Top 10 King Gizzard & the Lizard Wizard Songs

King Gizzard & the Lizard Wizard never fail to surprise.

Even before their almost impossibly productive 2017, they were renowned for their superhuman work ethic, genre-hopping tendencies, and unmissable live shows. Add the 5 albums of last year into the mix and you’re left with 13 full-length records containing everything from jazz to psychedelic rock to prog and back again, a truly unique discography befitting of a truly unique band.

But this year they’re taking a break from recording, so it seems like a good time to take stock. That’s right, today we will be ranking (see: attempt to) the top 10 songs from Melbourne’s finest. This has been a tough task, but please, sit back, relax, and get ready to be slightly irritated that your favourite didn’t make it.

10. The River

With each of its 4 tracks clocking in at exactly 10 minutes and 10 seconds in length, 2015’s Quarters is a bit of a mixed bag. Half of the album feels like padding to reach the necessary track lengths, full of endless jamming around ideas that would have been better served as much shorter songs. The same cannot be said for its opener though, that being the hazy bliss of The River. Gizzard have ventured into jazzy territory a couple of times, but this track is undoubtedly the greatest of those experiments.

The combination of the 5/4 time signature and production that has the band sounding as if they’re playing through thick smoke is a winning one, lending the track a lo-fi ambiance that’s as catchy as it is intoxicating. Spiraling riffs eventually ebb and flow towards a climactic and potent time signature shift, welcoming in slinky reworked versions of the main guitar lines that cement this as a stone cold classic.

9. Crumbling Castle

This one knocked about in various forms before it’s final incarnation appeared on last year’s Polygondwanaland as its opening track. First, there was a short, 3-minute version played live a few times, then a leaked instrumental demo recording, and finally the proggy behemoth that takes the number 9 spot on this list. The whole 11 minutes are essentially just the band flexing every muscle they have, and it works to awe-inspiring effect.

The main vocals and lyrics are fairly standard, but it’s the instrumentation that really lifts this track. The intricacy of the interlocking guitar parts is pretty much unparalleled in their discography, combining with bubbling synths to create an almost overwhelming experience. Add in some chant-like sections and a ferociously heavy epilogue, and you’ve got an album opener for the ages.

8. The Lord of Lightning

Murder of the Universe is a pretty polarising album. Some love the overtly mystical themes and the narration, but many dismiss it as a self-indulgent misfire lacking in any real substance. There is one thing that most agree on though, and that’s the fact that The Lord of Lightning goes hard. The ominous riff that hangs over the entire song combines with the propulsive drums and frequent freakouts to leave the track feeling like it’s going to blow apart at any moment.

And then it does! Towards the end, off the back of a signature Stu Mackenzie yowl, the guitars grind down to a sludgy crawl, transforming the song into something infinitely more intimidating. It’s perhaps the finest individual moment on any Gizzard record, and more than its earns the song its place on this list.

7. Sense

Paper Mache Dream Balloon is a bit of an outlier, with the manic, conceptual ambition of most releases absent in favour of a breezy psychedelic pop approach. This big a change in sound could have been a disaster, but thankfully it resulted in both an album that still stands as a high point of the band’s career, and yet another stellar opening track. Sense is a relatively simple song, with a repetitive acoustic guitar providing the backing for some sumptuous clarinet, but it’s this simplicity that gives it its charm.

Mackenzie drops his usual staccato delivery in favour of a delicate vocal that floats over the song instead of dictating its direction. The result is a short but instantly memorable track that more than matches up to its flashier, louder siblings.

6. The Bitter Boogie

While Sense, and most of the rest of PMDB, sound as if they were written specifically to be sung around a campfire in the middle of a commune, The Bitter Boogie wouldn’t sound out of place on a western soundtrack. The guitars and harmonica lean heavily on blues influences, while the looping bass and repeating vocal of ‘bitter bitter bitter bitter bitter…’ mixes in a more psychedelic edge.

These elements create a swirling, almost hypnotic groove that’s fantastic even by itself, but towards the end of the track, the vocals of Ambrose Kenny-Smith come in and lift things to another level. His abrasive, almost sleazy style dials the blues up to 11 and the whole thing instantly clicks, with his absence from the rest of the song only serving to heighten the satisfaction when he eventually arrives. The result is an often overlooked classic that only misses out on the top 5 by a hair.

5. Sleep Drifter

Top 5 time! That’s right we’ve reached the big time, and what better way to enter the final straight than with the finest cut from the 2017 microtonal masterpiece Flying Microtonal Banana? Seemingly inspired by a piece entitled Kara Toprak by Turkish poet Asik Veysel, Sleep Drifter showcases the band at their most confident and musically accomplished. Fittingly, the track floats along like a lullaby, with simple, childlike lyrics, ‘I can see you next to me / And it is lovely’ acting as the perfect accompaniment to the gentle yet groovy guitar melodies. The microtones keep you from drifting off though, keeping things intriguingly offbeat and adding in a distinctive and unique flavour that pushes this one into the realm of greatness.

