End of Year 2019: Favorite Listening

Favorite Listening

While we are a community focused on games and how they intersect with our lives, we’ve never shied away from exploring and discussing other media critically and enthusiastically. It only seems appropriate, then, that our End of Year event offer up a space for us to share our own “Waypoints” from 2019.

This topic is dedicated to anything that you listened to. That means both podcasts and music are welcome in this thread! Have a new favorite podcast, or a podcast that covers really important subjects? Got a new favorite album, full of bangers or full of ballads? As long as it delighted your ears, it’s welcome here!

Discussion Thread

This thread is all about discussing your favorites! The end of the year is always a great opportunity to look back and reflect on what we loved, but it’s also a great time to remind ourselves of what we missed and want to come back to next year. So give a recommendation, get a recommendation, and above all please be respectful and have a good time!

Be sure to check the Q&A section below if you have questions, otherwise feel free to reach out to one of us! We hope you enjoy this event and we’re excited to see what sorts of discussion each category inspires!

Please Note: We’re planning to write-up a summary thread at the end of the event and include various members’ quotes from the discussion threads, just like last year. The quotes that we select will be attributed to their authors and only posted on this forum (forum.waypoint.vice.com). If you would prefer to not be quoted in the summary thread, please indicate this in your posts.


Q: End of Year? What's that?

A: I’m glad you asked! Just head over to our pinned topic if you need a catch up! You can also find details on the process for the event here.

Q: What can I discuss in this thread?

A: Anything that you think fits the topic! Feel free to share your favorite experiences of 2019, whether they occurred in media that released in 2019 or media from a previous year.

Q: Where are the nominations?

A: This year we’re structuring things a little differently: we’ll be posting discussion threads over the second half of December, and nominations won’t begin until January. This will give you a few more weeks to play more games before you’ll need to lock in your votes. We also hope that by focusing on open discussion threads, the event will be more inclusive of folks who haven’t been able to play many games from this year.


I discovered these lovely folks via a Facebook ad. A Facebook ad!

I just went to a concert of theirs last Thursday night, and sat behind a row of “reserved” seats. One dude sat in the row. Voces8 was about to kick off a pair of songs by Philip Stopford (including the below), and then introduced the guy in the row in front of me as Philip Stopford, who I then got to meet during intermission.

As it turns out, when you sing this well with microphones, when you do an entirely a capella show without microphones, the audience won’t even breathe without your permission.
Bonus round:

1 Like

After being a Freak Folk darling for the better part of the decade, Richard Dawson released 2020, which seems exclusively interested in carrying the lifeless body of Indie Rock on its back.

It’s a catchy album with a bunch of legitimately great hooks and fun musical diatribes, but really, you’re probably here for Dawson’s compassionate storytelling. He’s honed a blunt, humorously Geordie voice for himself, and is the closest thing to a troubadour that we have these days. And while his previous (amazing) album, Peasant, focused on the past and how it informs our collective responsibilities, 2020 is strictly about now. He’s singing and laughing and worrying about things you know. There’s a 9-minute song about how evil Amazon is. He talks about peeing into bottles to meet your quota, and how he’d rather own a cafe.

I don’t wanna use the word “master” lightly, but Dawson gives the impression that he does this with the same deftness I exhibit to scratch my face. I imagine he’s worked hard to be this good, but if there’s ever been a more naturally personable artist, I wish I knew them.

1 Like

I got way into basketball this year and the Dunc’d On podcast did a special called “mock off-season” where they basically do a roleplay of all the players in free agency and the prospective teams, and it’s like if you were doing a worldbuilding session for a sports RPG. It was informative, funny, and very much my shit!


I am far too sleepy to properly communicate my love for Ten by Queen Bee. I initially gave them a listen because their singer is biracial and non-binary and that rules and gives me big feelings, but it’s the boundless chaotic energy that made me default to it so many nights counting cash at work. I think their videos explain it better than I do; Avu-chan always looks like she could jump out of the screen and either bite your head off or sweep you off your feet for a dance, and neither would seem out of place.


Car Bomb’s Mordial is not only my favourite album of the year but one of my favourite albums in a long, long, long time. The way that this album so easily shifts between feeling immense, chaotic and ethereal throughout the runtime is really something to behold. And the musicianship on display is truly something, Greg Kubacki creates sounds with his guitar that I cannot even begin to imagine how to recreate, and Elliot Hoffman is a machine for managing to keep up with the frenetic pace of the mood shifts in the music.

