=\"http:\/\/billchapin.net\/allthecitylights\/wp-content\/uploads\/2024\/01\/2023_tracks-collage.png 645w, http:\/\/billchapin.net\/allthecitylights\/wp-content\/uploads\/2024\/01\/2023_tracks-collage-300x192.png 300w\" sizes=\"(max-width: 645px) 100vw, 645px\" \/><\/a><\/figure><\/div>\n\n\n<p class=\"has-drop-cap\">Back when I got paid to write about music, back when such things were possible, I always made an effort to seek out new bands, try new genres, and talk to the kids about what they were listening to. I <em>thought <\/em>I was doing a decent job of continuing that endeavor, even as my paycheck no longer depended on it. I <em>thought <\/em>I was still growing and stretching and discovering. But what do I find as 2023 gives way to 2024? That when I tally up my most-played artists of the last year, the vast majority of my Top 10 is basically indistinguishable from my Top 10 most-payed artists from 20 years ago.<\/p>\n\n\n\n<p><a href=\"http:\/\/billchapin.net\/allthecitylights\/2023\/01\/rankstravaganza-my-30-favorite-songs-of-2022\/\" title=\"\">A year ago<\/a>, I lamented that my year-end list was dominated by styles and sounds well within my musical comfort zones, but at least it was populated by new artists trading in the familiar and nostalgic. This year it&#8217;s literally the same bands and songwriters that I loved in my 20s. Is it my fault they insist on still putting out strong, fresh material 20 years on? Am I supposed to just ignore a new The Hold Steady album and pretend I don&#8217;t like it better than Lil Yachty or whatever? What am I, <em>Rolling Stone<\/em>?<\/p>\n\n\n\n<p>Damn it.<\/p>\n\n\n\n<p>Here&#8217;s what I can promise you: The songs on this list are all well crafted, worthy of attention, and a rewarding listen. And (outside the Top 10), there&#8217;s a fair number of local, independent, Oakland and East Bay musicians that I discovered in the last year via Bandcamp before all that <a href=\"https:\/\/pitchfork.com\/thepitch\/is-bandcamp-as-we-know-it-over\/\" title=\"\">got ruined<\/a> by debt financing and union busting.<\/p>\n\n\n\n<p>Damn it.<\/p>\n\n\n\n<p>For your listening convenience, here is a Spotify playlist of the complete countdown, or if you prefer, you can follow this link to listen on <a href=\"https:\/\/music.youtube.com\/playlist?list=PL4CBaRs07LDIy0KC-nUC2k2p5VDEqw2X2&amp;si=qGaGU_gKyiO1MHWV\" target=\"_blank\" rel=\"noopener\" title=\"\">YouTube Music<\/a>.<\/p>\n\n\n\n<iframe style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/playlist\/4qChHAB2z4cTxANEPmScGu?utm_source=generator&#038;theme=0\" width=\"100%\" height=\"352\" frameBorder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>30. &#8220;Ebony Eye,&#8221; <a href=\"https:\/\/yvestumor.info\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Yves Tumor<\/a><\/strong><\/h3>\n\n\n\n<p>There are some \u201cbig\u201d songs on this list, but none quite has the massive production of this track. It seems to take inspiration from the scale and instrumentation of that one Puff Daddy-meets-Led Zeppelin track from the 1998 <em>Godzilla<\/em> movie (<a href=\"https:\/\/www.youtube.com\/watch?v=vrSyrOaoAug\" target=\"_blank\" rel=\"noopener\" title=\"\">you know the one<\/a>), but with a dose of psychedelic weirdness befitting a Miami-born, Knoxville-raised, Turin-based artist who cites <a href=\"https:\/\/en.wikipedia.org\/wiki\/Throbbing_Gristle\" target=\"_blank\" rel=\"noopener\" title=\"\">Throbbing Gristle<\/a> as a major influence.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/WpuFZa5ow8E?si=-3vuYKh_D8sqHQL8\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>29. &#8220;Tell Me What You Want,&#8221; <a href=\"https:\/\/www.carolinerosemusic.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Caroline Rose<\/a><\/strong><\/h3>\n\n\n\n<p>This is the \u201csingle\u201d from the singer-songwriter\u2019s fourth album, which followed them into uncharacteristically dark, intensely personal territory. It made for a more challenging listen than their previous efforts, but there are still memorable, cutting, fun moments\u2014like on this song, when they sing, \u201cI am just pretending not to lose my mind.\u201d See? Fun!