"VIDEO KILLED THE RADIO STAR" THE BUGGLES (1980)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

Occasionally, songs have the power to become more than just songs. They have the ability to become cultural icons, representing a moment or even an era in time. This is no easy feat. But it’s what I love most about music. That it can transcend the music notes. If you were to think of the one song that captured the dual advent of MTV and new wave, you would be hard pressed to find a better example than this Buggles anthem.

Thematically, “Video Killed The Radio Star” was the perfect poster child for the invasion of MTV on cable television. The song represented a seismic shift in music listening – from radio to television. The Buggles were prophets, predicting this video thing becoming more than just a thing. Of course, it helped that the song itself was incredibly catchy. Aside from that unforgettable melody, it’s the synthesizer that really stands out - the instrument behind not just one or two iconic riffs in the song, but several.

“Video killed the radio star. Pictures came and broke your heart.”

"LIVING IN OBLIVION" ANYTHING BOX (1990)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

By the late 80’s and even early 90’s, a late resurgence of synth pop made its way onto the radio waves – led by a handful of bands, including Information Society, When In Rome, Kon Kan and Anything Box. This “newer” wave felt like it was fashionably late, and didn’t feel over-ripe by any means. The resurgence stubbornly and unapologetically clashed with the guitar-driven grunge era. And one of the era’s best outputs was “Living In Oblivion” by Anything Box.

Anything Box sounded like a bright, upbeat strand of Brith synth pop, but the band got their start in New Jersey – a region that benefited from several college and alt rock radio stations that made synth pop an everyday staple. The best part of the dance-oriented “Living In Oblivion” is the melody, but the synthesizers and drum machine (love that iconic drum fill and cowbell) do their part to drive the song forward on the dance floor.

“You can’t hide the pain, I can see it scrawled on your empty face.”

"MY GIRLS" ANIMAL COLLECTIVE (2009)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

For several decades, various bands have often been compared to the creme de la creme. Are you progressive enough like early Floyd? Can you combine various genres like Hendrix? Can you write melodies and experiment instrumentally like The Beach Boys? The latter comparison seems to be one of the most common ones. Seems like the minute Pet Sounds was released, critics wanted to see who could match it or even exceed it. Merriweather Post Pavilion certainly has earned a right to be in those discussions. It’s like a modern-day Pet Sounds and “My Girls” is Animal Collective’s own “That’s Not Me”.

The song opens with an audio sample from the Cassini-Hyugens spacecraft which explored Saturn, its rings and its moons. From there, the iconic and mesmerizing synth hook trickles in like a waterfall. The percussion elements are sparse, but powerful with every hit. The primary strength of “My Girls” is undoubtedly the vocals. The verses are sung in rounds. The buildup into the chorus features these background falsetto blips. And the chorus is anchored by Panda Bear and Avey Tare’s harmonies. A song about family and settling down, “My Girls” is experimental to the bone, as evident in its instrumentation, vocals and song structure. It is truly deserving of the lofty Pet Sounds comparisons it drew.

“I JUST WANT FOUR WALLS AND ADOBE SLABS FOR MY GIRLS.”

"THE SUN ALWAYS SHINES ON T.V." A-HA (1985)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

A-ha enjoyed considerable success in Europe, but in the States they were considered a one-hit wonder. “Take On Me” became one of the most well-known synth pop songs of its generation, thanks to that iconic keyboard part and a music video that blended animated characters with real-life people. Thankfully, it was the exposure on MTV of “Take On Me” that led me to discover an A-ha single that I loved so much more: “The Sun Always Shines On T.V.”.

Purists will say this isn’t really a synth pop song because the guitar plays a prominent role. But I’d argue that this is a synth pop song to the core because the synthesizer is the heart and soul of this song. It’s responsible for nearly every major moment on the track. It creates the dreamy interlude in the beginning. It ushers the song into overdrive at the :50 mark. And it’s the star of the instrumental chorus portion toward the end, not the guitar.

“I Reached inside myself And found nothing there To ease the pressure off My ever worried mind.”