4. Am I In Heaven?

Until it was usurped by Nonagon Infinity, I’m In Your Mind Fuzz was the best example of King Gizzard’s signature brand of frantic, tightly wound psychedelia. Despite opening with a deceptively chilled acoustic section, it’s best track, Am I In Heaven, soon descends into beautiful madness. The Aussies have never again sounded this jacked up, with the rhythm section and guitars galloping along at a thousand miles an hour creating a disorientating wall of noise in the process. Mackenzie’s vocals sit distorted in the mix, screaming nonsense and employing his signature ‘WOOOOOOOOOO’ to electrifying effect. By the time the chorus rolls around he sounds 50 ft. tall, as the chords rise with him. This is perhaps the best example of the band just throwing everything they have at a song and just seeing what happens, and it’s fucking glorious.

3. Head On/Pill

Great debate rages over which album of the 13 is the best. There’s no definitive answer of course, but at the same time, it’s definitely Float Along-Fill Your Lungs. The band’s third record is the most psychedelic they have ever produced, featuring sitars, trippy lyrical imagery and some beautiful kaleidoscopic artwork. The recent vinyl reissue of the album called its opener the ‘Gizzhead national anthem’, and a description has never been so apt.

Whenever this song starts appearing on setlists, fans across the world start talking in hushed tones on internet forums about the possibility of the band playing it when they come to their city, and its not hard to see why. From the euphoric twang of the opening riff through the wild, shimmering ride of the next 16 minutes, this is a song good enough to get you hooked on Gizzard forever. For such a long song, its remarkably catchy, and although it can get repetitive, you soon lose count of the endless cries of ‘PILL’ and just get lost in the psychedelic soup.

2. Robot Stop

As the opening/closing/anywhere in between song on the infinitely looping masterpiece Nonagon Infinity, Robot Stop never fails to get the loudest cheer when played live. It packs in enough ideas to fill an entire album, and even features the return of a motif from I’m In Your Mind Fuzz’ Hot Water, a moment that somehow feels like a natural fit instead of a cheap trick.

It’s got a totally unique energy befitting of its punk-style pacing, bursting out of the traps and quite literally never letting up. But for a track of this rapid a pace, it packs one hell of a melodic wallop, and as far as riffs and solos go this song is an absolute embarrassment of riches, with them all piling up on one another before cascading seamlessly into Big Fig Wasp.

It may well be the band’s defining song, but it’s not quite their best…

1. Float Along-Fill Your Lungs

So here we are, at the summit of Mount Gizzard. It’s been tough whittling down 13 albums to just 10 songs, but there was never really too much doubt about what sits at the top of the pile. The title track from Float Along-Fill Your Lungs isn’t just the band’s greatest song, it’s one of the best psychedelic rock tracks of the last 10 years, and yes you can quote us on that.

The central mantra of, ’Just float along, and fill your lungs / Just float along, and breathe a deep breath’, doesn’t just function as an appropriately hippy-sounding refrain, it encapsulates the vibe of this entire genre of music and of the band themselves. Mackenzie repeats it over a soundscape alive with a million colours, with guitars exploding and reversing back again amidst throbbing synth gurgles; it couldn’t fit together any better.

The result is something that’s somehow both relaxing and thrilling at the same time, with multiple listens revealing new melodies hidden under the layers upon layers of shimmer. Who knows if they’ll ever top it, and we suspect we’ll see them try soon enough, but until then, stay safe, and remember: rattlesnake, rattlesnake, rattlesnake… – Rory McArthur (@rorymeep)

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Okay Embrace leave a lasting impression with ‘Drought (Song of California)’

Centered around twenty-year-old wunderkind David Schaefer, who cut his teeth in the L.A. indie rock circles in his teens with the band French Negative, Okay Embrace find virtue in the bedrock of a bygone era of indie rock: the guitar solo.


On the group’s debut single “Drought (Song of California),” the comparisons to Dinosaur Jr. and Yo La Tengo are obvious and tempting (as are the associations with Third Eye Blind and Semisonic), but it’s the forthrightness and immediacy of the Schaefer’s vocals/lyrics that distinguish Okay Embrace from the cluster of 21st century indie bands fighting for attention and adoration with flashy guitar tricks. Schaefer, with his grounded, commanding voice, finds empathy in the bedridden mother swapping poetry lines with her child and the fire abatement officer lamenting his own inefficacy.

The guitars are fuzzed out and sun-faded, which serve the clarity of Schaefer’s singular voice and hark back to alt rock’s heyday in the 90s. There’s a drought in California, as we all know, but through Embrace’s perspective, it’s a global concern. – sean hannah (@Shun_Handsome)

Top 10 Car Seat Headrest Songs

Will Toledo’s Car Seat Headrest project is an anomaly in modern rock music, and a much-needed one at that; with one eye on the past, and the other on the present, the Bandcamp-bred singer-songwriter has offered listeners an overwhelming plethora of ambitious, consistent, and downright moving albums since the group’s inception at the beginning of the decade. 