<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/vVm686fKOiI?si=wU999DsEVwfb6aaP\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>28. &#8220;Supermodel Avalanches,&#8221; <a href=\"https:\/\/www.royalbloodband.com\" target=\"_blank\" rel=\"noopener\" title=\"\">Royal Blood<\/a><\/strong><\/h3>\n\n\n\n<p>If <a href=\"https:\/\/deathfromabove1979.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Death From Above 1979<\/a> isn\u2019t going to put out an album in 2023, then I\u2019ll settle for something that sounds a lot like Death From Above 1979. (Dear Royal Blood: THIS IS A COMPLIMENT. You did it. You made a dance-rawk jam with a ridiculous title. Be proud.)<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/xnZlPzlOVCE?si=gmdTTf22t-5q1lLq\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>27. &#8220;Free Yourself,&#8221; <a href=\"https:\/\/www.jessieware.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Jessie Ware<\/a><\/strong><\/h3>\n\n\n\n<p>They say the heart of disco is still beating, and if this song is any indication, I believe \u2018em. If there is any justice in the world, in 20 years this will be as ubiquitous on dance floors and in gay bars as \u201cI Will Survive\u201d has been for most of my adult life.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/aD7F6M9fsms?si=Ob-0UUEvJdjfVQLV\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>26. &#8220;Paradise Calling,&#8221; <a href=\"https:\/\/www.officialbirdy.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Birdy<\/a><\/strong><\/h3>\n\n\n\n<p>In the tradition of such previous Rankstravaganza contenders as <a href=\"\/allthecitylights\/rankstravaganza-my-30-favorite-songs-of-2021#JaneWeaver\" title=\"Jane Weaver\">Jane Weaver<\/a> and the aforementioned Caroline Rose, here is another female singer-songwriter who has veered away from indie-folk in favor of synth-based, &#8217;80s-inspired dance pop. I\u2019ve caught my 10-year-old singing this one to herself despite it getting zero airplay on her favorite radio stations, so you know it\u2019s an earworm.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/FOjytbEbO34?si=x3x2apiz2s_oofBf\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>25. &#8220;FaceTime,&#8221; <a href=\"https:\/\/billywoods.bandcamp.com\/album\/maps\" target=\"_blank\" rel=\"noopener\" title=\"\">Billy Woods &amp; Kenny Segal<\/a> feat. <a href=\"https:\/\/www.instagram.com\/hemlock_ernst\/?hl=en\" target=\"_blank\" rel=\"noopener\" title=\"\">Samuel T. Herring<\/a><\/strong><\/h3>\n\n\n\n<p>This is the hip-hop equivalent of \u201cTurn the Page,\u201d all about the stress and alienation that comes with being a touring musician. New York rapper Woods\u2019 lyrics are full of wonderful little details and observations\u2014one big reason why his latest collaboration with L.A. producer Segal has been <a href=\"https:\/\/pitchfork.com\/reviews\/albums\/billy-woods-kenny-segal-maps\/\" target=\"_blank\" rel=\"noopener\" title=\"\">universally<\/a> <a href=\"https:\/\/www.rollingstone.com\/music\/music-album-reviews\/billy-woods-maps-1234729288\/\" target=\"_blank\" rel=\"noopener\" title=\"\">described<\/a> as a \u201ctravelogue.\u201d I can clearly picture him, looking out of place at the afterparty he describes in verse two, still wearing a cardigan that smells like the joint he just smoked among a bunch of \u201cchunky rings, clunky shoes, lots of ink, [and] guys who order everybody\u2019s drink.\u201d<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/UEeXXbRdZrk?si=g57UCmxY0C5hkJEg\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>24. &#8220;Halloween Store,&#8221; <a href=\"https:\/\/andyshauf.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Andy Shauf<\/a><\/strong><\/h3>\n\n\n\n<p>The year\u2019s most dramatic storytelling in song form has got to be the second verse of this track\u2014from a very strange concept album by the Canadian singer-songwriter about a shlubby stoner\/stalker who is called by God as a modern-day prophet\u2014in which the main character decides to head out to the local <a href=\"https:\/\/www.spirithalloween.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Spirit<\/a> outlet before nearly locking his keys in his car.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/xi_s1E_AWms?si=IopeOTJS94Pfc6q3\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>23. &#8220;Not Strong Enough,&#8221; <a href=\"https:\/\/www.xboygeniusx.