ACRN’s Top 25 Albums of 2019

25. Big Thief – U.F.O.F., [4AD; 2019]

By Jonah Krueger, Staff Writer

Big Thief’s U.F.O.F is just like it’s accompanying album art—dreamlike, deceptively simple, beautiful and packed full of details that are just obscured enough to avoid being fully grasped. It’s an album of compelling folk rock that pulls you in with some of the most contemplative lyrics of 2019. In other words, as soon as the brief 44 minutes are over, it begs you to give it yet another listen.

The production is creative and surprisingly experimental, the performances are unique and skillful and with the longest song clocking in at just over four minutes, each song blows by at an easygoing pace. It truly feels like the album that the band has been building up to with each of their previous releases—even Adrianne Lenker’s solo effort of which U.F.O.F borrows tracks. It stands as a culmination of what they have learned and as a testament to their musical virtuosity. 

Listen: Big Thief – U.F.O.F.

24. Kevin Abstract – ARIZONA BABY, [Question Everything/RCA; 2019]

By Lauren McCain, Contributor

Being the frontman of the “hardest working boyband in show business” is no small feat, and yet this year, superman Kevin Abstract temporarily refocused his creative lens back to his solo career. Abstract’s sophomore album, ARIZONA BABY, sets itself apart from its preceding, concept-based love story, American Boyfriend, by exposing a refreshing maturity in Abstract’s work. He finds his stride in introspective lyrics, giving listeners an autobiographical glimpse into his life as a closeted gay teen growing up suppressed in a southern Mormon family. The album seems to be Abstract’s gradual self-acceptance in queer culture, while at the same time revealing his evident struggle for a sense of identity. 

Each track is distinct in its sound; lo-fi acoustic sounds blend with Abstract’s sleepy rap in quiet tracks like the gorgeously haunting, “BABY BOY”, while others boldly layer gospel over cricket chirps to achieve an authentic southern semblance (“USE ME”). The album is based on heavy self-reflection for Abstract, creating a raw yet enjoyable experience for fans of both BROCKHAMPTON and Abstract.  

Listen: Kevin Abstract – ARIZONA BABY

23. Earl Sweatshirt – Feet of Clay, [Tan Cressida/Warner; 2019]

By Trinity Bryant, Contributor

Earl Sweatshirt is taking us back to the days when rap and R&B began to flow through the mainstream. He’s back from the store, and he has made quite a haul, dishing this new quality record first on the list. Feet of Clay is short and bittersweet, making headway with his dark and soulful poetic lines of self-questioning and joyless comfort in a life of triumphs and obstacles. 

The album takes us back to the old rap beats and the spoken words that stress self-reflections, social issues and perceptions that need to be heard. Even the album cover reveals a darker side of his ever remodeling sound that is created. He opens the album saying, “Pray for the people” in “MTOMB”, subsiding the fact that he is above looking down and praying for our troubles and fooeys. The heavy beats and deep-rooted topics are perfectly executed by his evolution as an artist. His introspection through daunting waves of upbeat melancholy takes this album to the masses as he raises not only his struggles but also of general instantly gratified and veiled society. 

Listen: Earl Sweatshirt – Feet of Clay

22. Sharon Van Etten – Remind Me Tomorrow, [Jagjaguwar; 2019]

By Abby Jeffers, News Editor

Sharon Van Etten’s Remind Me Tomorrow is more polished than her previous work, but the album feels vulnerable and authentic nonetheless. Van Etten contrasts warping synthesizer and warm piano melodies to create a wonderfully spacey sound—a texture exemplified best on the album’s most popular track, “Seventeen.” A driving and energizing song reminiscent of her youth, “Seventeen” is moving and packed full of synths and nostalgia as she croons, “I used to be seventeen / Now you’re just like me.” While each song on the record provides its own unique flavor to the album, “Stay” feels fluid, “Jupiter 4” is winding and “I Told You Everything” shows off her vocal harmonies. The tracks come together to create a rich sonic collection of synthesizer, piano and powerful vocals that detail a touching narrative of growth and love. 

Listen: Sharon Van Etten – Remind Me Tomorrow

Read the full review for Remind Me Tomorrow here.

