It was once again a high-output, diverse year in Louisville music. And the annual LEO Playlist our 20 favorite local songs of the year reflects that through its range: oddball alt-country to silky smooth R&B to experimental jazz and to sharp hip-hop. Yet, 2018 was an emotionally-charged year for quite a few reasons, and that seems to be the connective tissue for many of the artists on our list, with profoundly sad songs, angry ones and those that leaned into nostalgia. The 20 songs are listed below in a way that mixes up the genres and LEO writers.
GRLwood Im Yer Dad
A year ago, fem punk duo GRLWood released their 2 Fags Demo, a raging, nine-track record including the indelible song Im Yer Dad. This year, they released their first studio album, Daddy, which includes seven of the those same songs Im Yer Dad being one of them. First and foremost, this song is about American machismo, and making it in relation to your father is a heartbreaking reality for many who are daughters. Rej Forester literally screams Im Yer Dad through most of this song, stressing in her vocals the embarrassment that theyre related. Karen Ledfords drumming builds momentum throughout the song, begging you to stay for the punch line: And I got a really big dick. The word really was added to the studio album and notably the only crystal clear and spoken words you hear on this song. You can decipher a popcorn of words such as sports, man cave, porn, fuck me fast, fast car and NASCAR. The studio record has been professionally cleaned, so no more snare vibrations or a fuzzy mic. Rejs guitar plucking sounds a bit more rockabilly, but Karens bass drum strikes are the energetic exclamation points.
Julie Gross
State Champion Death Preferences
By stacking stories on stories, State Champion frontman Ryan Davis builds these large, poetic, ambiguous and quickly-moving worlds that are structured like a cooler, punchier version of Thomas Pynchons work, but function like a gripping, yet vague dream that youre left trying to make sense of, because it feels important. Death Preferences is one of the best examples of this, as it creates a puzzle packed with hidden and open-ended meanings. The profoundly sad vocals and production recall divorce-era Dylan, forming an emotionally-charged bond with the searching lyrics. If you sat down 10 people and made them listen to Death Preferences, you would get 10 different interpretations of the song, but it definitely makes you feel a certain way intensely contemplative, a bit melancholy, with the big questions of the past, present and future circling around in your head. Scott Recker
Yons Inspiration (ft. 1200 & Jordan Jetson)
Inspiration lives up to its name. The premise of the song is ultimately community and finding the strength in yourself to lift up the people around you. Backed by superlative verses from 1200 and Jordan Jetson, this song is about growth, and turning inward to look outward. Inspiration advises the listener to attempt to transform the negatives in the world through thinking and acting positively. The song is as uplifting as you would expect, and its equally as catchy. Produced by Yons, the beat blends elements of gospel and soul into hip-hop, which lends a spiritual charm. Each emcee is confident in their delivery, adding to the self-empowerment, which makes for a tight song with a fantastic message.Syd Bishop
Tomberlin Any Other Way
Sarah Beth Tomberlin reaches that special place in music where the confessional lyrics cause the listener to have similar reflections on their own past, creating an emotional thread between writer and consumer. There is a universal quality to her music filtered through a clear vision, causing the well-known to become freshly explored. Any Other Way features an acoustic guitar strummed with indifferent exhaustion, as Tomberlins strong and straightforward voice causes the song to rise away from the melody. I like to think of the lyrics being super glued to the melody and, as the song develops, Tomberlin patiently pulls the emotions and voice of the song away from this feeling of being stuck in repetition. With each listen, there is a new perspective or feeling to be explored. Tomberlins best strength is as a lyricist, with lines like, You said that I was brave / But, I just feel insane / You said to look into your face each day / Can you tell I never look away? Zach Hart
The Other Years Adaline
Concerts and festivals are often loud and unruly places, a natural byproduct of getting a bunch of people together and feeding them booze, but at Michigans annual Ann Arbor Folk Festival, the crowd is almost always dead silent, in some sort of trance, hanging on to every note. Thats the way I feel when I listen to The Other Years, the duo consisting of multi-instrumentalists Heather Summers and Anna Krippenstapel, who released their debut album in 2018. In Adaline, theres something about the unhurried musicianship and unique, striking harmonies that pulls you in and commands your full attention. Its old-timey music that doesnt feel like its from a bygone era. Its progressive folk that never feels pretentious. Its familiar, and also refreshing. Theres a charm about Adaline that feels sincere and like a bit of a curveball. And thats something thats not always easy to find in contemporary folk. Scott Recker
Jacob Duncan Quintet Oomamaboomba Boulevard