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Boygenius<\/a><\/strong><\/h3>\n\n\n\n<p><a href=\"https:\/\/julienbaker.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Julien Baker<\/a>, <a href=\"https:\/\/phoebefuckingbridgers.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Phoebe Bridgers<\/a>, and <a href=\"https:\/\/lucydac.us\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Lucy Dacus<\/a> swung for the fences on this one. While the supergroup&#8217;s full-length debut has some quieter, folky moments, this track is pure intensity, from the stuttering beat to the raw lyrics\u2014and it&#8217;s a standout on what was already one of the year\u2019s most consistently strong, universally acclaimed albums. If it weren\u2019t for that <a href=\"https:\/\/youtu.be\/CBqlDWHkdHk?si=VHGo3nTvlwxMvWrw\" target=\"_blank\" rel=\"noopener\" title=\"\"><em>Barbie<\/em> monologue<\/a>, this song\u2014building to repeated cries of \u201calways an angel, never a god!\u201d\u2014would be the year\u2019s best channeling of all the anguish and expectations and contradictions of modern womanhood.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/bIX_ouNJsTs?si=6FIQHCutaqQG_8RD\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>22. &#8220;Just The Once,&#8221; <a href=\"https:\/\/www.ilovemetric.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Metric<\/a><\/strong><\/h3>\n\n\n\n<p>The Canadian indie rock band, now into its second decade, has described this propulsive tune as \u201cregret disco,\u201d which is a fun little way of having your dance-pop cake while eating it with ironic detachment. It\u2019s such a minor detail, but my favorite thing about this song is the continuous loop of \u201cwoo!\u201d and \u201cyeah!\u201d deep in the mix.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/VYW4F5q7XBE?si=lUGorWkBRmSsCOGG\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>21. &#8220;Gila Monster,&#8221; <a href=\"https:\/\/kinggizzardandthelizardwizard.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">King Gizzard &amp; The Lizard Wizard<\/a><\/strong><\/h3>\n\n\n\n<p>Do yourself a favor and take a few minutes to read through the <a href=\"https:\/\/www.musixmatch.com\/lyrics\/King-Gizzard-The-Lizard-Wizard\/Gila-Monster\" target=\"_blank\" rel=\"noopener\" title=\"\">lyrics<\/a> to Australian band\u2019s metal epic about \u201ca biblical beast of ancient lore\u201d that eats \u201cwitches for dinner.\u201d Ponder them. Write a thesis on them and submit it in partial fulfillment of the requirements for a degree in Master of Arts in the Linguistics and Literary Studies. And then chant along on the chorus: GILA! MONSTER! WOO!<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/YQX2CsMCB9M?si=la9QkJ4nJtEAqWi_\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>20. &#8220;Sippin&#8217; Mai Tais on Kauai,&#8221; <a href=\"https:\/\/www.instagram.com\/trackademicks\/?hl=en\" target=\"_blank\" rel=\"noopener\" title=\"\">Trackademicks<\/a> and <a href=\"https:\/\/www.instagram.com\/bikemaker\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Mike Baker the Bike Maker<\/a><\/strong><\/h3>\n\n\n\n<p>Speaking of hip-hop travelogues &#8230; I sure wish Alameda\u2019s own hip-hop wunderkind had released this party anthem just a few months earlier, because it would have been the soundtrack to my family vacation to Hawaii and would have upped a) the good vibes and b) the number of Mai Tais consumed by about 300%.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/HVsajyOaYKY?si=T4vXNUA0PBvJaQ8f\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>19. &#8220;Light Me Up,&#8221; <a href=\"https:\/\/www.margoprice.net\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Margo Price<\/a> feat. <a href=\"https:\/\/www.thedirtyknobs.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Mike Campbell<\/a><\/strong><\/h3>\n\n\n\n<p>I bet I could turn in a pretty good banger with an assist from <a href=\"https:\/\/www.azcentral.com\/story\/entertainment\/music\/2023\/05\/31\/mike-campbell-dirty-knobs-phoenix-concert-preview\/70270695007\/\" target=\"_blank\" rel=\"noopener\" title=\"\">chief Heartbreaker<\/a> Mike Campbell, but it still wouldn\u2019t be as good as this psych-rock freakout from the boundary-pushing country singer. And it\u2019s about orgasms, <a href=\"https:\/\/youtu.be\/P-7rIK6QZqA?si=Je9pPqSRVb_OUfXP\" target=\"_blank\" rel=\"noopener\" title=\"\">apparently<\/a>!