It has been thoroughly exciting to see Car  Seat Headrest grow, not just in members, but from cult Internet darlings to one of the larger festival-crowd gatherings in recent years – and as they plough on through a tour supporting a remake of  Twin Fantasy, arguably their best record, we thought it only right to celebrate Toledo’s discography with a classic top 10 songs list!  Remember though: we are just teens of style, so don’t take this too seriously.

10. Cute Thing (Face to Face)

It’s important to differentiate between the two existing versions of Twin Fantasy (Toledo’s aforementioned magnum opus), because whilst the similarities may be obvious, the divergences are even more vast.  Take “Cute Thing” as an example: what was once a scuzzy, yelp-y, Who-referencing anthem for young, messy love is now cleaned up, dressed in its best leather jacket and taken out on the town for a banger more akin to Cheap Trick than Teen Suicide.  The structure is overhauled, the dynamics are tweaked, and the harmonies are layered in such a way that would bring a tear of beauty to Brian Wilson’s eye, whilst still retaining the wild spirit of the original in a balance that is easier in theory than it is on wax.  And plus those James Brown and Frank Ocean shoutouts never get any less awesome.

9. Misheard Lyrics (feat. Nora Knight)

And here’s the curveball.  Indie rock bedroom producer abandons guitars for electronic instrumentation” could be the most overused headline in digital media from the past decade, but here on Monomania‘s “Misheard Lyrics,” Toledo shows off his mastery of the laptop in a track that combines crisp handclaps with dreamy piano and a bouncy bassline in a duet with Nora Knight, who adds extra depth to the witty lyrics about a crumbling relationship coming slowly undone due to the writer’s own words being misinterpreted.  A seriously underrated cut on from an overlooked Headrest record.

8. I Want You To Know I’m Awake (I Hope That You’re Asleep)

Whilst Car Seat Headrest are appreciated for their unique style of dry, confessional humour, there is an underlying mark of depression that they are commonly associated with. And it doesn’t get any darker than this How To Leave Town track, which is approximately seven minutes of a person beating themselves up synthesised into chords, melody, rhythm and harmony.  The chugging acoustic guitars and driving rhythm section contrast nicely with the mumbled lyrics, as Toledo murmurs about being “a stupid, ugly, stuttering asshole,” whose lover “said it was a mistake to every try and help.  Resentment never sounded so bittersweet, especially when the song’s narrator starts to convince not only the listener but himself that he and his partner are nothing like John and Yoko, Sinatra and Gardner, or even their own parents.

7. Vincent

Two notes.  That’s all the first two minutes of “Vincent” are based on, trilling seemingly endlessly as ambient noise twirls around them.  Piece by piece everything enters until a raggedy, distorted guitar threatens to rip the whole thing in two–saved only by a funky backbeat the likes of which Toledo has never experimented with before.  Surprisingly groovy, darkly comic and typically epic, this highlight from Teens of Denial proves that even with a wider cast of collaborators, Car Seat Headrest could remain an engaging and interesting project well throughout the decade.  The inclusion of brass only adds to the journey of the song, leaving you thoroughly breathless as the final vocal rings out in its own defiance in the face of teen angst.

6. Famous Prophets (Mirror to Mirror)

The only real misstep of this year’s Twin Fantasy remake (subtitled “Face to Face”) was the group’s handling of the truly monstrous “Famous Prophets,” but at least it served to highlight the staggering ambition of the 2011 original.  Essentially in two parts, the penultimate song on “Mirror to Mirror” acts as the final chapter to the title track’s epilogue, and boy does it ramp up the pressure.  A constant game of cat-and-mouse between tension-and-release, the lyrics find Toledo musing on his favourite topic: a romance on its last legs and the anxiety and sadness that come with it. Only this time it’s even more personal than usual.  Apologies to future mes and yous, but I can’t help feeling like we’re through” he drawls over a numb, descending bassline, before things get biblical, with crashing drums, thrashing guitars and Hebrew screams.  It is often argued that Car Seat Headrest’s work is hampered by the lo-fi nature of its production, yet with this track, it only emphasises the intimacy of the performances – so that when Toledo finally yells in a cracked pain, “Why did you tell me?” over and over again, you feel like you’ve been granted an exclusive insight into catharsis in real time.  Utterly stunning.

