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What do Ben Franklin, Jehovah’s Witnesses, Algebra, and Cardi B’s vocal inflections have in common? They all get roasted on “American tterroristt,” a nearly 10-minute masterpiece of extreme logorrhea and/or therapeutic free association from Rochester rapper RXKNephew. Let go of language and lose yourself in sound. Push past the ego and let Hval and Volden spirit you into their ecstatic waterfall of harmony and rhythm. Follow her vocal track as it slowly opens into melody. “Untangle the word from the mind,” she orders. Instead the focus belongs on the sound of her voice and Volden’s underlying instrumentation, which remains sparse for most of the track but grows more urgent by the moment. In the song’s first section, she commands listeners to do their job and listen, but it eventually becomes clear that the point isn’t to absorb Hval’s words and their ambiguous meanings. Her cold monotone speaking voice and repetitive lyrics here are enough to repel the unacquainted ear from finishing the track, but those who dedicate 15 minutes of their day to giving it a deep listen will not be disappointed. On “Love, Lovers,” from her Menneskekollektivet album with Håvard Volden, she’s less verbose but more opaque.
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Jenny Hval’s trains of thought are long and can wander from musings on linguistic development, to mundane anecdotes about annoying Jehovah’s witnesses, to daydreams of a collective conscious, all in a single song. But “Puppy” holds on to the heart-racing chance that wherever we’re all heading - as far from what we’ve known as it may be - there will always be cause for dancing. Marred by the trauma and loss of the past two years, our need for healing revealed itself as continually as the world morphed into a less accommodating space to do so. Many nights she was there, too, a leader to the kundled masses as we pretended we were the same people on the dancefloor as we were when we left it. Each of her 4 New Hit Songs became canonical additions to the queue, soundtracking the expanse everywhere from Ridgewood to Rockaway Beach. This summer, Doss’s long-awaited reemergence entwined with the unceremonious reawakening of New York nightlife. It’s the tangle of tail lights blurring in the foreground, it’s the cold wind lapping against your face when you roll the window down, it’s the music.
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to Maryland, I was sort of parsing through how sweet and welcoming had been, but how I knew that it would never be like it was before, and what to do with all of those feelings.” With each blitzing second of “Puppy,” something that was once so visible begins to shrink in the rearview mirror. Alex Robert Ross, Editorial DirectorĪs Doss explains it, her first single in seven years was born out of an endlessly-stretching night horizon. Whatever happens next year, whether we’re down at the front of the venue together or listening in from our homes, we’ll be covering the most exciting music in the world. If you missed our albums list, published earlier this week, you can check it out here. Still, you’ll have to scroll down to find out what won out after a few days of The FADER team haranguing each other and arguing over Zoom calls. In the end, what won out this year was the next generation: the young artists dreaming up new ideas, whether in bedrooms or giant studios, occasionally borrowing from the past but always expressing things in thrilling and unconventional ways.
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You could also make the case (as I do below) that Lucy Dacus’s “Thumbs,” a spare song about revenge and empathy delivered with a quiet resolve, captures something essential about the year just gone. You could make the argument that no song reflects the world as it is now more vividly than RXK Nephew’s “American tterroristt,” a 10-minute-long, this-is-your-brain-on-Twitter rant that jumps from conspiracy to clarity to lunacy without much of a pause.