<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/QvzRPv23zU0?si=2Hyu1TdxCm1mdYzF\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>18. &#8220;Middle Of The Morning,&#8221; <a href=\"https:\/\/www.jasonisbell.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Jason Isbell and the 400 Unit<\/a><\/strong><\/h3>\n\n\n\n<p>This is maybe the most memorable melody that Isbell has written in his career, which is saying something. It\u2019s mostly just him leaping up a third near the top of his vocal range, but boy does it work. Then there are the lyrics\u2014which I can only assume are about adjusting to life in lockdown at at the height of the pandemic (surely a uniquely insane experience for a performer and recovering alcoholic)\u2014that describes going outside twice a day and letting out a scream that is heard only by the flowers in the garden.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/zSI0uuKGhTk?si=_Yv5MX9FBlAIlmB0\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>17. \u201cMy Love Mine All Mine,\u201d <a href=\"https:\/\/mitski.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Mitski<\/a><\/strong><\/h3>\n\n\n\n<p>I\u2019m not sure what I was expecting from Mitsuki Miyawaki after last year\u2019s <em>Laurel Hell,<\/em> which frankly just didn\u2019t connect with me as an album, but it surely wasn\u2019t a languid, tender countrypolitan torch song in which the singer addresses the moon that somehow became a <a href=\"https:\/\/uproxx.com\/indie\/mitski-my-love-mine-all-mine-hit-explained\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Billboard Hot 100-certified mainstream success<\/a>??? Hit-making in the TikTok era continues to be a complete mystery to me, but OK!<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/vx4kLgnFexo?si=UfPBlkQcTcV-67Yj\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>16. &#8220;Oil,&#8221; <a href=\"https:\/\/www.gorillaz.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Gorillaz<\/a> feat. <a href=\"https:\/\/stevienicksofficial.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Stevie Nicks<\/a><\/strong><\/h3>\n\n\n\n<p>Over the course of eight Gorillaz studio albums, Damon Albarn has famously teamed up with everyone from <a href=\"https:\/\/youtu.be\/HyHNuVaZJ-k?si=XuDHyLchgdEZH2pU\" target=\"_blank\" rel=\"noopener\" title=\"\">De La Soul<\/a> to <a href=\"https:\/\/youtu.be\/nhPaWIeULKk?si=YlGot6-jKo-X2Qtk\" target=\"_blank\" rel=\"noopener\" title=\"\">Bobby Womack<\/a> to <a href=\"https:\/\/youtu.be\/bbA5p54Rw2M?si=23ydT8YqJRUOhxyB\" target=\"_blank\" rel=\"noopener\" title=\"\">Robert Smith<\/a>. Usually they are prominently, conspicuously featured, but Stevie Nicks doesn\u2019t get a big hook or guest verse on this track. Harmonizing with Albarn\u2019s cartoon alter-ego, her subtle, supporting role is easy to miss on first listen. The 75-year-old legend\u2019s vocals actually meld really well with Albarn\u2019s drawling delivery, and the combination means that when they sing, \u201cIndividual actions change the world,\u201d I honestly can\u2019t tell if they\u2019re being ironic or sincere.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/-Mv6eEQAeNE?si=BHCAyYPWaM-c6L2i\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>15. &#8220;On My Line,&#8221; <a href=\"https:\/\/www.instagram.com\/_meernaa_\/?hl=en\" target=\"_blank\" rel=\"noopener\" title=\"\">Meernaa<\/a><\/strong><\/h3>\n\n\n\n<p>Spoiler alert of sorts: This is the start of a five-track streak of local East Bay artists. Meernaa\u2019s Carly Bond may perhaps have relocated to L.A. as her sophomore album gained some traction, but her Bandcamp page still lists her location as Oakland, which is how I discovered her. There\u2019s such a mix of influences on this slow, funky jam. The tone on the opening guitar lick is straight outta Stax Records. Her vocal stylings are smooth as Sade. It took me a while to place what the prominent bass line plus string arrangement reminds me of, but now I can\u2019t hear it without thinking of Beck\u2019s <em>Sea Change<\/em>. OK, so I doubt she was purposely trying to reference all of that, but I\u2019m happy to pretend she set out to make a decades-spanning, \u201860s soul\/\u201980s adult contemporary\/\u201900s sad-alternative track.