21. Hozier – Wasteland, Baby!, [Rubyworks; 2019]

By Micah Organ, Staff Writer

Hozier’s long-awaited Wasteland Baby! is a triumph of an album. Lyrically, the record covers everything from protest culture (“Nina Cried Power”) to the simple pleasures of a comfortable relationship (“Wasteland, Baby!”). Even though there isn’t one lyrical theme presented in the album, the sonic elements are what keep the album cohesive. Hozier’s stellar ability to balance multiple lyrical themes while tending to each one with its respectively deserving attention is what makes Wasteland Baby! spectacular. Much like Hozier’s 2014 debut self-titled, Wasteland Baby! is filled to the brim with raw, unadulterated passion. These emotions, along with its robust percussion and glimmering guitars, weave through each song and hold the whole body of work together. This masterful crafting of each song is what makes it one of the best albums of the year.

Listen: Hozier – Wasteland, Baby!

20. FKA twigs – Magdalene, [Young Turks; 2019]

By Emily DiAlbert, Editorial Director

We waited almost five years for another full-length LP from FKA twigs, and MAGDALENE didn’t disappoint. Her lyrics and voice are even more dazzling than you’ll remember from years ago, but “home with you” is especially poignant. Twigs’ stunning vocals melt into the track’s clarinet and piano harmonies as she sings, “I didn’t know that you were lonely / If you’d have just told me, I’d be running down the hills to be with you.” FKA twigs and Future also create beautiful poetry on “holy terrain”. As Twigs weepingly sings, “Do you still think I’m beautiful when you light me in flames?”, Future sings “I cry, I cry, I cry, I cry.” Additionally, MAGDALENE’s closer, “cellophane” is by-far the best song Twigs has ever written. The track has very little instrumental influence because her voice says it all. You can sense her deep emotional connection to the lyrics at every point, but especially at the beginning of the song when she scornfully asks, “Didn’t I do it for you? / Why don’t I do it for you? / Why won’t you do it for me / When all I do is for you?” Because of Twigs’ masterful work perfecting each track, MAGDALENE is an album that you will never want to stop hearing. Raw, haunting, compelling and meticulous — it’s the culmination of years of work and growth.

Listen: FKA twigs – Magdalene

19. Maggie Rogers – Heard It in a Past Life, [Debay Sounds/Capitol; 2019]

By Maria Lubanovic, Copy Editor

Maggie RogersHeard It in a Past Life takes ethereal vocals and pairs them with unique electronics for an out-of-body listening experience. Heard It in a Past Life’s standout tracks include “Give A Little”, “Alaska”, “Light On” and the piano and vocal-heavy “Fallingwater”. All of these tracks feature themes of an introvert trying to find herself in times of turbulent change, one of which being her experiences from college when “Alaska” went viral after Pharrell Williams listened to it during his masterclass. From extensive electronic dance music in conjunction with her folk roots, Rogers creates unique soundscapes that separate her album from a lot of modern pop, and this blend is consistently what makes this album so compelling. Rogers finished her US tour, but listeners can look forward to her new music, specifically the recently released romantic track, “Love You for a Long Time”.

Listen: Maggie Rogers – Heard It in a Past Life

18. Caroline Polachek – Pang, [Sony/Perpetual Novice; 2019]

By Kiah Easton, Columns Editor

Caroline Polachek’s debut solo album, Pang, is a masterpiece of raw emotion, talented lyricism and a fusion of progressive production and nostalgic singer-songwriter tropes. With A.G. Cook, founder of PC music, and Danny L Harle behind the production, Pang is intricate, powerful and perfectly molded to the unique vocal delivery of Polachek. Each song is a door to the inner development and processes of Polachek—the final result truly feels like a revised copy of scribbled poems in a private journal. Departing from her previous band Chairlift, Polachek seems to have fine-tuned her creative vision. The record is a standout project within the crowded genre of pop; with a sense of purity, honesty and refreshing creativity, she seems to have executed exactly what she intended, a feat in and of itself within expression. Enough to make a calloused brute cry, Pang is a project you should not miss, a true emotional statement within art.

Listen: Caroline Polachek – Pang

Read the full review for Pang here.