5. Destroyed By Hippie Powers

No song in the Car Seat Headrest catalogue rocks harder with a supplementary “W” than this hilarious and touching Pixies-influenced number about the dangers of taking too many hallucinatory drugs at a party to impress your peers and then having to walk the effects off on your way back home.  Whilst the power chords will hit you in the face first, it’s the details that keep you coming back for more: the subtle clock of a cowbell, the lyrical nods to teenage clique culture, the shoebox vocals that shred Toledo’s vocal cords before the big crescendo – it all just adds to such a visceral listening experience, almost as sweeping as the trip that the song’s author found himself on.  All together now: “Tell my mother I am going home…”

4. Something Soon

If “Destroyed By Hippie Powers” is the band’s best rock song, “Something Soon” is by far their best pop song.  Toledo recognises the extraordinary lengths of some of his tracks, often preferring a formidable collection of minutes to a lean cut, stating that it gives him room to breathe and build up the music, yet something must be said for his ability to fit such a complex set of feelings into four minutes of near-perfection so irresistible that Smash Mouth (yes, that Smash Mouth) even covered it.  Opening on a twinkling Rhodes piano and pulsating hi-hats, every melody that comes from Toledo’s mouth is devised to the nth degree to be ironically screamed back at him by adoring fans across the globe, especially when the song roars into life at the chorus: “Heavy boots on my throat, I need/ I need something soon/ […] I can’t talk to my folks, I need something soon.”  When another trademark Headrest crescendo bursts open a kaleidoscope of sound, you can’t help but think the thing you need is more songs like this.

3. The Ending of Dramamine

Here is where it gets difficult.  Depending on what day of the week it is, any of the top three tracks here could have been number one – they all, in their own way, represent what is best about Car Seat Headrest: the ambitious song structures, the tightrope-balancing-act of humour and sentiment in their lyrics, the arresting ear for melody, the willingness to experiment and prescribe patience to their listeners.  But someone has to win bronze, and it’s up to How To Leave Town highlight “The Ending of Dramamine” to take that place.  Clocking in at nearly fifteen minutes, with a particularly trying five minute intro, this song is not for the feint of heart.  It patiently unfurls through its run time, the tick-tock of that ever present drumbeat backing a lonely drive through America in the night, its dark organs, reverberating synthesisers, and metronomic bass keeping that anxious groove locked in.  As more elements keep piling into the mix, the claustrophobia creeps in until the listener is left in solitude, with nothing but echoing guitar feedback for company.  Never fails to be breathtaking in its gloominess.

2. Bodys (Face to Face)

Everyone likes “Bodys.”  It’s the Car Seat Headrest song to the bleachers, a ’90s indie rock song indebted to The Beach Boys and realised for the modern age with a four-to-the-floor beat stretched out to over six minutes– a tune so heartfelt and witty that it is irresistible in every sense of the word.  The newer version of it only highlights the impact that those hooks(!), those guitars(!), that drumbeat(!) can have on a human, as it bounds its way carefree and sexy to the finish line with the kind of exuberance that only the young, thin, and alive can muster.  It’s the sound of a really good day, it’s the sound of telling your crush that you love them, it’s the sound of acing an exam, it’s the sound of getting a promotion at work, it’s the sound of the best night of your life with your best friends.  It’s really, really good – and that’s saying something considering its competition.  Everyone likes Bodys.  I really like Bodys.

1. Beach Life-In-Death (Face to Face)

I’ve been staring at this Word document for nearly twenty minutes trying to come up with a good enough reason as to why “Beach Life-In-Death” is the best Car Seat Headrest song, and I simply can’t.  It’s not for lack of quality on the track’s part; otherwise, it wouldn’t even be in contention with the rest of these fabulous numbers.  But it’s a fault on my part: it was the first song I ever heard from Toledo’s magical brain, and it’s the first song I think of when I wonder what sums up the group best.  It’s sort of like trying to describe why a certain parent is your favourite – I could list all these attributes as to why I admire it, but at the end of the day they’re not the exact reason why I love it so much.  It’s long, fast, loud, dynamic, funny, sad, heart-on-its-sleeve proud, huddled-up-in-bed anxious, and, above all else, defiantly human. 

The “Face to Face” version, in particular, offers a refreshingly adult perspective on the awkward, messy side to late teens and early 20s romance, where you’re old enough to know better but too young to truly commit. It’s a maturity that the “Mirror to Mirror” edition lacks, indulging itself in a slice of self-pity that hasn’t aged as well.  And the final scream that glitches and overwhelms the entire recording is pure bliss, a sweet release from all the pent-up angst derived from the confusion of not understanding people who are never meant to be understood in the first place. They’re living beings, and trying to figure them out like a puzzle is weird, but you can’t help it.  Enough of my pretentious ramblings – go listen to it, experience it, come back, and then we’ll talk about all those dog metaphors, eh? – josh adams (@jxshadams)

While She Sleeps make a welcome return with ANTI-SOCIAL

Some artists will become the flag-bearers for their genre; a hallmark of quality and THE starting point for any genre. However, some bands will take that flag down and put up their own, reshaping the genre and changing the face of it, or creating a whole new genre. Step forward, While She Sleeps.

Ever since introducing themselves with The North Stands For Nothing, WSS have been a band on the rise, somehow remaining solidly consistent across three full-blown releases, peaking with You Are We last year. Whilst classed as a metalcore band, they, like Architects, transcend the genre with their approach to musicianship and production.

So at some point, they’ve got to run out of puff, right? Potentially, but with the release of their new single ANTI-SOCIAL last night, the Sleeps brothers don’t look like that’ll happen any time soon.