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/UA1ZIN8rt00?si=o8Y-pi_XdnDOm7HW\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>14. \u201cI Drew a Line,\u201d <a href=\"https:\/\/www.mkenneymusic.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Madeline Kenney<\/a><\/strong><\/h3>\n\n\n\n<p>After working with such producers as Jenn Wasner and Andy Stack (of <a href=\"https:\/\/www.wyeoakmusic.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Wye Oak<\/a>) and fellow Oaklander Chaz Bear (of <a href=\"https:\/\/toroymoi.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Toro y Moi<\/a>) on previous albums, indie songwriter Kenney self-produced this year\u2019s <em>A New Reality Mind<\/em>. She takes some chances, and nowhere do they pay off better than this track, with it\u2019s complete lack of guitars, saxophone solo(!), and unexpected overdubs, including a sudden explosion of multi-tracked harmonies as she declares, \u201cI had a vision I would DIE!\u201d<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/NoN8ckfqh1c?si=MIGnM_NpAsEVC2VU\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>13. &#8220;Six Brown Eyes in Bakersfield,&#8221; <a href=\"https:\/\/bhamilton.bandcamp.com\/?fbclid=IwAR0MaNgDKKyWeKtkOO74CCe4YJABdyEYdgCzxAh6ppkh39kOPfX827I8xEk\" target=\"_blank\" rel=\"noopener\" title=\"\">B. Hamilton<\/a><\/strong><\/h3>\n\n\n\n<p>A swampy blues stomp that would do CCR proud, with bonus homage points awarded for being a Bay Area band singing about the Central Valley (and Orange County). Anaheim native and current Oakland resident Ryan Christopher Parks has been releasing music under the name B. Hamilton since 2009, but his output exploded during COVID. Parks, with producer\/drummer Raj Kumar Ojha, put out no fewer than 11 new releases featuring covers, live recordings, demos, and studio recordings. That includes five EPs just this year, one of which has this tune about the family left behind by a hapless small-time crook. And not to give away or over-explain the punchline, but the highlight comes late in the song when Parks asks, \u201cWho knew that living life like a two-bit country tune would lose you your kids and wife?\u201d before answering his own rhetorical question: \u201cEveryone who\u2019s ever and will ever live.\u201d<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/Hzp7u9Eb5Iw?si=fPoeufIXxVaxKVip\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>12. &#8220;Opalescent Ribbon,&#8221; <a href=\"https:\/\/www.stephensteinbrink.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Stephen Steinbrink<\/a><\/strong><\/h3>\n\n\n\n<p>As a former member of a college a cappella group, well-arranged vocal harmonies are like catnip for me, and there are some great examples on this here list. Take this tune. It\u2019s the most \u201cproduced\u201d track on Oakland singer-songwriter Stephen Steinbrink\u2019s full-length album of gentle indie folk\u2014featuring droney Moog synths, tinkly piano, and a chugging krautrock guitar line\u2014but it has all of the layered vocals that make the entire album such a intoxicating listen.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/5NY3IeBG3G0?si=PuLaqhmEUOEXEHTi\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>11. &#8220;Living in a Flood,&#8221; <a href=\"https:\/\/www.facebook.com\/EveryoneIsDirty\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Everyone Is Dirty<\/a><\/strong><\/h3>\n\n\n\n<p>There\u2019s a story in the fact that the Oakland alt-rock band made a loose concept album about people persevering through hard times\u2014the whole affair is dedicated to singer\/violinist Silvan Lioncub\u2019s grandfather, a Holocaust survivor\u2014but for me the appeal of this song comes down to the chorus, such as it is. Who-knows-how-many vocal layers form a sea of counter melodies shifting between two dramatic chords and sung to a single word: \u201cDesire.\u201d It\u2019s a wall of psychedelic sound.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/WodguPrAgds?si=MzR8M08cBZZI3rMl\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>10. &#8220;Odyssey,&#8221; <a href=\"https:\/\/www.beck.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Beck<\/a> &amp; <a href=\"https:\/\/wearephoenix.