HANNAH LUTEREK
AND MATT TURNER
Specials to The Leader
Hannah’s Choice: “I Love You, Honeybear” by Father John Misty
Matt’s Take: I have heard so much about Father John Misty over the years, and always great things. So, when Hannah recommended the album “I Love You, Honeybear” for an issue covering the greatest albums of the decade, I became even more excited to dive into his music.
My only regret following my first-time listen of the album is that I didn’t get into his music sooner. I expected Father John Misty to be a wildly talented artist following all the acclaim that I heard, but I really got into this album, and I didn’t want to leave.
It was nice to hear an unbelievably talented folk singer deliver this kind of lovely music with songs like the titular track “I Love You, Honeybear,” and as a folk music fan, I cannot urge people to listen to this album enough.
The guitar work on this album is perfectly matched with Father John Misty’s angelic voice. This album sounds so smooth on all fronts, and I need more.
Thanks to Hannah’s recommendation, I will be diving further into Misty’s discography following this review, and I hope that all of you readers that are inexperienced with his work do the same.
Three Standout Tracks: “I Love You, Honeybear,” “Chateau Lobby #4 (in C for Two Virgins)” and “Strange Encounter.”
Score: 9.2/10
Hannah’s Take: Love him or hate him, Father John Misty is one of the most interesting figures in modern alternative music (at least in my opinion). A true storyteller, “I Love You, Honeybear” seeks to tell the story of him and his beloved wife, Emma.
From the beginning, listeners are exposed to romantic piano renderings and passionate vocals that can only be performed by someone deeply in love.
The album isn’t all classic and reminiscent of the 50’s, though, as displayed in one of my favorites from the record, “True Affection.” The electronic opening fades into FJM’s sweet vocals to continue the love story that everyone sort of hopes will happen to them someday. While the piano and guitar seemingly carry the album, I believe that FJM’s lyricism is unmatched.
“Holy Shit” is the perfect example of this. “Oh, and no one ever really knows you, and life is brief. So I’ve heard, but what’s that gotta do with this black hole in me?” He really knows how to get you feeling both existential and in love, all at once. I wouldn’t have it any other way.
Fun fact: FJM and Emma met at a grocery store, the inspiration for the final track “I Went To The Store One Day.” This romanticism and passion got me through the later half of the decade. Perhaps it will send me off into more romantic daydreams through the 2020s.
Three Standout Tracks: “Chateau Lobby #4 (in C for Two Virgins),” “True Affection” and “Holy Shit”
Score: 9.5/10
Matt’s Choice: “The Money Store” by Death Grips
Matt’s Take: When Hannah picked the theme of “Greatest Album of the Decade” for this week’s issue of Hannah and Matt on music, I knew I had to think long and hard about what I would write about.
The first few albums that I thought about all had a special place in my heart, most notably “My Beautiful Dark Twisted Fantasy” and “Yeezus” by Kanye West, “Born to Die” by Lana Del Rey and “Blackstar” by David Bowie, but all of these albums have already been talked about to no end in discussions regarding the best/most influential albums of the 2010s.
With “The Money Store” by Death Grips, I wanted to explore a completely unique album that is not nearly held in as high a regard as it deserves. Ever since I listened to “The Money Store” for the first time, I knew that Death Grips were a musical force to be reckoned with, a talent that is so indescribably ingenius. With the aggressive screaming vocal style of MC Ride, the non-stop synth sounds and looping present throughout the album, and just profanely angry feel the album gives off, I am surprised to this day that I love this album as much as I do since it is not the music that I typically listen (see my reviews of “Bossanova” and “Zerwee”).
Known as a meme band by many on the internet, Death Grips display undeniable talent on “The Money Store” that everyone, no matter what their musical preference, owes themselves to experience at least once in their lifetime. This album holds a very special place in my heart, and to this day I cannot explain exactly what I love about it since the album is such an ugly sound. I guess the unexplainable beauty underneath the ugliness is a huge factor in my admiration, but check out the album for yourself to see how it hits you.
Three Standout Tracks: “Get Got,” “Hustle Bones” and “Bitch Please.”
Score: 9.5/10
Hannah’s Take: I have never given “The Money Store” a full listen before Matt chose it as one of his personal favorites from the decade, and I have to admit I was wildly impressed.
Really, I only had a vague familiarity with Death Grips before this edition. The violent energy consistent throughout the record had me hooked from the beginning track. Every song managed to show up with contagious energy, present both in the synth and in Stefan Burnett’s raging raps. This electronic mania is particularly present in “Lost Boys” and “The Cage,” some of the most energetic moments throughout the album. I like the intersect this record has; it hits the sweet spot between rock and rap that many naysayers say is either obnoxious or impossible.
The tail end of the record did drag a bit, as the final four tracks didn’t have nearly as much differentiation as the rest of “The Money Store.” Even writing that feels nitpicky to me, though, as I thoroughly enjoyed my time with this album.
I don’t know how I went so long without giving it an in-depth listen. I completely understand why Matt chose this as one of his best of the decade, and going forward, I’ll probably consider it one of the best of the 2010s as well.
Three Standout Tracks: “The Fever (Aye Aye),” “Lost Boys” and “Blackjack.”
Score: 9/10