Song of the Day #5,962: ‘Claw Machine’ – Sloppy Jane feat. Phoebe Bridgers

One of the main reasons I’ve come to love horror movies is that, for all of their lowbrow pleasures, they so often are high art. Horror directors play with style, form, and technique with a freedom and fervor you don’t find as consistently in other genres.

I think part of that has to do with budgets. Horror films are famously low-budget affairs, which benefits them in a couple of ways. First, it forces filmmakers to innovate, whether it’s using practical effects or utilizing camera movement and editing to generate suspense. The most famous example is probably Jaws, in which Steven Spielberg came up with his shark’s-eye view because his mechanical shark wasn’t working.

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Song of the Day #5,603: ‘Nothing New (feat. Phoebe Bridgers) (Taylor’s Version) (From the Vault)’ – Taylor Swift

Nobody seems to have cracked the code behind the order of Taylor Swift’s ‘Taylor’s Version’ re-recordings (and Swifties being Swifties, many have tried). Swift started the project by releasing her second album, Fearless, skipping over her self-titled debut. And she followed that one with 2012’s Red, her fourth studio album.

Red is a fan favorite, and the album where Swift started shedding the “country” part of her signature country-pop sound. The album features a few songs that would have fit comfortably on Fearless, but it also contains three dance-pop tracks co-written with Swedish hitmakers Max Martin and Shellback.

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Song of the Day #4,541: ‘Kyoto’ – Phoebe Bridgers

New York Times music critic Lindsay Zoladz placed Fiona Apple’s Fetch the Bolt Cutters in her #1 spot, but her second best album of 2020 belongs to another fiercely independent female indie artist: Phoebe Bridgers.

Bridgers broke out this year with her sophomore album, Punisher, earning Grammy nods for Best Alternative Album, Best New Artist, Best Rock Performance and Best Rock Rong (the latter two for ‘Kyoto,’ today’s SOTD). The Los Angeles-based singer-songwriter previously earned a cult following for her evocative, and deeply melancholy, folk rock.

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