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Phoenix<\/a><\/strong><\/h3>\n\n\n\n<p>This is one of those team-ups that makes so much sense, it\u2019s hard to see why it didn\u2019t happen years ago. The French dance-rock band and everybody\u2019s favorite post-modern funk dabbler joined forces this summer and penned a sunny, carefree jam to promote their joint tour and, I assume, to give them something they could perform together for an encore. And what a success. If you are a fan of either, it plays to all their strengths.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/z87nhzCdYEU?si=6IF_ags-L_b1yXQr\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>9. &#8220;Sunset,&#8221; <a href=\"https:\/\/www.carolinepolachek.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Caroline Polachek<\/a><\/strong><\/h3>\n\n\n\n<p>Nothing else on Polachek\u2019s critically acclaimed fourth album of yearning art-pop sounds quite like \u201cSunset,\u201d with its pulsing samba rhythm and flamenco guitar licks. And while it is, at heart, a love song, there are heavier themes nipping at the singer\u2019s fragile bliss\u2014allusions to death, coping, doubt, societal decay\u2014all of which make this electro-Latin-pop mashup more \u201cThe Rhythm of the Saints\u201d than \u201cThe Rhythm is Gonna Get You.\u201d<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/-YBP-D6vQIA?si=SDyL7gCjhuS6rJV0\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>8. &#8220;Bubble,&#8221; <a href=\"https:\/\/intheredrecords.com\/collections\/the-c-i-a\" target=\"_blank\" rel=\"noopener\" title=\"\">The C.I.A.<\/a><\/strong><\/h3>\n\n\n\n<p>Former Bay Area songwriter Ty Segall is <a href=\"http:\/\/billchapin.net\/allthecitylights\/2019\/12\/albums-of-the-teens-i-guess-personas-get-personal-in-2018#TySegall\" title=\"\">no stranger<\/a> to penning some creepy-ass garage rock. His side project with wife Den\u00e9e Segall and pal Emmett Kelly trades out distorted guitar for menacing synth and drum loops, and makes the creepiness relentless and a little bit &#8230; sexy? The lyrics paint a simple tale of a girl with an insatiable hunger, so much so I was worried that by the end of the song she was going to devour the whole damn world. Please enjoy the video, which is sure to fuel your nightmares or your kinks or both.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/uHCCKBwc8JA?si=lrvN2ka4dHQ_HTyK\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>7. &#8220;Carlos Is Crying,&#8221; <a href=\"https:\/\/theholdsteady.net\/\" target=\"_blank\" rel=\"noopener\" title=\"\">The Hold Steady<\/a><\/strong><\/h3>\n\n\n\n<p>\u201cI love you, I feel you!\u201d the narrator tells his titular, sobbing friend, and I gotta say I feel for Carlos, too. The guy\u2019s midlife crisis is on the verge of evolving into a complete existential breakdown that threatens to destroy his simple existence, which primarily consists of drinking pitchers of beer with his old high-school skater buddies at some strip-mall Applebee\u2019s knockoff called \u201cSkippers.\u201d I\u2019ve said it before, but nobody weaves a tale of desperate people making poor decisions like Craig Finn, and he\u2019s outdone himself yet again.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/EVHKv8uZYOI?si=53PJUlMG0TdEheBz\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>6. &#8220;You First,&#8221; <a href=\"https:\/\/www.facebook.com\/paramore\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Paramore<\/a> [<a href=\"https:\/\/remiwolf.com\/pages\/index\" target=\"_blank\" rel=\"noopener\" title=\"\">Remi Wolf<\/a> remix]<\/strong><\/h3>\n\n\n\n<p>Calling this a \u201cremix\u201d is an understatement. Palo Alto native Wolf took a passable post-punk tune from Paramore\u2019s sixth album and turned it inside out, casting Hayley Williams\u2019 vocals in a completely different modal context (that one\u2019s for you music theory fans), layering about six more tracks of vocal harmonies on top, and turning the \u201cDance-Pop Rave-Up\u201d knob to 11. One can argue about whether the lyrics (with their references to horror movie tropes) are a better fit for the original\u2019s minor-key brooding, but I know which I\u2019d rather put on and play loud.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/RYt0ZyjyvQE?si=Bvys4nv1dGA4bKwA\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>5. &#8220;Bad Idea Right?&#8221; <a href=\"https:\/\/www.oliviarodrigo.