BEST OF 2015: The Year In Lyrics


Words are pretty weird. One alone is easy to understand, almost impossible to misinterpret. But string a bunch of them together, and it gets more complicated (as well as beautiful, descriptive, romantic or hurtful). One line can make you remember a song forever, or dismiss it entirely. Out of all of the thousands, maybe millions of lyric that were recorded this year, here are some that stood out the most.

Father John Misty – “I Love You, Honeybear”

When a cynic finds love, they become an optimistic, cheerful person. Or, they recognize that “til death do us part” and “in sickness and in health” don’t quite cut it in a time of war, economic instability, and global warming. On I Love You, Honeybear, Josh Tillman examined many aspects of modern love, but none were as realistically romantic or sincere as on the title track: “But don’t ever doubt this, my steadfast conviction/ My love, you’re the one I want to watch the ship go down with.”

Hop Along – “Horseshoe Crabs”

On Painted Shut, Frances Quinlan wrote two songs about musicians that suffered breakdowns and faded into obscurity; one was the jazz cornetist Charles “Buddy” Bolden, and the other was the folk musician Jackson C. Frank. His first record was produced by Paul Simon, but his depression prevented him from pursuing a music career. “Horseshoe Crabs” is sung from Frank’s perspective. As well as being the first time I’ve heard of the songwriter, it contains what’s possibly my favorite line of 2015, which is beautiful, crude, sad and funny: “Woke from the dream and I was old/ Staring at the asscrack of dawn.”

Eagles of Death Metal – “I Love You All The Time”

The saying is that even bad press is good press, but no band wants the kind of publicity the Eagles of Death Metal received on November 13. Even sadder is the fact that the band is seriously passionate about and appreciative of their fans- I saw them play in Philadelphia this fall, and Jesse Hughes walked through the line of concert-goers waiting outside the venue, shaking hands and giving out hugs. “Now I know every one of you motherfuckers,” he proudly proclaimed later onstage. “I Love You All The Time” is actually a song about a man’s love for a woman despite her disinterest, but it happens to have a section of lyrics in French. After what happened at Paris’s Bataclan, and because the band has encouraged other artists to cover the song so they could donate the publishing rights to helping the victims, the line “I love you all the time” takes on a deeper meaning: the connection we have to music, no matter what else is going on in the world.

Girl Band “Paul”

A lot of the lyrics on Girl Band’s Holding Hands With Jamie are indecipherable, though Dara Kiely’s delivery of the words contains more meaning than they ever could themselves. This is, after all, an album inspired by a psychotic episode Kiely experienced a few years ago. Though it may seem odd to include a song that is more understood in a more visceral way, one line from the middle of “Paul” has always stuck out: “How many bulbs does it take to screw a light in.” It sounds like the setup to a bad joke, but turn it around in your mind enough and it’s about the confusion and frustration of not being able to do something right. You’re trying and trying, but glass is falling down around you, and the light still won’t turn on. It’s kind of sad, yet somehow funny in the right state of mind, and that approach to such a heavy topic makes the whole album so amazing.

Shilpa Ray“Burning Bride”

Burning brides after the deaths of their husbands is a banned Hindu practice, which was actually a scheme to ensure there was no one left for the husband’s wealth to go to except for the priests who carried out the ritual. On Shilpa Ray’s “Burning Bride,” the lyrics can also be applied to the oppression of women in modern times, challenging those who want to kill the spirit of a woman “Up dancing, ‘cause she’s wild” with the chilling line, “You’ll be lucky when she runs out of desire.”

Kurt Vile“Pretty Pimpin”

It’s easy to lose yourself in Kurt Vile’s “b’lieve i’m goin down.” After all, you’re following the thoughts of a man who’s lost himself. This is clear from the first track, “Pretty Pimpin,” where though Kurt admits the man he sees in the mirror looks pretty pimpin’, he doesn’t recognize him. In this song, he’s lost track of time, and himself, but no one knows it but him: “He was always a thousand miles away while still standing in front of your face.”

Ava Luna “Billz”

“I don’t care too much for money, money can’t buy me love.” That’s a cute song, but not very practical, and obviously not an Ava Luna song. Because while romance is nice, it’s still just a distraction from buying groceries, paying rent and staying alive. Love does have its own payoff, but it takes a lot of work to get there, and it won’t keep your heat on: “I’ve made up my mind, I will find one small moment and I’ll text you/ And I’ll fact-check every reference that I make, learn the language to impress you/ Cause I’m yours, and if you tell me that you’re mine, you’re the one I’m getting next to/ But our love ain’t gonna pay my bills.”