"DISINTEGRATION" THE CURE (1989)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

Disintegration might be my favorite album of all time. There’s not a single second of filler on it. While my order of favorite tracks may have shifted over the years, one song has always stayed #1: the title track. It’s not only the magnum opus of the album and my favorite song from the band, it’s the quintessential Cure track – both as a produced piece and as a frequent inclusion on Cure concert set lists.

The song opens with the sound of glass shattering, and then immediately hands the duties of keeping the mood alive over to Gallup, who delivers one of his more memorable bass lines. Guitars and keys are given their time to marinate. On “Disintegration”, they’re cascading along a never-ending downward spiral, becoming a microcosm of the entire album that keeps descending further and further into the abyss. Robert’s vocals finally enter the picture at the 1:34 mark. But in the live setting, it’s the critical piece. It’s the element that makes “Disintegration” feel truly immersive. On Disintegration’s title track, we are not passive participants. We are part of the story.

“Songs about happiness murmured in dreams
And we both of us knew how the end always is.”

"HEAVEN OR LAS VEGAS" COCTEAU TWINS (1990)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

It’s a shame more people don’t know the remarkable beauty and ingenuity of Cocteau Twins. The Heaven or Las Vegas album may have been their most well-known effort, but it still soars blissfully under the radar after all these years. The band helped create the soundscaped genre of dream pop much like how My Bloody Valentine helped shape the shoegaze equivalent. The title track, in particular, is one of my favorite Cocteau tracks to get lost in.

“Heaven or Las Vegas” emanates and enlightens. It could’ve made the darkest recesses of the earth sound euphoric. Elizabeth Fraser, once again, sounded more angelic than human. The swirling synths are practically hypnotizing, while the guitar holds you in a steady trance with these gorgeous cascading arpeggios and soaring riffs. Clocking in at nearly five minutes, “Heaven or Las Vegas” has become a shining example, not just of dream pop, but of any soundscape genre.

“I want to love. I've all the wrong glory.”

"LET'S STAY TOGETHER" AL GREEN (1972)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

Many of the greatest movies of all time often have great music attached to them. But great music from the opening credits to the end credits, well, that’s a rare commodity. Pulp Fiction carries the noteworthy distinction of being one of the great films as well as one of the great soundtracks of all time. You can’t pick just one song, every single one of them is exceptional. “Let’s Stay Together” is probably one of four marquee tracks on the album, along with “Jungle Boogie”, “Son of a Preacher Man” and “Bustin Surfboards”.

What makes the Al Green song so special? I think it’s this. There are few songs in the history of music that capture the essence of their era so well while also demonstrating a timeless staying power. “Let’s Stay Together” is one of them. It is unapologetically 70’s to the bone. Like a time capsule of the era. But this classic has also aged beautifully. Pulp Fiction proved it. The horn section beckons us in the intro, but from there it’s all Al. It’s a gift to the world. Without exaggeration, one of music’s greatest vocal performances with Green’s natural vocal range and falsetto maneuvers so naturally entwined.

“WHATEVER YOU WANT TO DO IS ALRIGHT WITH ME.”

"PULASKI AT NIGHT" ANDREW BIRD (2013)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

Some of the most powerful songs we have are the ones written about the songwriter’s hometown. The majority of songs take on an authenticity and a personal meaning that go far beyond the stereotypes and expectedness. It’s those elements or raw and real that seap into a song’s bones, like John Mellencamp’s “Small Town”, Red Hot Chili Peppers’ “Californication”, Billy Joel’s “New York State of Mind”, and the list goes on. This takes me to Andrew Bird’s title track off I Want To See Pulaski At Night.

I’ve seen Bird perform this a handful of times at various venues—from Terminal 5 to Brooklyn Steel. What strikes me most about the song is its versatility. It was the beautiful violin arrangements that won me over at first. While I’ve seen both full string performances and stripped-down versions, later I came to realize it’s Bird’s love letter lyrics to his hometown of Chicago and the melody that it dances along to that I love most about “Pulaski At Night”.

“I PAINT YOU A PICTURE OF PULASKI AT NIGHT. COME BACK TO CHICAGO. CITY OF, CITY OF LIGHT.”