A hard beat, a funky riff and solos that kill. This is the triad of forces that makes Oomamaboomba Boulevard the standout piece from the Jacob Duncan Quintets October release, Its Alright to Dream. Grounded on a catchy melody, the tune could be played by a variety of instruments, as long as two leads are going full blast in this lineup its Duncan (alto saxophone) and JD Allen (tenor). Both are guided by the heavy-handedness of drummer Michael Hyman, ripping into the main melody, while pianist Gabriel Evans grooves for the rhythm beside bassist John Goldsby. Theres an infectious energy carried throughout the entire song, and you will find that same vitality all over Its Alright to Dream, a local jazz record that for any adventurous listener is worth checking out. Lara Kinne
Tender Mercy The Year I Burst Into Tears
Minimalist Mark Kramer (aka Tender Mercy) primarily uses his voice and electric guitar to strip down music to its bare essence. Each song is like a haiku of self-realization and private suffering. This song only has 24 words, which he repeats in verses like a somber lullaby. He strums individual notes with metronome timing to his partly-sung, partly-spoken, high-pitched vocals, but the way he lyrically pauses almost swallowing syllables adds a compelling ingredient to his fundamental tone. He poses the circumstance that if you had a look inside, you saw everything you tried to hide. It may take an entire year of weeping just to make sense of it all. In very few words and notes, he expresses what vulnerability truly sounds like.Julie Gross
Touch A.C. X Filthy Rich The Darkest Gem
There is a writhing gloom to The Darkest Gem, the third track on the Touch A.C. and Filthy Rich collab Doomsday Sun. The entire album features gritty production, a synth-and-drum-heavy sound that nods more than a little to Trent Reznor. The Darkest Gem is a tight philosophical study that balances deeply-profound spiritual conceits, with the general mundanity of life. In doing so, Touch asks listeners to consider the profundities of existence. Placed into context against the narratives fictional element, the coming of a celestial entity determined to devour our planet, the immeasurable Gritface, Touch and Filthy challenge you to live in the moment, in spite of the darkness. Syd Bishop
Vyva Melinkolya Exist
The lyrics to Vyva Melinkolyas Exist which are almost completely hidden in lush storms of shoegaze are about feeling numb to the world, and concealing that from the people closest to you. Kicking off with the line Ive got no sense of home / And all my pleasure unknown / They ask me if Im OK / And its so easy to fake, the song paints an honest picture of the darkest thoughts and feelings that we pack away and hope no one finds. The atmospheric guitar work and production creates massive walls of noise and the shimmering vocal melody adds a dream-pop element. The song builds, falls, crashes and twists, creating a sonic soundscape that is enormous and impressive. But, underneath all of that, theres the sort of vulnerability that takes true grit. Scott Recker
Joan Shelley How Sad How Lovely
The obscure, but beloved, American songwriter Connie Converse disappeared without a trace in the early 1970s, leaving behind only a series of carefully-crafted goodbye letters and a haunting body of work. Among Converses long-forgotten pieces was a ballad entitled How Sad, How Lovely, a song that was recently resurrected and reinterpreted by Louisville-based folk singer Joan Shelley for her 2018 covers EP Rivers & Vessels. While it is hard to outdo the inherent sadness of the original version, the sparse recording of Shelleys new arrangement has a melancholic mystique of its own. On this plaintive take, there is but one lonesome guitar part to augment the gorgeous two-part harmony vocals of Shelley and fellow Kentucky troubadour, Daniel Martin Moore. After a few listens, youll know just how it feels to see that sunset at the end of the street, and those shadows rising from the brim of the night.
Kevin M. Wilson
Barrel & Biscuit All I Got
At just shy of four minutes All I Got is the longest track on the Tooth & Nail EP by the newly-formed Barrel & Biscuit, a duo of Rmllw2llz and Kendall Elijah Dynamite. All I Got, the most hooky of the four extremely catchy tracks, is a departure from Dynamites experimental pop and Rmllw2llzs smooth electronic hip-hop style. The fuzzed-out bass and crackled drums make for a soulful track that would be at home between Saul Williams and Cedric Burnside on a warm summer night playlist, with its contemporary Delta juke beat and sing-along style vocals that proclaim: Spending all I got just to get back to you. Its a near perfect neo-classic pop love gem. John King
Satellite Twin Well Make Fires
The modern era of instant gratification has replaced the tradition of punk rock split 7-inch singles, but, from time to time, one emerges that reminds us of the joy of physical media. The Mutts/Satellite Twin split 7-inch on Gubbey Records has Chicagos Mutts on one side and Louisvilles Satellite Twin on the other. Well Make Fires is an appropriate pairing to Mutts post-Swordfishtrombones Tom Waits feel. It sounds like Foxy Shazams eccentric Eric Nally backed by Shellac. In this instant download era, the 7-inch record is possibly unnecessary, but the Mutts/Satellite Twin split 7-inch is completely worth the sticker price for any audiophile versed in the 90s Louisville/Chicago noise-rock pipeline. John King
PRJCTR Syntax Error
When a song starts off with the lyrics everything was going my way, its fair to anticipate it might end on the same upbeat note. Not here. Rumbles of distant drums and low guitars set a forbidding vibe that finds the protagonist. The guitars that simmered become more ferocious as the drums move to a war pitch. You are alone is growled and then roared. Nothing is OK. Nothing is all right, even as the song fades away. This is one of the best songs of 2018 because PRJCTRs piercing message of abject hopelessness. Its a deeply dark song, but its up to us to find the cracks that let the light in. Nik Vechery