There’s something different with this track, but it’s hard to put your finger on it. The track still contains the classic Sleeps trademarks – big riffs, and bigger gang screams – but feels more progressive than You Are We.

It’s not like they’ve turned down and pursued a poppier sound, it still hits with the same venom and angst as ever before. You could argue the heavy, ominous synth is something new, but not exactly outside their range. The sound just feels like an upgrade, but not from one album to the next, it feels like they’ve learnt a lot and are applying it to their craft.

Past the synth however, it’s business as usual with frantically picked guitars, thunderous riffs and a chorus of screams. It just… it just feels like an evolution of the band. As if they’ve gone from being a Pikachu; an absolute unit, roundly popular, to a Raichu; even more electric and more powerful than ever before.

ANTI-SOCIAL is the first release from Sleeps’ fourth full-length album, SO WHAT?, due next March, and whilst we’re just one track in, you’d be foolish not to already be tipping the band to release an album of the year contender in 2019.

However, this album does come with an added pressure. The band have sold out halls, institutes and academies across the land, and SO WHAT? will be crucial, in that it could be the album that takes them to the arena-filling and festival headlining level, and turn them into metal’s latest giants. – oliver butler (@notoliverbutler)

Top 10 Tyler The Creator Tracks

words fae ryan martin (@ryanmartin182)

Who exactly Tyler the Creator is, has always been up for debate. He started as the driving force behind hip-hop collective Odd Future that made superstars out of Earl Sweatshirt, Frank Ocean, and more recently, The Internet.

The group’s aggressive image attracted the media’s attention instantly and Tyler’s bizarre antics, as well as interviews, helped land him a show on Adult Swim with his buddies joining him on Loiter Squad. Tyler’s music reflected his behavior in the public’s eye when he released Goblin in 2011: critics pointed out the absurd number of times Tyler uses homophobic slurs throughout the album but failed to mention the immensely dark and troubled tone of the album itself. There is a track near the end of the album where Tyler metaphorically kills his friends, and the album itself deals with Tyler talking to a therapist named Dr. TC (Tyler’s Consciousness.)

Following up Goblin was Wolf, the second effort from the face of Odd Future still retained the jagged edges from Goblin but featured much more tender production and a theme centered around summer camp, love, and jealousy. It would be the last album Tyler would put together while Odd Future was still active. Cherry Bomb followed almost exactly two years later and contained some of Tyler’s messiest and most beautiful tracks he has ever released. Altogether, it made for a cluttered release that most die-hard fans will defend but the public has forgotten.

A little over two years later, Tyler emerges as a confidently bloomed bud. He releases Flower Boy, a personal album that references his sexuality for the first time and his relationship with friends and family. Long gone are the jagged edges of Goblin, in its place rests a perfectly crafted album with memorable tracks, excellent production, and amazing features from the likes of up-and-comers Rex Orange County, Kali Uchis and Steve Lacy, in addition to established acts like Frank Ocean and Lil Wayne. Now proving himself as a creative genius after fashion shows, a successful collaboration with Converse’s One-Star, grammy nominations for Flower Boy, we wonder where he will go from here.

Revisiting Tyler’s old discography can be fairly nostalgic despite being less than a decade old, memories of watching him evolve being particularly rose-tinted but it’s difficult to argue that a good chunk of his early material hasn’t stood the test of time. It took a bit for Tyler to find his footing as a musical artist and though he may have had a certain vision for all of those albums, it doesn’t mean that every song in its own way fits or is actually good at all. There is quite a number of duds on his first 4 albums (if you include mixtape Bastard). With that being said, where there is darkness there is light and Tyler is responsible for some of the best rap music of this decade. He should not be viewed as anything but a monumental inspiration to this generation and an artist to watch for years to come so, without further ado, here’s the cream of the crop when it comes to Wolf Haley’s list of tracks.

10. Treehome95

Treehome95 is just a taste of the potential Tyler had in jazz when it was released. While the cut may have been off-putting to a lot of fans when it showed up on Wolf, it still shows a connection to his current work. The gentle side of Tyler that didn’t often come out was a change of pace that much desired and this cut was only something that amplified it. Erykah Badu and Coco Owino lend gorgeous vocals to help fill out the track. By the time it ends at its 3-minute mark, it’s too soon.

9. Answer


Tyler speaks bluntly to his father on Answer with a fiery flow that resembles early Eminem.  The production on this track is easy to love: the drums sound incredible paired with the guitar tone and sure, Syd could have done really well with a bigger role than background vocals on this cut, but there’s a reason why it’s appearing on this list regardless.

8. Where This Flower Blooms


The ‘proper’ introduction to Flower Boy, Tyler sounds fearless on this track with Frank; like they have both come into their own. Tyler brings the listener into his world with great production and even better verses. 

7. She

She doesn’t really seem like it’s a stand-alone Tyler track. Frank Ocean takes such big strides at the beginning of the track that Tyler quickly falls behind. With that being said, the hook is something most Tyler fans will never forget. Infectious, unsettling, and oddly beautiful. The unfortunate part about revisiting this track is thinking about how Tyler’s early lyrics will affect the replayability of his music in the already-quick pace our culture is moving at.