17. King Princess – Cheap Queen, [Zelig/Columbia; 2019]

By Micah Organ, Staff Writer

Cheap Queen, the debut LP from indie-pop singer King Princess, balances and plays with ideas of love and melancholia. While these themes are as old as time, Cheap Queen feels fresh and unique. Opening track “Tough on Myself” is a bluesy, fulfilling ode to self-sabotage, perfectly setting the tone for the subsequent songs. This album remains concise and fascinating in its entirety; she manages to effortlessly weave between triumph, longing and loss without isolating or losing her audience. The album’s main strength is its simplicity—not a word is wasted in all 13 tracks. In short, Cheap Queen is a debut that feels as fully realized as it would if it were the work of an industry veteran.

Listen: King Princess – Cheap Queen

16. Weyes Blood – Titanic Rising, [Sub Pop; 2019]

By Jessica Jones, Copy Editor

Just when the world feels like it’s ending, Titanic Rising debuts and is here to save us all. This album goes between the most extremes and ventures far into the duality of man, making you feel everything at once—and sometimes—nothing at all. The album focuses on modern-day problems, predominantly on the negative implications of technology. Titanic Rising features a futuristic sound while maintaining a nostalgic tone and a sense of déjà vu, as well as a soft yet strong voice reminiscent of Karen Carpenter and cutting lyricism that rival Joni Mitchell. The ideas and messages in this album may at times make the listener feel small, while also reassuring them that they’re not alone in their fears. The eloquence of the lyrics flows seamlessly with the chilling instrumentals. This is one album that is best experienced by listening with noise-canceling headphones and a box of tissues at your side. 

Listen: Weyes Blood – Titanic Rising

15. Girlpool – What Chaos is Imaginary, [Anti-;2019]

By Emma Anderson & Sophie Story, Contributors

While Girlpool’s latest release incorporates the impeccable use of harmony from their past albums, What Chaos is Imaginary manages to create an entire world of its own. Lone synths and distorted, fuzzed-out guitar add to the dreamscape Harmony Tividad and Avery Tucker’s lyrics. The tracks “What Chaos is Imaginary” and “Minute in Your Mind” both have a nostalgic yet ethereal feel to them, which is fitting to the album’s central theme. As they become more deeply introspective, the songs edge closer and closer to some universal truth. Girlpool’s growth as a humble indie-rock outfit is anything but stellar, from their punky, self-titled debut in 2014 to their latest effort. 

Listen: Girlpool – What Chaos is Imaginary

14. Charli XCX – Charli, [Asylum/Atlantic; 2019]

By Lane Moore, Reviews Editor

Glossy, shimmering and endlessly precise, Charli XCX is undoubtedly authentic in 2019’s Charli. Between its immaculate production and a solid list of features, including Dylan Brady, Kim Petras and Tommy Cash, Charli is a project that incessantly exudes the talent of Charli XCX and her collaborators. Tracks like “Next Level Charli” and “1999” further prove her place in today’s pop zeitgeist, while tracks like “Click” and “Silver Cross” declare that Charli isn’t just today’s popstar—she’s tomorrow’s pop star too. 

The ambivalence that exists on Charli is one of harmony and dissonance, and this is derived from both the lyricism and the production of the album. She allows fans to peer through the cracks of her protective stardom status—though she is the living, breathing life of the party, even a superstar must process negative emotions. This concept is paired with production that alternates between brilliant, lustrous synths and dissonant, grimy noise, allowing Charli to boast both her ear for the perfect hook and her savvy sense of experimentation. Charli truly is “next level.”

Listen: Charli XCX – Charli

Read the full review for Charli here.

13. Better Oblivion Community Center – Better Oblivion Community Center, [Dead Oceans; 2019]

By Jonah Krueger, Staff Writer

From the collaboration we all should have seen coming, Better Oblivion Community Center grace us with their self-titled debut, a collection of tightly written, emotional folk-rock tunes that showcase the songwriting strengths of Phoebe Bridgers and Conor Oberst. With songs that range from unapologetically depressing (“Didn’t Know What I Was in For”) to upbeat singalongs (“Dylan Thomas”) to even folktronica (“Exception to the Rule”), Better Oblivion Community Center is equal parts harrowing and playful.

The album is a must-listen for fans of Bridgers’ growing discography or Oberst’s output since 2005. It features the trademarks of both artists, yet it feels different enough to warrant its own moniker and accompanying gimmick. Above all, it’s abundantly clear that Bridgers and Oberst couldn’t be happier with their collaboration, and if the synth-pop version of “Sleepwalkin’” proves anything, it’s that the duo had a blast working with each other. Maybe it’s this eager energy, maybe it’s merely their combined talent, but either way Better Oblivion Community Center stands as a successful pairing of an indie-music legend and one of the scene’s most promising up-and-comers.