Zerg Rush High Stepper
With their debut collection of demos, Zerg Rush transcends the sort of likable, yet sloppy, working-out-the-kinks record that you might expect from a young punk band. Instead, they made something sharp and versatile, packed with raw power and range. On High Stepper a song that sounds like if the New York Dolls experimented with surf rock singer Zonny Mondos voice is as wild and free as the songs protagonist, building and falling all over the place, from hushed mumbles to soaring verses to explosive screams. The song doesnt attempt to be perfect, but the small blemishes are weaponized as its greatest strengths. It feels like bottled lightning. Scott Recker
Comforter 827 Melford
With 827 Melford, Comforter has managed to distill the best elements of the very en vogue early/mid-90s rock sound. Theres a sad bastard/feel-good juxtaposition, with an unavoidable melancholic thread, sewn through the songs straightforward framework, but the kind that never fails to invoke bittersweet memories. Perhaps its the warm, anchored march of the bass and drums or the dreamy guitar work or the singer lamenting halfway through that nothing lasts forever. Whatever the case, 827 Melford is a powerfully nostalgic song that will send you searching through the past. Tyrel Kessinger
Voodoo Economics Topper
There was this great period of music in the mid-to-late 90s when rock bands decided that great music could come from having fun with small topics. Everyday moments were distilled into anthems by examining the so-called unimportant subjects of life. Think The Presidents Of The United States Of America hit Peaches a song about picking peaches and love. Simple, fun and very catchy. Its refreshing to feel that way again with the Voodoo Economics track Topper, on which singer and guitarist Shane OBrian takes the listener into the fully-realized perspective of a guy delivering pizzas all over Louisville. It feels episodic, each verse creating its own little sitcom scene. A bouncy, slow guitar gives way to a bombastic chorus. When the chorus hits, all the guitar parts come forward, mix together and then take a backseat to the story for another clever verse. The results are infectious, especially if youre a fan of that irreverent indie rock of the mid-90s.Zach Hart
Nick Dittmeier & the Sawdusters Two Faded Carnations
The brilliance of Two Faded Carnations is not only in what it tells you, but also in what it leaves out. Each of the three verses in the evocative alt-country story song reveal a twist the protagonist visiting a cemetery, a past robbery gone wrong, estranged family members but its light on the exact details, which leaves you with more questions than answers and searching for clues in repeat listens. The songs magic is that it gives you just enough to build a vivid scene in your head, but it leaves room to speculate. It draws the lines, but it lets you to color them in. The story could stretch into a novel, but the brevity in Two Faded Carnations dictates its impact. Its not overly concerned with creating a complete character, or having a tidy ending. Theres a lot of murky gray area. And thats what makes it special. Scott Recker
Carly Johnson & The Believers Hit the Ground Running
Carly Johnsons strong voice is fluid enough to adapt to practically any musical style, but its soul and pop that occupies Demons, an EP with her band The Believers, which was released in May as a preview for the forthcoming album Pink & Gold (2019). She doesnt brood for long over past pain in Hit the Ground Running, instead she ignites the listener with an urgency to sing along and move through the hardships. From when the opening keys lead into her drawn-out vocals on the line A womans only good as her word to the ass-kicking chorus that advises that you better get out now, this song swells with confidence. Lara Kinne
Jaye Jayle Ode To Betsy
The evolution of Evan Patterson from the visceral highs of Breather Resist and the earliest material from Young Widows to the Southern gothic tension of Jaye Jayle is rarely so clear as it is on Ode to Betsy. A literal ode to a lost companion, Pattersons dog Betsy, the track carries the weight of the world on its shoulders, a dirge that serves as a slow build. Patterson channels his inner Leonard Cohen or Nick Cave, a confident baroque growl that weaves a compelling and multi-layered narrative tapestry. A grim meditation on loss, Pattersons words are beautiful poetry delivered with style and panache atop a brutal melody. There is a reflective tension between the music and the lyrics, an aggression that might not translate without the distorted bass rumble and plodding beat. This is intense, about how in losing someone close, you also lose part of yourself. Syd Bishop
Otis Junior & Dr. Dundiff Poems (ft. ZLynn Harris)
With their third album, the duo of Otis Junior and Dr. Dundiff continue to progress, mixing silky R&B vocals with mad scientist production techniques. The duos greatest strength is the ability to take the bones of a simple love song and turn it into something massive and completely unique, which is evident on Poems. Dundiffs production is as intricate and compelling as ever, while Otis Junior and ZLynn Harris both turn in a masterful vocal performances. Junior and Dundiff excel at building complicated songs that are easy to listen to. The vocals on Poems are a warm call-and-response, while the beat paves a smooth, yet interesting path. They are boundary pushers, crafting something that sounds equally inspired by Motown and J Dilla. Scott Recker