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Olivia Rodrigo<\/a><\/strong><\/h3>\n\n\n\n<p>Trying to talk yourself out of spending the night with an ex? We\u2019ve all been there. Most of us. Probably. Right? But the relatable topic is only part of why Rodrigo\u2019s musical inner monologue works so well, though. Let me put it this way: If I\u2019m to be counted among the the legions of dads who came of age listening to \u201890s alt-rock suffering from acute Olivia Rodrigo fandom, well I\u2019m glad this was the song that pushed me over the edge because it\u2019s fucking funny. \u201cI just tripped and fell into his bed\u201d? Flawless comedic delivery. Some multinational media conglomerate should offer this girl an acting contract.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/Dj9qJsJTsjQ?si=Ft2oMKxIlc4kbvsA\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>4. &#8220;Sa-Wa-Quato,&#8221; <a href=\"https:\/\/www.timothymonger.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Timothy Monger<\/a><\/strong><\/h3>\n\n\n\n<p>Monger has never strayed all that far from the \u201cNorthern Rock\u201d sound he helped developed in <a href=\"https:\/\/www.allmusic.com\/artist\/great-lakes-myth-society-mn0000764456\" target=\"_blank\" rel=\"noopener\" title=\"\">Great Lakes Myth Society<\/a>, an amazing Michigan folk-rock band that never quite got the due it deserved; however, this track from his fourth solo release sounds particularly like an outtake from one of those earlier GLMS albums. Musically, accordion and violin and \u201cahhhs\u201d come together to positively shimmer like the mid-morning sun on an Upper Peninsula lake. Lyrically, it evokes a Midwestern collective unconscious of shared cultural touchstones in the tradition of GLMS\u2019s best moments. You\u2019re never quite sure if Monger is addressing the titular native chief himself or the modern-day B&amp;B that borrowed his name, but both seem to have spirits that are connected by the quiet beauty of the setting.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/aYeik1ou4lc?si=pbEqbdaK4psX48C0\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>3. &#8220;Where The Long Line Leads,&#8221; <a href=\"https:\/\/www.nickelcreek.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Nickel Creek<\/a><\/strong><\/h3>\n\n\n\n<p>Following a nine-year break, Nickel Creek\u2019s second reunion is more of a 60-minute composition of chamber music for voice and bluegrass instruments than a collection of great individual acoustic-pop tunes like we\u2019ve come to expect from Chris Thile and the Watkins siblings. This track stands out for being among the more uptempo moments in that composition, anchored by Sarah Watkins belting out the vocals between fiddle licks. Read the <a href=\"https:\/\/lyrics.lyricfind.com\/lyrics\/nickel-creek-where-the-long-line-leads\" target=\"_blank\" rel=\"noopener\" title=\"\">lyrics<\/a>, though. Let\u2019s just say there\u2019s no fame or fortune or influence or enlightenment at the destination implied by the title, and the same grim fate awaits everyone who spends a lifetime trying to get there. That\u2019s dark stuff, and Watkins absolutely sells it.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/vX2Liwa0Q7s?si=lf1flOmfHu3z4ihC\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>2. &#8220;But Wait, There\u2019s More,&#8221; <a href=\"https:\/\/www.benfolds.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Ben Folds<\/a><\/strong><\/h3>\n\n\n\n<p>Folds\u2019 first album in eight years is frequently a rueful acknowledgement of America\u2019s frayed social bonds and polarized political climate. A sequel-no-one-asked-for to his song \u201c<a href=\"https:\/\/www.youtube.com\/watch?v=4znKUAMFY9A\" target=\"_blank\" rel=\"noopener\" title=\"\">2020<\/a>\u201d about that year\u2019s chaos and unrest, the first track serves as a Broadway-style opening number. It sets up the album\u2019s themes and directly tackles the looming MAGA threat with humor and humanism. My only complaint is that, removed from the context of the album, the track is over far too quickly to provide any real catharsis on its own.