Listen: Better Oblivion Community Center – Better Oblivion Community Center

12. BROCKHAMPTON – GINGER, [Question Everything/RCA; 2019]

By Trinity Bryant, Contributor

BROCKHAMPTON causes another album to get groovy from beginning to end with its spicy drum beats and tunes to get in your feels too—then resurrect you back from the shadow realm. Their fifth full-length tests their ability to become a tighter American rap boy band of this generation, as the group has been slowly progressing and enrapturing their talents musically but also poetically with their deep lyrics on GINGER. The place that BROCKHAMPTON holds within our hearts is a special one, as they show their vulnerable sides in exploding confidence. The visual effects the sultry music captures is one that people are going to hear. The detailed emotions he felt as a child are expanded in his poetic storytelling and opens up the world’s mind to a perspective of someone looking into the culture and its destructive elements, especially songs like “VICTOR ROBERTS” that narrate featured artist Victor Roberts’ childhood experience of a troubling drug raid. 

The almost finished visual album is one that prevails over the senses with moving bass rhythms, saucy quick pickups and slow wholesome beats that tell stories of six men who have voices that need to be heard. 


11. Rico Nasty & Kenny Beats – Anger Management, [Sugar Trap; 2019]

By Emily DiAlbert, Editorial Director

Rico Nasty proved that none of these bitches are as cold as her in 2019’s unforgettable mixtape Anger Management. Rico’s in-your-face style is not just unique; it adds a “sugar trap” glaze over masterful lines. One of the best verses we’ve seen this year was on “Relative”: “Higher than a bitch that’s addicted to skydivin’ / One hater, two hater, three, watch ‘em pilin’ / Walk up in the bank and I’m smilin’.” Not to mention that “Hatin” has the greatest opening line probably of all time: “Yeah, I got bitches on my dick and I ain’t even got a dick.” Plus, Rico and Kenny Beats’  collaboration is masterful. “Big Titties” featured some of the top beats of 2019, with cymbal taps and swinging whistles. Kenny also delivers on “Cheat Code”, which is abrasively delicious. All in all, Anger Management is legendary, and Rico hasn’t even released a debut album yet.

Listen: Rico Nasty & Kenny Beats – Anger Management

10. Ariana Grande – thank u, next, [Republic; 2019]

By Jackson Stein, Staff Writer

Just six months after the August 2018 release of her fourth album, Sweetener, Ariana Grande swiftly delivered its triumphant and exemplary sequel, thank u, next. While it may be a Top 40 album throughout, it presents the defining pop star at the height of her powers, coming through stronger than ever before. Flashing unquestioned fame, thank u, next is soaked from head to toe in luscious confidence as Grande relishes in her newfound freedom.

Although she transforms heartache into empowerment on this album, thank u, next occasionally delves into depressing territories. Following the untimely and unfortunate death of her ex Mac Miller, as well as the 2017 tragedy at Manchester Arena, Grande delivers some of her most cutting lyrics to date, expressing unprecedented vulnerability. Still, thank u, next is a fantastically consistent and controlled album that seamlessly balances opposing moods alike.

Listen: Ariana Grande – thank u, next

Read the full review for thank u, next here.

9. Clairo – Immunity, [Fader; 2019]

By Micah Organ, Staff Writer

When Clairo’s first single, “Pretty Girl”, seemingly materialized on YouTube, soon-to-be fans were struck by Claire Cottrill’s tremendous vocal control and relatable lyrical themes. Ultimately, it is these themes that are the backbone and heart of her full-length debut, Immunity.

It takes a special type of talent for a debut album to wind up being one of the best of the year. The beauty of Immunity lies in the little moments: the raw, heart-wrenching vulnerability of opening track  “Alewife”, the twinkling instrumentals behind “Closer to You”, the desperation with which the chorus of “Bags” is sung. Immunity is a meticulously crafted album that has plenty to say beyond the simplicity of its lyrics. The message of each song is greatly enhanced by the production, and it sounds as if there is not a note out of place. While her discography is consistent overall, it is not stagnant. Each song that makes up Immunity has a will of its own, and they come together to form an incredible piece of work.