(CW: flashing lights for the music video for Dissect Yourself)


About a minute into “Lark” by Angel Olsen, the first track on All Mirrors, I am rendered into a state of repulsion. Not a repulsion of disgust or hatred, but of an instinctual, emotional flight. This instinct to pull away, retract away from whatever feelings you are having. It’s the feeling of standing on a foot that’s fallen asleep. An immediate, sensory repulsion. The first time I heard this album, it snuck up on me. The music begins to flirt at a build, and then a guitar strikes and the drums boom, and it ushers in a swell of strings as Angel Olsen’s voice seems to expand into the distance. The first time I heard this album, I stopped the music at that moment. That instinct overtook me. The second time, I pushed back my chair and threw off my headphones. I couldn’t handle it.

Hiding out inside my head
It’s me again, it’s no surprise
I’m on my own now
Every time I turn to you
I see the past, it’s all that lasts
And all I know how
Learn to look me in the eyes
Yet I still don’t feel it’s me you’re facing
Say your heart is always mine
What about old times? You can’t erase them

And then after a minute, it’s over. And it doesn’t come back. It’s a kind of rhapsody; it moves between these melodic refrains and dramatic orchestral strings, all underlaid by this striding beat, before it explodes into a distorted, hammering climax and settles into its ashes. “Lark” is a one of a kind song, even on a record as strong as All Mirrors.

All this was a pretty personal experience, and not one I expect many others to have with this song. But maybe you have songs like this in your life. “Lark” makes me feel vulnerable. Not heartbroken, or hurt, but very suddenly vulnerable to those kinds of intense emotions, my heart split open like a door. That’s why I wanted to push away. Because being vulnerable to those emotions is unsettling and frightening. But at the end of the road, making it all the way through “Lark” feels empowering. Not empowered to avoid those emotions, but empowered to survive them.

1 Like

Want to shout out The Optional podcast, hosted by Paul Tamayo from Kotaku, and Cam Brewster, one of his close friends, both people of color, and from New York, it’s climbed the ranks of my “podcasts about video games” list this year and I’m excited to keep listening.

1 Like

IDLES released my favourite song this year, Mercedes Marxist, so shout outs there. Also, their Tiny Desk Concert at NPR was probably the most fun I’ve had watching a performance online in 2019.

Haven’t listened to too many new podcasts this year, but I enjoy Well There’s Your Problem, hosted by AliceAvizandum, donoteat1, and oldmananders0n. It’s about disasters - building collapses, trainwrecks, etc. - and either the incompetent bureaucracy or uncaring capitalists that caused them.


I didn’t listen to much music this year, but my top 3 come to mind: Dedicated by Carly Rae Jepsen, the Outer Wilds soundtrack by Andrew Prahlow, and finally Pony by Orville Peck. I’m currently obsessed with his song Hope to Die.

As far as new podcasts I’ve enjoyed, one of my favorites this year was Mortal Podkast. This guy relates the story of Mortal Kombat to his friends, one character at a time. It is incredible.


I’ll throw Punch Up the Jam into my favorites of 2019. When I first discovered this podcast I went through the roughly 30 or so episodes I had missed before in like a week. I love the back and forth between Demi and Miel. While it’s unfortunate that Demi left the podcast, Miel does a wonderful job continuing the podcast. If you enjoy Demi’s videos I definitely recommend the podcast.


Yo, I second this. The Ghostbusters episode with Open Mike Eagle (!) and Neil Cicierega (!!) is an all-time podcast episode, IMO.


Here to second the call for Idles, they’re phenomenal.

Also give the album Dogrel by Fontaine’s DC a listen, it’s so damn good.

Kaytranada’s album just dropped to which was is so good to

1 Like

I wanna rundown a select number of records that caught my attention over the year. Unfortunately this was the year I listened to the least amount of music in a good while which leaves me unsatisfied and I want to correct that next year.

Firstly I want to shoutout one of my favorite Japanese and math rock bands out there, tricot, They put out an EP this year called Repeat and track 2 in particular really caught me. Just a great track, love it.

Second here, 2019 was the year I really delved in a followed the Griselda crew. 3 rappers from Buffalo NY making some of the grimiest, crime laden rap out there. Conway the Machine is full of grunt with a tragic story to him, Westside Gunn is full of charisma and personality with his bars and adlibs, but Benny the Butcher is the standout to me. So many cold hard lines and bars for days. Always stepping his game up each project.