"PINK MOON" NICK DRAKE (1972)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

Word has been out for several decades now, but for a time Nick Drake was one of music’s best kept secrets. Artists like Robert Smith drew upon Drake’s inspiration early on, but many fans didn’t even know who Nick Drake was or heard anything from his relatively short, but profound catalog until years after his death. With a return to cleaner acoustic-driven, folk-inspired, singer-songwriter records after the grunge era, Nick’s music resonated with fans, including the title track to the last album before his death: “Pink Moon”.

In between verses, Nick sings “Pink, pink, pink, pink”, going lower with each repetition, demonstrating the deep richness of his oak-barreled baritone voice. It’s a marvel to behold that a voice so deep can be so delicate and even serene – a stark contrast to the raw edge found in singers like Johnny Cash, Ian Curtis and Tom Waits. Nick’s voice – not just his vocals, but his message – has no peers. Even still today.

“I SAW IT WRITTEN AND I SAW IT SAY, A PINK MOON IS ON ITS WAY.”

"HELPLESSNESS BLUES" FLEET FOXES (2011)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

Some bands have that ability to transport us back to another era. With the Fleet Foxes, I feel like I’m in Woodstock, laying on the lawn and getting lost in the fantastic harmonies of CSNY. This is not a slight to the band that they make me think of another band. The songwriting, melodies and vocals are all still entirely Fleet Foxes. Just listen to “Helplessness Blues” to hear all the proof you need.

The album, as a whole, is considered to be one of the finest folk records of the 21st century. It has appeared on many “best of 2011” lists and has even earned a Grammy nomination. While I don’t pay much attention to these types of accolades, I think it’s relevant here because of the type of music we’re talking about. Helplessness Blues helped bring this brand of folk music back to the forefront.

“I don't need to be kind to the armies of night that would do such injustice to you.”

"CANDLELAND" IAN MCCULLOCH (1989)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

From 1989 to 1990 I had Candleland on heavy rotation on my boombox. My radio station WDRE introduced me to the singles (“Proud To Fall”, “Faith and Healing”), and the rest is history. I like Echo & the Bunnymen, but they’re a band whose albums I rarely listen to from beginning to end. But that was never the case with McCulloch’s debut solo album. I listened to it in its entirety over and over again – and the title track was one of my favorite songs of the bunch.

“Candleland” has that dreamlike dimension to it with McCulloch’s gentle cascading guitar riffs. It’s been decades since I last heard this song, but McCulloch’s guitar brings me right back to the summer of 1990. I didn’t know it at the time, but that’s Liz Fraser (Cocteau Twins) on backing vocals. If you wanted to give your song an angelic quality, you can’t find a better accompanying vocalist than Fraser. “Candeland” is a euphoric three-minute escape from all that weighs us down.

“Wear your guilt like skin And keep your sins disguised.”

"BROTHERS IN ARMS" DIRE STRAITS (1985)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

Dire Straits has to be one of the more underrated rock bands out there. Their sound may not be up everyone’s alley – including mine – but the musicianship and originality are admirable. Knopfler is a masterful guitarist that rarely seems to get mentioned among rock’s greats. But he should. You could point to many different songs for proof: “Once Upon A Time In The West”, “Romeo & Juliet”, “Sultans of Swing” and the title track from their 1985 album.

“Brothers In Arms” is my favorite track off the album. A phenomenal, slow winding epic, which is a rare find these days. The sparseness, bluesy guitar work and vocal delivery have a distinct Pink Floyd-esque vibe. Knopfler is no Gilmour, but he’s a genius in his own right. I have to tip my hat to Knopfler for his guitar solo on this track. It’s a thing of beauty that melts me every time. “Brothers In Arms” has become a popular song played at memorial services for military servicemen. I can only imagine what that solo does for the loved ones of fallen soldiers.

“In the fear and alarm You did not desert me. My brothers in arms.”