Listen: Clairo – Immunity

8. Anderson .Paak – Ventura, [Tone Music/Aftermath; 2019]

By Jessica Jones, Copy Editor

Unlike the hot and heavy tone of Oxnard, Anderson .Paak reverts back to his smooth-talking, groovy ways with Ventura. The psychedelic funk sound of this album is a refreshing blast from the past, complete with buttery backup vocals, a wide array of instruments and love-song lyrics. Featuring several artists on this project worked out in .Paak’s favor and helped to switch up the sound of each song. While this album may not be as introspective or monumental as his previous full-length, the simplicity of the lyrics and undeniably catchy beats is reminiscent of his signature sound that brings us back to some of his earlier, well-loved projects. The pollyannaish, lighthearted narrative of this album coupled with .Paak’s raspy voice makes it impossible for the listener to not fall in love, too.

Listen: Anderson .Paak – Ventura

Read the full review for Ventura here.

7. Solange – When I Get Home, [Columbia; 2019]

By Kwase Lane, Staff Writer

When I Get Home sees Solange gifting her audience with a sonic tour of southern blackness. While many of the musings are not as forward as her sister’s “hot sauce in my bag swag,” Solange’s statements are no less poignant. Whether she’s trading lyrical blows with Gucci Mane or gently crooning over a steady melody, Solange’s black pride dreamscape remains clear in listeners’ minds. Creating music with a dusky tone that doesn’t immediately put an audience to sleep is difficult. Even still, Solange does just that and then some.

This praise comes before even taking the companion film into consideration. The entire 33-minute experience is a surreal afro-futurist adventure that zigs just when you think it would zag. Sequins, DeLoreans and white cowboy hats are stars that dot the shadowed backgrounds, and Solange is the brightest of all. It’s hard not to be when you have a voice like hers.  

Listen: Solange – When I Get Home

6. Angel Olsen – All Mirrors, [Jagjaguwar; 2019]

By Trinity Bryant, Contributor

When Angel Olsen emerged from the dark in 2011, she took us on her journey with melodic guitar rhythms and her distinguishably dreamy voice that brought her conquest to new ways of perception with each release. For those times you need to feel emotions and let beauty be the natural antidepressant, this is the record that will take you even further into her dream-pop innovations. 

Her latest LP, All Mirrors, captures poetry and inspiration within her writing and vocal ranges, perfectly accomplished with slow but sure vibrato-driven harmonies to classical orchestral compositions. “Lark” is the first song on the album, and as she dances around the fire and passion of life, she will forever aspire listeners to “dream on.” Every album up to this one has been the journey of Olsen in the fury of life’s triumphs and defeats, taking us to a familiar feeling but with a patented taste. 

Listen: Angel Olsen – All Mirrors

5. Billie Eilish – WHEN WE FALL ASLEEP, WHERE DO WE GO?, [Darkroom/Interscope; 2010]

By Jackson Stein, Staff Writer

On her highly anticipated debut album, Billie Eilish exploded into the mainstream with some of the most well-crafted, ingenious and unique pop music of 2019. Embracing eerie atmospheres, despondent lyrics and electronic bizarreness, the teenage prodigy quickly established herself as an anti-pop star, and WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? excitingly blends multiple genres as she captures the hopes and fears of an entire generation in a hauntingly hushed voice.

Thankfully, her debut album has not gone unnoticed among the public. The electrifying and ghostly banger “bad guy” was a No. 1 single worldwide and can still be found strutting through the charts. Revealing all facets of herself in her music and in interviews, Eilish is now possibly the most beloved and talked about teenager on the planet, and her contemporaries will no doubt scramble to replicate her game-changing sound. Hopefully, Eilish and her brother Finneas can continue to deliver more memorable and original material from here.


Read the full review for WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? here.

4. JPEGMAFIA – All My Heroes Are Cornballs, [EQT; 2019]

By Jonah Krueger, Staff Writer

JPEGMAFIA—you think you know him. With the release of All My Heroes Are Cornballs, your thoughts may be getting closer to reality. 

Following his breakout album, 2018’s highly acclaimed Veteran, JPEGMAFIA simultaneously embraced and subverted his established appeal with All My Heroes Are Cornballs. While moments of unadulterated aggression are still present, the most abrasive elements have been dialed back to make way for more melodic, even pop-oriented moments. All the while, Peggy’s trademark attitude is as present as ever and his often hilarious, offensive quotables are liberally sprinkled throughout the tracklist.