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/5mj59OO5xwA?si=ky02KkJMUrxmpJyS\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>1. &#8220;Infinite Surprise, &#8221; <a href=\"https:\/\/wilcoworld.net\/\" target=\"_blank\" rel=\"noopener\" title=\"Wilco\">Wilco<\/a><\/strong><\/h3>\n\n\n\n<p>If you\u2019re going to title a song \u201cInfinite Surprise,\u201d you\u2019d better make it at least a bit unpredictable. To help in that endeavor, Wilco enlisted <a href=\"http:\/\/www.catelebon.com\/\" target=\"_blank\" rel=\"noopener\" title=\"\">Cate Le Bon<\/a>, whose production certainly takes this song in unexpected directions. If the rest of the Chicago band\u2019s 13th album never quite reaches the same level of disorienting weirdness, it was still enough for most dad-rock commentators to declare that Wilco had rediscovered its \u201cexperimental stage\u201d (after revisiting alt-country on last year\u2019s <em>Cruel Country<\/em>). To be clear, \u201cInfinite Surprise\u201d joins the pantheon of great Wilco opening tracks alongside \u201cMisunderstood,\u201d \u201cI Am Trying to Break Your Heart,\u201d and \u201cArt of Almost.\u201d It\u2019s that good. But while each of those songs built to some sort of breaking point, Le Bon\u2019s production teases that sort of cacophony without every arriving at a release. The incessant ticking of a stopwatch, <em>60 Minutes<\/em> style, that springs the song into action\u2014and seems to promise a commentary on harried modern life or the relentless march of time or some such\u2014is quickly buried beneath a mix of whale-song synths. All of this musical frustration and uncertainty and mystery complements the lyrical themes of a song that, at its core, asks whether it\u2019s still possible for a relationship to surprise you after years of comfortable routines.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/10dTHQ921uw?si=F_WyUkdeWeCneL-N\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n<!-- Share-Widget Button BEGIN -->\n<a href=\"javascript:void(0);\" myshare_id=\"mys_shareit\" myshare_url=\"http:\/\/billchapin.net\/allthecitylights\/2024\/01\/rankstravaganza-my-30-favorite-songs-of-2023\/\" myshare_title=\"Rankstravaganza: My 30 Favorite Songs of 2023\" rel=\"nofollow\" onclick=\" return false;\" style=\"text-decoration:none; color:#000000; font-size:11px; line-height:20px;\">\n<img decoding=\"async\" src=\"http:\/\/billchapin.net\/allthecitylights\/wp-content\/plugins\/share-widget\/img\/share-button-white-small.png\" height=\"20\" alt=\"Share\" style=\"border:0\"\/><\/a>\n<script type=\"text\/javascript\">\n<!--\nvar _myssmw=true;\n\n\/\/-->\n<\/script>\n<!-- Share-Widget Button END -->","protected":false},"excerpt":{"rendered":"<p>When I tally up my most-played artists of the last year, the vast majority of my Top 10 is basically indistinguishable from my Top 10 most-payed artists from 20 years ago. Is it my fault they insist on still putting out strong, fresh material?<\/p>\n","protected":false},"author":1,"featured_media":3411,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5,836,4],"tags":[1028,1137,830,425,42,1122,1127,1128,1131,1139,815,23,803,1129,1133,1023,922,1099,1132,1135,1136,964,236,1141,1142,778,15,1140,1124,1130,1138,203,1143,16,440,1134,74,1123],"aioseo_notices":[],"_links":{"self":[{"href":"http:\/\/billchapin.net\/allthecitylights\/wp-json\/wp\/v2\/posts\/3409"}],"collection":[{"href":"http:\/\/billchapin.net\/allthecitylights\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/billchapin.net\/allthecitylights\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/billchapin.net\/allthecitylights\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/billchapin.net\/allthecitylights\/wp-json\/wp\/v2\/comments?post=3409"}],"version-history":[{"count":24,"href":"http:\/\/billchapin.net\/allthecitylights\/wp-json\/wp\/v2\/posts\/3409\/revisions"}],"predecessor-version":[{"id":3438,"href":"http:\/\/billchapin.net\/allthecitylights\/wp-json\/wp\/v2\/posts\/3409\/revisions\/3438"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/billchapin.net\/allthecitylights\/wp-json\/wp\/v2\/media\/3411"}],"wp:attachment":[{"href":"http:\/\/billchapin.net\/allthecitylights\/wp-json\/wp\/v2\/media?parent=3409"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/billchapin.net\/allthecitylights\/wp-json\/wp\/v2\/categories?post=3409"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/billchapin.net\/allthecitylights\/wp-json\/wp\/v2\/tags?post=3409"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}