"RESISTANCE" MUSE (2009)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

Muse is a band that was a bit of an acquired taste for me. While I’m relatively open-minded to different styles and genres, I do lean toward a “less is more” mentality, preferring minimal to maximal. But I started to appreciate Muse’s “more is more” approach when my son took an interest in the band. I started to appreciate the level of musicianship and complexity of arrangements despite being a three-piece band. I started to appreciate the diverse musical phases of Muse – metal bangers, prog epics, vast synthscapes, pop melodies. And somewhere in the middle is the title track from the 2009 record The Resistance.

The title track is the glue that connects the guitar-driven opener “Uprising” and the synth poppy “Undisclosed Desires”.”Resistance” is an aural tour de force that combines accessible synth hooks, melodic bass lines, and deafening guitar riffs. It leans in on just about every Muse impulse (except the metal banger side). “Resistance” is also quite the live anthem, a song concert attendees can’t help but belt along to as if they were part of the resistance themselves.

“You'll wake the thought police. We can't hide the truth inside.”

"1999" PRINCE (1982)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

Prince is one of those artists that’s more impressive to me in retrospect. Looking back, it’s simply mindblowing how much ground he covered musically. He ruled in so many different genres, from synth pop to funk to rock to R&B. And, in many cases, he was a pioneer, being the genius behind many music firsts. “1999” is one such song, pushing the lyrical boundaries of pop and paving the way for the Minneapolis sound.

This was a song that I heard and viewed constantly on MTV. The video simply didn’t give it justice because it only reinforced the fact the musicians indeed wanted to “party like it’s 1999”. But the impressive thing about this early hit was that it was a protest against nuclear proliferation. It was a politically charged piece, but people saw it as a party song. On the entire 1999 album, Prince played almost all of the instrumental tracks — and his synth work on the title track was especially impressive on two fronts. First, it sounded like nothing else out there. Second, it helped create a divergent synth pop path away from new wave and into a new genre that bared Prince’s hometown name: the Minneapolis sound.

“War is all around us. My mind says prepare to fight. So if I gotta die I'm gonna listen to my body tonight.”

"PET GRIEF" THE RADIO DEPT. (2006)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

If you don’t know The Radio Dept., think Pet Shop Boys meets Cocteau Twins. Icy synth riffs go hand in hand with the dream pop world created on Pet Grief. Is it too polished? Possibly. But it’s that sense of gliding with the music that gives the record its edge. It’s an ambient record where one song bleeds seamlessly into the next. I had to table it at first when I was first introduced to them. The Radio Dept. didn’t rock hard enough for me. But eventually my openness to dream pop emerged, starting with the title track.

“Pet Grief” doesn’t rock to be sure, it rolls. This is the pace and stance of the entire album where the title track serves as a microcosm of the greater world that The Radio Dept. creates inside our heads. The Pet Shop Boys’ influence on the band is uncanny with the various synth parts all reminiscent of Chris Lowe’s canon. Johan Duncanson’s vocals seem almost despondent, which works well on this track whether he meant it or not.

“I'll shut my mouth for you. Anything you want me to.”

"THE UNFORGETTABLE FIRE" U2 (1984)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

As a child of the eighties, my music collection consisted mainly of cassettes. I missed the golden years of vinyl – and spent many years buying or duplicating cassettes before CDs were ever a thing. And the Unforgettable Fire, with its maroon and gold cover, was one of my most played cassettes. While “Pride” and “Bad” were the highlights, the album didn’t have a single filler track. For the next several years, the title track, in particular, was a staple on my local alt rock station.

The Unforgettable Fire album ran at three different paces. The slow tempo side was represented by “Promenade”, “4th of July”, “Elvis Presley and America” and “MLK”. The fast tempo side was occupied by the likes of “Wire” and “Pride”. In between, the mid-tempo songs included “A Sort of Homecoming”, “Bad”, “Indian Summer Sky” and “The Unforgettable Fire”. The title track shimmers and shines with The Edge’s understated guitar work and flourishes on keys, while Bono sings one of his most memorable melodies in the chorus.

“Walk on by, walk on through, So sad to besiege your love, So, hang on.”