2015 was a big year for Boston’s Krill. And then they broke up. If you’ve ever found yourself crying your eyes out to dumb pop songs after a breakup, you know that when something major happens, even the sappiest of lyrics can suddenly seem to apply to you personally. Krill didn’t play dumb pop songs, and their lyrics weren’t sappy, but at their last show ever, every word somehow seemed to point to the band’s eventual end. This was most obvious with “It Ends”(“It ends/ Same way it begins/ On a whim”), and a little more subtle in “Torturer,” a track where Jonah Furman has a conversation with a mysterious character (“I asked, what did you come here for?/ And you said, whatever you need me for”) before wondering, “Is it time to go back inside?”

Mini Mansions – “Death Is A Girl”

The title of this song is a dark, mysterious statement, perfect to drop as a piece of advice and then walk away with no explanation. But the real gem in the song is the line “You gotta live in a world where there’s only one day.” Living your life as if actions don’t have consequences can be freeing, dangerous. And it can be hard to tell which: “Death is a girl and she’s only one dance away.”

Destroyer – “Times Square, Poison Season I”

For someone that lives in New York, taking the line “You could fall in love with Times Square” out of context seems like a jab, a suggestion that you’re inauthentic and easily impressed with shiny things. When Dan Bejar prefaces it with “You can follow a rose wherever it grows,” it’s more of a suggestion to lighten up a bit, and a reminder that if you look hard enough, you can find beauty almost anywhere. Even if it’s just in the people that recognize it where you don’t.

ALBUM REVIEW: Destroyer “Poison Season”


“You could follow a rose wherever it grows/You could fall in love in Times Square,” Dan Bejar, aka Destroyer sings on the track “Times Square.” His latest album, Poison Season, constantly references itself, both musically and lyrically, but matter where one track takes you, another always leads you back to perhaps the most well-known area of New York City, Times Square; The record has three songs that include it in their title. Most New Yorkers may associate the area with crowded trains and annoying tourists more than love, but Bejar somehow makes it seem romantic and sentimental.

Called “Rock’s Exiled King” by The Fader, this is the tenth studio album by Bejar, who also plays in The New Pornographers, but strays far from the indie rock genre in his solo project.  Though Poison Season may seem like a harsh name for an album, it’s not reflected in the music. Songs are filled with sweeping (but never too sappy) strings and loose jazz saxophone. The whole album has a late-night/early dawn feel to it, recalling the 4AM epiphanies you get when you’re still clinging to your last bit of consciousness. This is especially true on the track “Dream Lover,” where he borrows the line “Here comes the sun.” But this isn’t the hopeful, cheery sun from the Beatles’ song- this sun is an interruption, signaling the end the night with a does of reality: “Oh shit, here comes the sun/Lovers on the run,” Bejar laments after an evening where “Haunted starlight gets in your eyes.” Euphoric, chaotic saxophone and a driving beat make it one of the album’s best tracks.

On “Bangkok,” the saxophones are joined by piano, giving the song the feeling of an after-hours jazz lounge. And on “Hell,” the bouncy beat begs you to snap along even as Bejar insists “It’s hell down here, it’s hell”(He also slips in a somewhat political line with “Every murderer voted out of office is sold down the river,” though he follows it up with something purely romantic).

Bejar’s voice has a whispery, spoken-word feel to it, and even during quieter moments, it’s easy to want to give his words your full attention. There are some serious moments on the album, but Bejar’s sense of humor manages to shine through. He uses the line “Bring out your dead,” which could possibly (I’d like to think this, anyway) be a nod to the Monty Python comedy The Holy Grail. And while the music video for “Girl In A Sling” is a beautiful, simple film where Bejar develops old photo negatives in what appears to be a childhood house, the video for “Times Square” is a light-hearted stop motion animation. Mossy creatures get high off of pipes and joints, a tree stump hunts for mushrooms, and a cartoon brain crawls along the forest floor.

This is definitely not the Times Square that exists at West 42nd Street and 7th Avenue, but it’s the Times Square that should.

Poison Season is out on August 28 via Merge Records. Check out the track “Dream Lover” below.