I’ve missed spring. I love cold and miserable weather just as much as the next gal, but I miss trees and generally spending time outside. The Seattle spring is gorgeous too; we started getting cherry blossoms in late February! Ain’t that fun? And like the flowering plants of the season, I’m finally coming into my own in my new home. It’s taken a while, but I’m starting to feel satisfied with how things are coming together in my life. A lot has happened this spring, but overall I’m happy with how it ended—and I’m looking forward to a good start to the summer. I just hope my Shae-List will be there for you at the start of your, hopefully, good summer.

The Criminal and His Willing Sacrifice in Repentance – Gudsforladt

Not unlike a previous Shae-List of mine, my most listened to song this season comes from the one album I just couldn’t put down: Friendship, Love and War by Gudsforladt. This track perfectly exemplifies the record’s knack for blending melodic and Atmospheric Black Metal into a sound that feels so effortlessly triumphant and exhilarating. The vigorous lead guitar line, thudding double kick drum, pounding snare rolls, and furious screeched vocals build an impossibly majestic atmosphere that becomes utterly intoxicating for the listener. Even the acoustic and folksy intro bolsters the song’s stunning ambience, giving it a feeling of a medieval fairy tale. Everything about the track comes into together into a beautifully enchanting and intense, yet unshakably catchy, piece of Black Metal that I fear I’ll never be able to fully put down.

A Passing Rain – The Beths

My mom and I don’t always like the same music, but when she introduced me to The Beths about a month ago, I was totally hooked. I adore the fuzzy, almost grungy guitar tone on the chorus – it feels so reminiscent of earlier Indie Rock – which actually pairs surprising well with the more modern-sounding, reverb-heavy, twinkly plucking on the verses. The song doesn’t just sloppily launch into the main riff either, it slowly escalates in volume and distortion over the course of each repetition to craft an explosive blast of wild Indie Rock energy. The riff is complimented by these excellent youthful and boisterous background vocals that breathe so much life into the track. I also just love the vocals – not only are the lyrics about feeling inadequate worded so eloquently but, the front woman, Elizabeth Stokes, just delivers these lines perfectly with her immaculate voice. Sometimes, moms really do know best.

Should’ve Taken Acid With You – Neon Indian

I was completely entranced by this song, more than anything else in the Chillwave genre. The plodding snare, the wobbly synths, hushed vocals, and shimmering leads create an impenetrably hypnotic vibe that I crave so desperately, yet so rarely get enough of, in music. It isn’t until subsequent listens of this little ear worm that its many inconspicuous layers reveal themselves. All the many pieces come together into such a fun, gleaming song drowning within an unforgettable psychedelic atmosphere.

Voyage Subliminal – Belenos

Oh look, another Black Metal entry for the list, how quaint! Rest assured my flowering dogwoods, this is on here for a very good reason. This song made it on the Shae-List because it has the most badass riff I’ve ever heard in black metal. It’s so bassy and thunderous, it feels like a wrecking ball coming in just to dismantle everything you’ve held near and dear to your heart. Paired with the heavy double bass drum kicks, the song just feels so unrelentingly powerful. It’s not common you hear a Black Metal track so low in pitch, in that way it reminds me a bit of Scarlet Evil Witching Black, if it had a stronger focus on melodic song structures and abandoned the symphonic textures so prevalent on that album.

Alive In The Septic Tank – Clarence Clarity

“Alive In The Septic Tank” proves that Alternative R&B doesn’t cross over enough with Electronic music. Everything about this song is catchy on contact, from the buzzing synth bass line to the yelping, boyish lead vocals, and especially the chanted group refrain. I even love the little instrumental accoutrements, the chimes and cymbal clinking and clashing, the sharp wailing synth during the refrains, and the backing vocals and the glitched sound effects laced into the track. Much like “Should Have Taken Acid With You” earlier in the list, it’s a song that slowly unveils its layers to you the more you dig; there’s something about that I really cherish when listening to music.