"STRANGE DAYS" THE DOORS (1967)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

Even if it’s not your cup of tea, The Doors demand your respect. Few bands carved out a more compelling crossroads of blues, rock and psychedelia. The music – at times – seemed almost possessed. The instrumentation was truly distinct – as they were one of the first bands to prominently feature keyboards and organs. And their frontman – Jim Morrison – is one of the greatest of all time, inspiring everyone from INXS’ Michael Hutchence to Echo & The Bunnymen’s Ian McCullough. My favorite Doors album is their second release Strange Days, which opens with the title track.

The famed key part on “Strange Days” actually isn’t Ray Manzarek. It’s Morrison himself, playing the moog synthesizer. “Strange Days” was one of the first recordings to feature this mainstay instrument, a case in point to the innovative side of The Doors. The moog synthesizer would become as integral to rock and pop as the electric guitar. Despite being overshadowed by the classic singles “People Are Strange” and “Love Me Two Times”, “Strange Days” is arguably more quintessential Doors in its ability to create a world for you to get lost in.

“Strange days have found us.”

"BLACK CELEBRATION" DEPECHE MODE (1986)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

The start of Depeche Mode’s imperial phase began w/this title track opener. DM has a treasure trove of phenomenal opening tracks – and many fans still cite Black Celebration as the band’s greatest album from beginning to end. It is one of my favorites for many reasons. First, it’s an album with no weak tracks. Every song is strong on its own, and collectively they’re that much stronger. Second, this is the album where DM solidified and defined their darker brand of electro pop. No other band sounded like them – and perhaps there’s no better example of this than the aforementioned album’s title track.

“Black Celebration” is a rite of passage into an illustrious album of pop songs (“But Not Tonight”, “Fly On The Windscreen - Final”, socio-political commentary (“New Dress”), enveloping intimacy (“Here Is The House”, “Sometimes”, “A Question of Lust”) and epic rock (“Stripped”, “A Question Of Time”). It may seem like a collection of disparate parts, but the menacing synth lines from Alan Wilder and Dave’s ominous vocals on “Black Celebration” are the glue that brings all these great songs together.

“Your optimistic eyes seem like paradise to someone like me.”

"HOW TO SAVE A LIFE" THE FRAY (2005)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

This title track brings me back to a moment my wife and I had while lounging on Psarou Beach in Mykonos. We felt like we were on top of the world. We were on our honeymoon. And we had just discovered the Greek Isles, our new favorite place in the world. A few college kids were nearby, laughing, drinking, not a care in the world. They had one song playing out loud on repeat. That song was “How to Save a Life”, a song that many of us played endlessly back in 2006-07. I remember that day on Psarou Beach like it was yesterday.

The song itself feels like a window into a bygone era. In those early 2000s, a resurgence of piano-based rock was happening with bands like The Fray and Keane. Having grown up playing piano, these bands appealed to me. How they were able to make songs that rocked as well as ballads like “How To Save A Life” with the instrument. This track, in particular, was beautiful in its simplicity – leaning on the piano’s single note arpeggios to dot the landscape of the song, while Slade laments on and on about wasted efforts to save a troubled teen. It brings me back to Psarou Beach every single time.

“I would have stayed up with you all night had I known how to save a life.”

"SOLITUDE STANDING" SUZANNE VEGA (1987)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

One Saturday afternoon in high school, I went to the old Tower Records in the Village and waited among the throngs to meet Suzanne Vega. She was quiet, but assuredly in command. That same eccentric stature and personality are on full display on “Solitude Standing” where Vega’s eerie confidence comes through even in a whisper. “Luka” and “Tom’s Diner” were the bigger hits. But the title track is the one that showed Vega at her best, unapologetic self.

“Solitude Standing” stands firmly in the album’s midway point. It seems as if we’ve walked into a labrynth of synth shards, guitar meanderings, snare hits and Vega’s pensive vocal output. It’s easy to lose yourself in the music, which is why I love it so much. But that’s only part of what works best. “Solitude Standing” is also a portal into the second half of the album. While the first half had a darker, seedier side, the second half envelopes the listener in a more ethereal fantasy world.

“I've come to set a twisted thing straight.”