6. IFHY

When the music video for this came out, it was hard not to be blown away. Tyler standing in an enormous doll-house plastered is prosthetics captured the creepy vibe that this song gives off. Released during a peak in Tyler’s aggressiveness, this cut also came off Wolf, which is also the first time we are able to see any vulnerability from Tyler. It’s an excellent blend of the two in this song especially, the brash opening lines compared to the exquisite performance from Pharrell to end things off.

5. November

This beat can really fuck you up on first listen, featuring some of the best production on the album. The theme of the song and the features from his friends that lead into the beat switch up make it an easy one to adore, seeing Tyler deliver one of his best performances in the first verse with an incredible flow.

4. OKRA

A standout cut after the release of Tyler’s most popular album, Flower Boy. Tyler unexpectedly dropped OKRA with a fantastic music video in 2018 after staying relatively quiet, retaining the lyrical elements of Flower Boy by keeping it real and bluntly rapping from a personal perspective. The production elements are very thick with a quick tempo, making it one of Tyler’s most hard-hitting songs ever.

3. Smuckers

A fan favorite, Smuckers was a huge standout on Tyler’s most polarizing effort, Cherry Bomb. Kanye West, Lil Wayne, and Tyler all bring their writing chops to extreme highs and pays off in one of the best posse cuts of this generation. For die-hard Kanye fans, his verse is one of the best he has dropped this decade. Lil Wayne is able to bring the song to a satisfying close with his verse towards the back end of the song. Smuckers is a song so well put together that it will age like wine.

2. See You Again

See You Again is the prime example of the current Tyler era and the best way to be able to pin down his current sound. Kali Uchis takes a chance to really shine on this track and even though she and Tyler have collaborated, nothing they’ve done has ever sounded this grand. The hook is infectious, and the flow of Tyler’s verses is something we come to expect from him. It could very well be debated that See You Again helped break down the doors for stars like Rex Orange County and Steve Lacy to bring this “anti-pop” sound into an underground mainstream audience.

1. 911/Mr. Lonely

This is one of Tyler’s best examples of when everything comes perfectly together in his head. Steve Lacy’s vocals, the Frank feature, the seamless transition into Mr. Lonely, the energy that flows from the funk of the first track into the bangin’ second. The grasp this track has you is scary, making itself an immediate favourite for many fans and a welcoming update to any listeners or critics that had written Tyler off early in his career.

Top Ten Vampire Weekend Tracks

words fae sean hannah (@Shun_Handsome)

I think… there’s something inherently interesting [about preppiness],” Vampire Weekend frontman Ezra Koenig confesses to Anthony Mason, responding to the flak the group caught for their sartorially-obsessed image. For haters who are still hung up on the band’s appearance, Vampire Weekend’s unassailably straight-laced wardrobe is a constant point of derision, as it calls into question the matter of the band’s authenticity in rock circles. But authenticity is a moot point in most rock music anyway, and image is the most superficial of its signifiers.

Spawned from the dorms of Columbia University, Vampire Weekend compounded their belletristic interests with a democratic passion for music that spans the entirety of the globe. Koenig provided thoughtful, reference-heavy lyrics to their songs, while producer/keyboardist Rostam Batmanglij condensed his appreciation for classical, experimental, and world music into concise pop sonatas. Bassist Chris Baio plays stoically, capable of delicate melody as well as pithy foundation. Drummer Chris Tomson often favors an African-inspired floor-tom drum arrangement, recalling experimentalists like Mo Tucker as well as the rhythms of Afrobeat pioneer Fela Kuti.

Despite eliciting such strong reactions from anti-Weekenders, Vampire Weekend have proven themselves an indelible phenomenon in this current iteration of indie rock. Their clean, poppy sound, understated sense of humor, and alacrity to explore new styles and genres with each album combine to form an inimitable aesthetic with an astounding consistency. And as the band’s forthcoming album moves at a glacial pace, with the band giving sporadic updates that quantify the album’s completion by tenths of a percent, it seems appropriate to look back at one of pop music’s most inventive bands of the last decade and evaluate their top ten songs.

10. Mansard Roof

Beginning with a hyper-specific reference to the architectural style of the same name, Mansard Roof is a treatise, an entrée into the world of Vampire Weekend. A sprightly 1-2-3 drum and organ pump heralds its opening line. “I see a mansard roof through the trees,” Koenig cheerily declares, “I see a salty message written in the eaves.” Even without the accompanying music video, it’s hard not to imagine Koenig and company dressed in Oxford shirts and Sperry’s as they contemplate the sloping roof of a nearby building while they themselves stand bayside. Mansard Roof, like the rest of Vampire Weekend’s debut album, said to the world, “We’re preppy, we’re smart, but we’re not too uptight about it.”