Next off, no way I can’t mention one of the most exciting projects I’ve experienced this year. That’s right baby, the Gec is here. I swear I remember checking out 1000 Gecs after I saw some mutuals raving about it. Listened to it, loved it, and then next thing you know they blow up and now getting all this attention. As a fan of PC Music and this approach to pop music distorted and stretched out in every direction it’s really great to see them pull off so many earworms on this here. Money Machine slaps!!!

Next I just want to shoutout a bunch of assorted tracks that I loved. Thrilled with TNGHT’s grand return with a track like Serpent (CW: strobing). Jpegmafia’s Jesus Forgive Me I’m A Thot is easily one of the most explosive and gold tracks of the whole year (CW: strobing). Takashi by Flying Lotus is such a stunning, ever expanding cut off his latest record. Dark Web by Teejayx6 is truly a landmark moment in the beginnings of scam rap. Daemon Veil by Eprom and G Jones is a jaw dropping IDM/Breakcore cut that left me speechless the first time I heard it. Crime Pays from Freddie Gibbs and Madlib is such a smooth jam off of one of my favorite albums of the year Bandana.

Lastly here, my favorite album of the year. Has to be Igor by Tyler the Creator. Such an artistic statement from him. So lovingly crafted and put together. Full execution of an album built on love and the spiral of dealing with heartbreak. Countless moments of music that’s dazzling to hear. I was already a Tyler can of many years and loved his last album Flower Boy, but Igor is easily my favorite album of his. His arc as an artist from a decade ago to now is basically unbelievable. Happy to have this album to come away with and love in 2019.


for music, i have absolutely hammered the hadestown broadway cast recording, to the point where i think the entire thing is on my eoy spotify playlist.
also really loved:

  • heavy is the head - stormzy (especially vossi bop)
  • griffin mcelroy’s music for the second half of the adventure zone: amnesty
  • withdraw - fresh (a lovely indie/emo band from the uk who deserve to be much bigger than they are) (they’re also on spotify but they’re a small band so i’ve linked to their bandcamp on purpose)

for podcasts, +1 for punch up the jam, also really loved citations needed and the appeal (for political stuff), switched on pop for a fun music podcast and lore reasons introduced me to got it memorized and the orange groves (a podcast network run by NB people!) and their many wonderful podcasts.


I gotta give this one to the Game Studies Study Buddies podcast for being some seriously high-level discussion on all kinds of humanities when it applies to video games. I know very little of philosophy or art theory outside bad Youtube criticism so it’s impressive to see two really smart people pull in everything they know from Elizabethan theater to Marxism. Both hosts have written for Waypoint and were on one of the Kingdom Hearts lore podcast.

There’s a lot of very interesting perspectives. Like I never considered how “playing” a game was so closely connected to “a play”, as in theatrical works. Or that just spinning in a circle was valid play.

I just kinda wish they would remind me which philosopher they were pulling in and what he or she did. Like Spinoza comes up about every episode and I keep forgetting who he is.


I think most people have that one band they grew up with that is special to them. That band that they loved through their youth, through their teens, and into adulthood. I know Patrick has talked at length about how Weezer was that for him, but for me it was a lot less prolific band: Alexisonfire. A post-hardcore band from the Canadian side of Niagra that found a modest success nationally and was a huge influence on the person I am today.

But for this past decade, they’ve been gone. They split up at the end of 2011 after a farewell tour. I got to attend two of the concerts (complete with a black eye from being kneed in the face and my clothes literally ripped to shreds in the mosh pit), but they were gone after that. That band that had been with me since I was eleven was no more. Sure, they did play a handful of shows through the coming years (mostly at music festivals), but there has been no new albums, no new EPs, no new music from them since that break-up.

And on Valentine’s Day this year they dropped a new track. Out of the blue. Without warning. On a symbolic day for the band. They’d release another track three months late as well. And right now? They’re on tour. For the first time since I saw them nearly a decade ago.

I’ve had a rough decade. It’s been one of succumbing to, battling against, and trying to live with mental illness, one of wasted potential and constant disappointment, one of hitting the bottom and staying there long enough to make it seem like home. And, thinking back, it was less than two months after going to those farewell concerts that my life hit the fan. So there is something… ludicrously symbolic about this band leaving my life right before my lowest points and reentering it right as I turn the corner on my life.