The record is exactly the album JPEGMAFIA wanted to release, and with obtuse song structures, beat changes and hazy production, listening to All My Heroes Are Cornballs feels like taking a 45-minute tour of the mind of our beloved Peggy. In short, this album is the best disappointment of the year.

Listen: JPEGMAFIA – All My Heroes Are Cornballs

Read the full review for All My Heroes Are Cornballs here.

3. Lizzo – Cuz I Love You, [Nice Life/Atlantic; 2019]

By Maria Lubanovic, Copy Editor

Lizzo brings everything she can to her third LP, Cuz I Love You. She’s had a meteoric rise to popularity, with “Truth Hurts” topping the charts and breaking records. She brings unparalleled versatility by singing and rapping exhilarating power ballads and pop anthems. Lizzo exudes confidence and vulnerability in a way that can touch any listener as she focuses on heartbreak and choosing to love herself first. 

With standout tracks such as “Truth Hurts”, “Juice”, “Like a Girl”, “Boys” and “Tempo”, Lizzo refers to herself as a “bop-star”, which is accurate considering many of these tracks span multiple genres and take influence from everything from trap to classical. On top of this, she gives a voice to body positivity, self-acceptance and respect for herself and everyone around her—“when I’m shining everybody’s gonna shine” (“Juice”). 

Listen: Lizzo – Cuz I Love You

2. Lana Del Rey – Norman Fucking Rockwell!, [Polydor/Interscope; 2019]

By Emily DiAlbert, Editorial Director

We could talk for hours about how Norman Fucking Rockwell is the culmination of years of Lana Del Rey being rejected from “mainstream” music or how this album proves that Lana isn’t only for e-girls. But we won’t. Instead we need to talk about how all 14 of these songs are artistic, god damn masterpieces. Obviously, Lana Del Rey’s voice in itself is dazzling and sends chills down your spine, but the production on this album is more spectacular than all of Lana’s previous albums, highlighting every peak and valley of Lana’s incredible range with beautiful instrumentals reminiscent of old California. While all of the songs are noteworthy and stunning in their own right, standouts on this album include singles “Venice Bitch” and “Mariners Apartment Complex,” which focus on love and loss and highlight Lana’s stunning whisper-soft voice. Lana’s cover of Sublime’s “Doin’ Time” also evokes a summery, sultry feeling. (Not to mention the music video. Hello –– I would love for a giant Lana Del Rey to crush me while walking down the street any day.) The final track, “hope is a dangerous thing for a woman like me to have – but I have it” is also said to be Lana’s best song ever written, and for good reason. Hope is a dangerous thing for us to have in the current political climate, but it’s necessary for revolution. In all, this album is a wonderland, evoking feelings of nostalgia but bringing us forward into the future. It’s an emotional rollercoaster, but a ride you don’t want to get off of. It’s fucking crazy but also free. It’s one hundred percent Lana Del Rey, and you better listen if you haven’t already.

Listen: Lana Del Rey – Norman Fucking Rockwell!

Read the full review for Norman Fucking Rockwell! here.

1. Tyler, the Creator – IGOR, [A Boy is a Gun/Columbia; 2019]

By Kwase Lane, Staff Writer

You know that low droning hum at the beginning of “IGOR’S THEME”? You know that manic pulsing electricity you get filled with when it kicks in? Well, it’s the perfect precursor to the sometimes-wild ride that is IGOR. In his fifth studio album, Tyler, the Creator somehow finds a way to weave sounds that make you want to break glass and cry for past lovers, but in a fashion where a slight grin never leaves your lips. If his last project was more flower boy than scum fuck, then this is just the opposite. However, that’s not to say that Tyler has forgotten how to pull at the heartstrings of his listeners.

IGOR follows an auditory arc with a rise of its beginning becoming more and more spirited until wavering and careening down after “PUPPET”. Tyler’s vocals ensure the fall isn’t too harsh and the pillowy-soft bass of “ARE WE STILL FRIENDS?” comforts you after your descent. All these pieces fit together to form a musical masterpiece, but they are no less potent in a vacuum. If you’re falling in love, then Tyler’s your man. If you’re falling apart, then that’s doubly true.

Listen: Tyler, the Creator – IGOR

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