9. Arrows

It sounds like a song Wes Anderson would co-opt for a critical scene in one of his films, but Arrows is, in fact, one of Vampire Weekend’s most elusive and celebrated rarities. Recorded around the time of their 2008 debut, Arrows combines the energy of their live shows with the studio craft that would come to define the band. Tight, Billy Ficca-inspired drumming abounds, a rich, cello-led string section bookends the song, and effusive Afrobeat guitar runs punctuate the verses. Arrows could well have replaced nearly any song on Vampire Weekend, but part of its charm rests in its obscurity. For Vampire obsessives, it remains a well-kept secret, one that rewards those willing to dig deeper than the picayune three albums.

8.  Step

Its opening line is borrowed from a Souls of Mischief rarity, its chord progression from Pachelbel’s Canon, its chorus from Bread’s Aubrey. Vampire Weekend pulled out all the stops for their third single on Modern Vampires of the City. Serving partly as a trenchant self-examination as well as an affirmation of personal growth, Step finds Koenig at odds with his opulent past: “Home in New York was champagne and disco” while recognizing his own oncoming maturity: “I’m stronger now, I’m ready for the house.” In the song’s chorus are nods to Modest Mouse and outsider artist Jandek, both of which seem arbitrary in the context of the lyrics, but that’s sort of the point. For all of Vampire Weekend’s incessant name checking and bookish tendencies, there exists some modicum of profundity in their lyrical encyclopedia.

7. Ya Hey

Arguably the centerpiece of Modern Vampires of the City, Ya Hey is part indictment, part paean to its mysterious second-person subject. “Oh, sweet thing, America don’t love you/ So I could never love you/ In spite of everything,” pronounces Koenig in a mellifluous, Chet Baker-channeling coo. Ya Hey is partly about failing institutions, with Koenig running through a catalogue of people and things that have taken leave of this ambiguous “you.” Like a cynical take on the wish list of GirlsLust for Life, Ezra reminds her that the Motherland, the Zion, and religious zealots will never requite her adoration. The song’s climax arrives at the 4:40 mark as the chorus repeats and Koenig is joined by full band and choir. He confidently reassures, “Through the fire and through the flames/ You won’t even say your name/ Only, “I am that I am.” Those lines manage to fit in allusions to the eternally uncool DragonForce, the venerable Peter Tosh, and the confounding Hebrew expression Yahweh puts to Moses. Each referent is given without a hint of hierarchy, as is Vampire Weekend’s m.o., which is to be expected from a man who “swoons” upon hearing a DJ transition from Israelites to 19th Nervous Breakdown.

6. The Kids Don’t Stand a Chance

You criticize the practice by murdering their plants.” Vampire Weekend weren’t great at penning sensationalistic lyrics on their first album. They were acutely aware of this, however, which is why so many of the images in that record’s lyrics are impressionistic rather than explosive. The Kids Don’t Stand a Chance, which closes the band’s extraordinary debut, doubles down on the imagery VW knew they’d be chided for by detractors. Shiny cufflinks, pinstripe-clad men of distinction, and a hoard of money ($40 million, to be precise) populate Kids, all of which are sung about with a self-aware smirk by Koenig. With an instrumental track just as jaunty as anything else on Vampire Weekend, The Kids Don’t Stand a Chance closes out the album with poise, refinement, and an admirable amount of care and dedication.

5. California English Pt. 2

A B-side in the Vampire Weekend catalogue, California English Pt. 2 ultimately lost a spot on Contra to its more energetic predecessor. But the song meets or exceeds nearly any track on that album in terms of songcraft. Featuring a collection of slowly building keyboard lines that reside somewhere between dream pop and electronica, Pt. 2 finds the group at a lyrical and musical high water mark. As always, Ezra’s libretto considers the social and spiritual implications of growing up well-off with humor and tact. “Are our parents actually Buddhist? Is the pool below me the bluest?” he wonders to himself, fully aware of the contradiction between those two thoughts. The chorus is simple enough: an exultant “Oh, California!” sung with the reverence of any one of those great Golden State artists, be they The Mamas and The Papas or Katy Perry or whoever.

4. I Think Ur a Contra

Never mind the text message spelling in its title, I Think Ur a Contra is a song of enormous breadth and depth. Parlaying a more-or-less civil break up into a meditation on the superficiality of romanticized wealth and poverty, the Contra closer showcases Vampire Weekend’s greatest asset: their ability to transmute petty angst into sweeping societal critiques. “When you turn away from me/ It’s not right,” Koenig croons over an amorphous pillow of synthesizers and fidgeting guitar effects. It’s an overly simple summation of a failed romance, one that rock and pop music employ out of fear of nuance. But at I Think’s bridge comes a dramatic change: Rostam’s sky-clearing string arrangement brings out the philosopher in Koenig as he cuts down his ex’s hypocrisies. She wants “good schools and friends with pools,” but she also wants “rock and roll, complete control.” On one end are the attractions of pedigree, on the other, the promises of populism. Koenig himself is wary of both, demurring, “Well, I don’t know.” I Think Ur a Contra is as much a scathing breakup song as it is a self-conscious swipe at the lifestyle the band had been touting for their first two albums.