Were those tracks the best of the year? Hell no. They were good, not nearly their best work. But how could they not be the favourite things I’ve listened to this year?


I always go way too hard in on tracks and albums of the year (spreadsheet, workshopping the playlist, evenings put aside for comparative listening and all that), so I have A Lot of raw material to be working with. I’ll drop my top 20 albums and top 50 odd tracks. I am busy as usual on a hefty K-pop tracks of the year, hopefully that’ll be done sometime soon (it won’t lol).


Apologies to the stuff that just falls off into the just-outside-the-top-20 tier: Richard Dawson’s 2020 (s/o @FMTownsParty), Peggie’s All My Heroes Are Cornballs, 1000 gecs, FlyLo’s Flamagra (s/o @Marcy), Christian Scott Atunde Adjuah’s Ancestral Recall, Jessica Pratt’s Quiet Signs

[20] Ana Roxanne - ~~~
A quiet, soft, meditative and noisy record about femininity and being intersex. For if you need more of that Grouper fix.

[19] Carly Rae Jespen - Dedicated
It’s not EMOTION, but whatever. I believe every word she sings.

[18] Freddie Gibbs & Madlib - Bandana
Yeah, I think it’s better than Piñata. Just incredibly proficient and classy and smug about how good it is.

[17] Damon Zucconi - Untitled Substance
Weird rediscovered abstract techno record with some of the most piercing, hyper-electronic, post-glitch sound design. I want to be able to make noises like these. ‘A.P.I’ goes off in the club, ‘Interlude (A)’ is a Ryoji Ikeda-style ambiance that has been completely addictive to listen to.

[16] Helado Negro - This Is How You Smile
My record of the summer. I went on holiday to some bleached out Spanish rocks in the mid-Atlantic and had lots of feelings about race and ethnicity and belonging to this record.

[15] Ayankoko - Kia Sao ກ້ຽວສາວ
I read a lot of Tiny Mix Tapes and like, yes, pretty often the writing is crawling out from deep out within the critics’ backsides. But occasionally they turn up records that are strange, unlike anything I’ve heard before, and really do transform how I think music can work in some small way. S/o to the Jaeho Hwang record for being a brutal, earthy counterpart to this, that just falls off the list for being too hard to listen to regularly. I have a feeling it’ll grow on me to take its rightful place much higher on the list in time.

[14] Anthony Naples - Fog FM
Dust-covered dubby house that is perfectly pitched and cool in a way that could feel insipid, but stays just on the right side of the line. Warm and enveloping and the accompaniment to many hours of writing.

[13] Tyler, the Creator - IGOR
Gay raps that slap. I have a very vivid memory of flying into SFO, halfway through my first proper visit to the US and having an extremely homosexual time, blasting ‘Igor’s Theme’ as I landed and walked into a California heatwave.

[12] Efdemin - New Atlantis
Efdemin’s last record, Decay, is one of my all time favourite techno records, so this had a tough act to follow. It’s a really marked development, moving from the analogue take on minimal techno to something a little more noxious, drone-heavy and exploratory. The title track is one of the most disgustingly brilliant bits of dance music I’ve heard in years.

[11] Nilüfer Yanya - Miss Universe
I’ve flippantly said that it deserves the Grizzly Bear memorial award for best Grizzly Bear record that’s much better because it’s not made my Grizzly Bear. But also it’s willing to get much bloodier and more incisive and punkier and it’s all the better for it.

[10] Caroline Polachek - Pang
HUGE DANNY. It’s weird when there’s an AG Cook-produced Charli XCX record out to be talking about this as the new era electronic pop record that really matters, but (no disrespect to Charli lol) Caroline Polachek has an uncommon talent writing melodies that no one else could conceive of in pop let alone perform. It’s a blend of archness, balance and high drama, alongside pop catchiness and a healthy dose of straight-up awkwardness. She sings like pretty much no-one else I can think of.

[9] Floating Points - Crush
The record I needed to hide in through a politically nerve-wracking winter. Fidgety in a way that felt like an auditory stim toy. It’s kinda still Dance Music For Cool Dads and I don’t care lol.

