did u write this whole article to compare yourself to zuck be honest

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“Brave for You” is the first time Romy Madley Croft has written a song about her parents' deaths. Her mother died when she was 11, and her father died while she was touring xx at 20. She considers the main theme in her post-Coexist songwriting coming to terms with their deaths after the band’s initial whirlwind of success.

The song is about Romy pushing herself out of her comfort zone. She feels that living as full of a life as possible is one way to honor their memory, even if it doesn’t come naturally to her. This extends to continuing her musical career, as her parents always supported that pursuit: this is part of the reason she continued touring the first album even when her father died during the tour.

Romy made a joking remark about how this means she’s now confident enough to order room service, but Oliver was more serious about how she’s grown as a person:

[Romy’s] the perfect example of, “If something scares me, I’m going to do it for the sake of growth.” I don’t think it’s in her nature to lean into discomfort, but she does it.

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What started with a frenetic drum pattern that Matt Barrick came up with in a jam session built up to one of the most acclaimed songs of the 21st century. Each verse of “The Rat” starts with the narrator feigning cold indifference towards an ex-lover before crumbling and begging for them back by the end of the verse.

The track is The Walkmen’s biggest critical and commercial success. It featured in the MLB 2K7 soundtrack and was named on multiple “best of” lists: NME’s 13th best song of the 2000s and Pitchfork’s 20th favorite of the aughts.

“The Rat” gestated for a few years before it was properly recorded. It was a part of the band’s live sets at least 2 years before it was released as a single. Future Walkmen intern and Vampire Weekend frontman Ezra Koenig confirmed that he heard an earlier version of “The Rat” over a year before it was recorded, when it was still titled “Girls at Night.”

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I’d personally switch this with “In A Black Out” and move it up a few spots, but this is a pretty fair spot for whichever song we choose to represent the album.

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I’ll take the fact that this was the last album to get an annotation as a sign #22 is a pretty good spot for it?

I quite liked this album and had it around this spot in my own list, so I’d support it sitting tight right here.

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I love Vince, but for a 22 minute project to make the list it would have to be him spitting the best bars of his life from start to finish. Instead, a lot of time goes to spoken word skits/outros, extended samples (“War Ready”), and average features.

Don’t really think this should be on the list at all, but I’d like to see “Smile” do well in the SOTY list.

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Way too low imo! Very consistent, lots of replayability, at least 2 SOTY contenders, with a very unique sound. Rostam is on top of his game and Leithauser’s delivery work perfectly here.

I think mid-late teens is a fair spot for it – at the very least it should jump to the low 20s.

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This sample is from “I Can’t Go For That (No Can Do)” by Hall & Oates. It is the first ever vocal sample in a The xx song, and only the second sample of any type after “Chained” sampled a few seconds of a drumroll from “Lillies of the Nile”.

Producer Jamie xx utilized vocal samples extensively on his debut solo album In Colour on songs like “Good Times,” “Gosh,” and “Loud Places.” Jamie said before the release of In Colour that his solo work “definitely informed what we’re doing for the next [xx] album” and it shows in I See You’s more colorful sound and stronger reliance on samples.

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I wasn’t too high on this album, but there are at least a few songs worthy of consideration for the SOTY list.

This is my favorite of the bunch, but “Dracula Teeth”, “Aviation”, and “Sweet Dreams, TN” could all be on here as well – realistically in the last quarter of the list.

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