3. M79

For all their enthrallment with African guitar pop and European Chamber music, Vampire Weekend are first and foremost a New York band. They sing about Washington Heights and Taqueria y Fonda as if they were the cruxes of the world, and on M79, their ode to the NYC bus route of the same name, the band limn the city as the hub of cultural eclecticism it’s known to be as well as a site of personal disillusionment familiar to natives and non-locals alike. Touchstones of the Upper West Side are mentioned casually, like the taxis and rickshaws perambulating up and down the streets and the sights in Central Park (abbreviated to “The Park”). Still, though, there’s something universal to these lyrics: as the girl in the song passes her French and Buddhist classmates at Columbia, she’s cautioned not to think anything racist or jingoistic. It’s the common dilemma of being faced with other cultures, other ways of life, and wondering just how valid they really are. Or how valid our own is.

2. Hannah Hunt

Travel has long been a staple of Vampire Weekend’s lyrics, but it was often underscored with the lightheartedness of a vicenarian viewing the world’s wonders from a safe distance. The trips to Spain, Cape Cod, and Darjeeling were just perks of the privilege the band would spend much of their career trying to shake off. But on Hannah Hunt, the desultory couple driving to Santa Barbara from Rhode Island discover a malaise in themselves that vacationing can’t allay. The song’s breezy, twinkling piano and guileless rhythm section betray its despondent subject matter, often submitting graciously to Koenig’s weary vocals. That is, until the song reaches its infamous bridge. “If I can’t trust you, then dammit, Hannah!/ There’s no future, there’s no answer,” he cries, the music swelling under him in a pained climax. On Hannah Hunt, Vampire Weekend perfect the musical travelogue, stealing it away from hackneyed Springsteen wannabes and reclaiming it for the indie crowd.

1. Diplomat’s Son

The penultimate song on Contra, Diplomat’s Son synthesizes every trick the band employed on their sophomore record into a six-minute mini-concerto. Delicate synths (more refined than the simple keyboards on Vampire Weekend), expansive, varied percussion, and lush orchestral dalliances comprise this experimental Afro-pop melodrama. Co-writers Koenig and Batmanglij construct the scene with stark lyrical economy, penning lines like, “It’s not right/ but it’s now or never/ And if I wait/ Could I ever forgive myself?Diplomat’s Son describes the turmoil of a man questioning his sexuality as the trappings of his privileged upbringing begin to fail him. Buzzing TVs are left unattended at home, car keys are hidden at a party, white shoes are strewn inside a bathtub. In a moment of hasty abandon, he gets high and sleeps with a close friend, who departs before morning. Like Contra on the whole, Son finds Vampire Weekend moving away from the faux-existential crises of post-collegiate life and stepping into the real world, one of frustration, confusion, and desertion.

WhyNo? bottle the sweet essence of carefree youth on ‘Strawberry Sundays’

There’s something about a breezy, bouncy indie track that transports you back to your youth. Reminding you of a carefree time where your only worries were blagging warm Carling from the offy and getting invited to a few house parties, as bands like Two Door Cinema ClubBombay Bicycle Club and Any Other Indie Band With “Club” In The Name rattled out of an iPod dock in the front room.

With their new track Strawberry Sundays, Glasgow four-piece WhyNo? have clearly bottled that sweet essence of carefree youth, as Strawberry Sundays feels as if it was pulled straight out of your sweetest teenage dreams. It’s a real breezy track that’s easy to listen to and actually makes a Sunday like today as sweet and juicy as strawberries themselves. It’s a very summery track, the sort that you could enjoy a few cans in the park with, or something to make a driving playlist that little bit more relaxing.

https://open.spotify.com/embed/album/74xg9FD6bOXvlvHb7wrJ2C

Formed in 2017, WhyNo? class themselves as a “Surf / Indie / Punk / Garage / Slacker / Rock” band, something you can hear more of in their first release The First Ones, as Beach Babes &  Tidal Waves and T.H.C. mix in more of those influences, whereas Strawberry Sundays feels like a classic indie track. According to the band themselves, “Strawberry Sundays, released on a Sunday, fittingly enough, marks a change in the band’s sound, with a “less garagey” sound, “now akin to the likes of Hockey Dad, Skeggs and The Lapelles“, with Strawberry Sundays firing the starting pistol on an upcoming EP release.

The “Hey! Hey! Hey!”‘s on the track are also reminiscent of a brighter time. This track doesn’t re-invent the wheel in any way or introduces new concepts, it just shows you how exciting the wheel used to be. The airy feel of the track is quite nice as well, it gently dances around your head and doesn’t really go too hard on you. What it is, is a very promising indie banger from a brand new band.

From the band’s mouth itself, WhyNo? want to “bring good vibes to the Glasgow music scene”, but with Strawberry Sundays, it’s hard to see why they couldn’t take their good vibes to a wider audience. Stay tuned.