[8] Jenny Hval - The Practice of Love
New Wave through 90s synth-pop as a the vehicle for a collectivist reimagining of love and compassion. She’s clearly one of the best and most singular artists of the decade.

[7.5] Big Thief - Two Hands
Special entry since I usually stick to one record per artist. It’s just, really good.

[7] Loraine James - For You And I
This album got me loving my city again. The knowledge that a plurality of the country hates you really does affect you, so having an album that evoked the best bits of being in the contradictory, confounding mess I’m stuck in was really fucking crucial. It made me want to go back outside and dance.

[6] Holly Herndon - Proto
I wrote this twitter thread about the Pitchfork coinage of ‘conceptronica’ for this kind of conceptually burdened dance music. tl;dr the idea that this music is alienating is the most bizarre take. I love how concerned Proto is with the capacity of new technology, both in production and in thematic content, but it’s also lush and textured and enveloping in a way that it feels absurd to call distant and overthought or whatever. A stunning live show that leaned first and foremost on incredible live vocal performance

[5] fka Twigs - Magdalene
Ever so often I listen to this and think it’s slightly A-level drama? Like, a bit obvious? I dunno there seems to be a small backlash to treating this as a really insightful record, and I can kinda see why. Whatever, it’s still just a joyous thing to listen to, and she’s an incredible singer, and more often than not what she’s conveying lands, and when it does it’s fucking devastating.

[4] Caterina Barbieri - Ecstatic Composition
[‘graphic design is my passion’ meme, but it says sound design] It’s not complex, and it sounds fucking magical. That’s about it.

[3] Weyes Blood - Titanic Rising
I sold this to my mom as Carole King with a Jupiter 8. The best exercise in rock songwriting I’ve heard in a long ass time.

[2] Barker - Utility
Barker produced my favourite short release of last year, which included my favourite track. This doesn’t have any single standout to quite that level, but it’s instead one of the most brilliantly inventive and melodic dance records I’ve ever heard. So easy to get lost in for ages at a time.

[1] Big Thief - UFOF
Best single year for a band in as long as I can remember, one of the great guitar band albums of the decade.


Starting with a quick run from 50-22 (I help put together a list that asks for a top 20 and needed a track in reserve lol)

[21] Sunmi - Noir
I usually write a long thing wrapping up the year in K-pop, and this is the track that, while not the absolute best track, set the tone for the whole year. Given the context that she’s probably the highest-profile female solo artist in Korea, give the video a watch.

[20] Freddie Gibbs & Madlib - Palmolive
We got the best version of four of the best hip-hop artists out there. I know people have picked others off the record but this is too impressive to ignore

[19] Lee Gamble - BMW Shuanghaun X5
One of the most uncanny and strange and magical bits of sound design I’ve ever heard.

[18] Helado Negro - Fantasma Vaga
This track is a frisson machine. Somewhere between lo-fi hip-hop and about three different national heritages of folk music which is already special, but the delivery and the subdued tone are kind of magical. The last chorus is face-meltingly gorgeous.

[17] BewhY - Gottasadae
What is Black Skinhead was uhh. Not chaotic? Focused? Even more sonically adventurous? Had a better rap performance? And even more ego?

[16] Ayankoko - Downsides
Downsides is a new-age hypnotic bass music opus. Smashing together the sound palettes of Laotian traditional music, fake classical strings, hard-edged dance floor reinterpretations of trap and grime and IDM and glitch, bending time signatures and structures into unrecognisable and bewildering patterns. (s/o to Trytones off the same record which I almost picked for its sheer chaos)

[15] Caterina Barbieri - Fantas
It could be any single track on this record, and it was almost the tightly wound ‘Spine of Desire’ that comes after it, but ‘Fantas’ takes it for its subtlety and care as it opens up from spacey ambience, through trancey synth workout, into a breakdown and back to the most ecstatic heights. The record is titled Ecstatic Composition for a reason, and it takes after OPN’s R Plus Seven in finding a devotional quality in the inhumanity and plasticity of synth music.

[14] Jay Som - Superbike
s/o to Sparks by Beach House, which this track reminds me of in parts. It’s a graceful and melancholic indie pop track that turns into a latter day shoegaze anthem.

[13] Nilüfer Yanya - Angels
On these kinds of albums I think I have a habit of going for the tracks that show artists off at their most adventurous, expansive and daring. ‘Angels’ has a chord sequence so hypnotic and winding that I have sat down to transcribe it and still barely grasp how and why it works. It’s thrashy, desperate and strident.

[12] Caroline Polachek - Door
The opening vocal phrase is one of the best cold opens to a pop track I know of. Because of the hyper accurate and taut sound that comes out of the vocal performance and production, these looping, baroque swings and dives around her full vocal register feel at different moments plaintive, imperiously graceful or unsettling and uneathly. The whole record works because of how her voice trades between sublime, alien, and devastatingly human. ‘Door’ is just the best and most wondrously realised version of it. s/o to album closer ‘Parachute’ which this almost was.

[11] Big Thief - Contact
There are at least two perfect tracks on UFOF, but choosing between this and the title track is like picking my favourite thigh bone - frankly absurd, and they don’t really work without one another. ‘Contact’ edges it for its absurd dynamism and the screams, which I didn’t figure out were screams until I binged the live vids. See the Primavera version linked.

[10] Holly Herndon - Fear, Uncertainty, Doubt
I’m not the person who needs to be convinced of the expressive capacities of generative or algorithmic art. But this is just kinda astounding in how deliberate and composed it sounds. It has themes, that return and develop and recapitulate, all while being intricate and complex and uncontrollable.

[9] Pop Smoke - Welcome To The Party
Give more New York MCs drill beats. On my first night in NYC in September, I walked through Bed-Stuy to get tacos and overheard an old dude wander across the street and greet a friend hanging out outside a bodega by screaming “welcome to the party” at him. s/o to the drill and grime tracks this is keeping out for its sheer brilliance: the best bits from the AJ Tracey and Dave albums, Vossi Bop, Novelist’s Banger Riddim, RV’s Crep Shop

[8] Weyes Blood - Wild Time
The emotional heart of one of the best records of the year. It’s a minor masterpiece and I really, really hope that it doesn’t get lost among the flashier tunes and singles. It’s only at 8 because everything above this is hopelessly coloured by personal attachments. If I wasn’t a pop romantic/self-absorbed wanker, this would be number 2.

[7] Skrillex + Hikaru Utada - Face My Fears

[6] Barker - Hedonic Treadmill
There are certain Barker tracks that put me in a headspace that few other musicians can get me into.

[5] LOFT - That Hyde Trakk
Trans rave for the ages. She’s producing under the name Aya now, and if her album comes out next year, she’s odds on top 3 albums of the new year for me. Strange, messy, and swapping out the alien and glossy hyperpop for straight-up rave and techno tearouts. The most fun live show I went to all year too.

[4] Efdemin - Oh, Lovely Appearance of Death
The opening to a techno record that imagines a kind of fatalistic and damaged utopia inspired by the writing of Francis Bacon is an ambient soundscape and a stunning performance of a 1768 Charles Wesley hymn that drips with a distinctly American kind of tragedy. I have no idea how it came together, but it’s achingly beautiful. Whenever I go back to the Kentucky Route Zero soundtrack I imagine this as its logical conclusion, and when I hear this, my mind falls back into the dark fantasy of KR0.

[3] Carly Rae Jepsen - Julien
Yeah the album wasn’t as good as EMOTION but Good Fucking Lord when she’s on form the stuff she puts out is absurdly good.

[2] NCT 127 - Superhuman
The best pop track of the year is an NCT single and it’s even more absurdly obviously this time than last. Nothing has given me quite so much unadultered joy as Superhuman. The objective of this single was to break them (a mid-tier and fairly experimental K-pop group) in the US, and it roundly flopped. Who fucking cares, the track in equal measures nuclear electro house, irrepressibly groovy French touch, and dizzying RnB lushness.

[1] Big Thief - Not
This is a track of the decade candidate. I am obsessed with it, and I’m glad other people are too. s/o to Lofty who tweets me every month complaining about how this is all they’re listening to and they blame me for showing it to them. :stuck_out_tongue_closed_eyes:

Hope people find something they click with - happy Xmas and new year y’all x


I am sure I listened to an okay amount of new releases this year but none have left as strong an impression as Lost Wisdom pt. 2 by Mount Eerie with Julie Doiron.



PUP are cool Canadian punks singing about being depressed and thinking about morbid stuff. Their new album came out in April and I have yet to stop listening to it all the time.

This song is not really representative of the album, most of their stuff is less heavy but it’s my favourite from the album

They also performed with some Canadian puppets on national tv