Misery Business – Paramore

You might not have noticed, but I really like Paramore. It’s hard not to love their raucous, angsty attitude, super tight playing, fun compositions, and Hayley Williams’ powerhouse of a voice – all of which are here in spades on “Misery Business.” I have a weird relationship with song, if I’m being transparent. I don’t really relate to the lyrics – I’ve never had such a petty rivalry with someone for the affection of another – so this experience is totally foreign to me and it sounds emotionally draining. In that way, I guess it’s similar to “You Belong with Me” by Taylor Swift. Instead, I treat the track as a song to hype me up whenever I’m getting ready in the bathroom. The energetic power chord strikes and pummeling drums keep me energized, meanwhile the ecstatic roaring chorus completely lifts my spirits. Despite its clear and unmistakable subject matter, it feels like the song can fit just about in any context to help keep me going, even through rough times.

Ngapa – DJ Danifox

I must admit, I’m little in over my head with this one. I don’t really know much about Angolan Electronic Dance Music, but I know what I like and I can’t get enough of this track. It has an undeniable killer groove made possible only with its light percussion stabs and skeletal trap drums. The instrumental perfectly matches the sparse beat with its flute, bongo, and vocal samples as well as its icy cold, almost ambient, synths. If I had to compare the sound to anything, it’d have to some of the cold and spacey dark textures you get from something like Untrue by Burial, but even they’re worlds apart from each other. The song comes together to build a super unique mood that has me completely mesmerized.

All My Tears – Emmylou Harris

In a delicate balance between Dream Pop and Alternative Country, Harris masterfully crafts a gorgeous and sorrowful ballad with “All My Tears”. It really is awe-inspiring how well these two different styles meld together on this song. The Country influence is clear as day with its strummed acoustic guitars, dramatic group choir on the chorus and outro, and twangy Southern-style electric guitar flourishes fluttering in the background. It’s the tactful implementation of subtle Dream Pop elements that really sells the track for me, like the rubbery bass-line and the splashes of reverb on the track that really builds that washed-out sound. Without these inclusions, the song would be missing its harrowing and ethereal atmosphere that makes for such crucial aspect of the track.

Elevate – St. Lucia

Not too long ago, the internet was totally enamored with idea of “co-worker music”. Regardless how you define such a term, this song was literally brought into my life from a co-worker, and what a song it is! The bright, shimmering, summery instrumentation weaves a brilliant sun-kissed tapestry of sound that’s undeniably infectious. I adore the reverb-soaked guitars, the bouncy bass line, and the punchy drumming that makes up the backbone of the track. I also really enjoy how the song progressively adds more elements that just perfectly expound upon the song’s sonic palette. The chanting vocal refrains, horn lines, hand claps, drum fills, and throbbing synth bass just meld into the song so well. It’s just a wondrously vibrant piece that feels like a fun and unforgettable day on the beach. Thank you, unnamed co-worker. Your contributions to the betterment of Leah-kind will not be forgotten.

Mo Dhòmhnallan Fhèin – Julie Fowlis

It took me long enough to get to some Celtic Folk on this list; it wouldn’t be a Leah Kirk Shae-List without at least one inclusion. Actually, this might be a hard song to talk about, as it’s sung entirely in Scottish Gaelic, which I don’t know how to speak, much to the chagrin of my ancestors. It’s also a simple song instrumentally, but it’s in simplicity that there is beauty. Fowlis delivers a truly breathtaking vocal performance with her soothing and elegant voice. The gentle acoustic guitar plucking matches the tone so beautifully set by her singing and the occasional touches of bagpipes and flute perfectly complete the song, turning it to a heartrendingly gorgeous piece of Scottish folk music.

Rêve de nos Ancêtres – Conifère

Ending their 2024 album L’impôt du sang with bang, Québecois Black Metal band, Conifère, finish with a fierce, 12-minute powerhouse of a song. The expansive piece seamlessly morphs from one blistering riff to the next, allowing each part of the song to grow and blossom into its own monumental section. The band’s subtle punk influences become apparent with the occasional d-beat and youthful guitar chord strumming, but it isn’t long til the wintry tremolo-picked guitars and frenetic blast beats come crawling back to remind the listener that Black Metal is still the star of the show. The track comes to a climax with a fiery lead guitar providing an absolutely exhilarating, albeit short, solo on top of the most imposing riff of the song. Not long after, the song closes out with a beautifully mournful acoustic instrumental. As seemingly abrupt and anti-climatic as the ending is, it doesn’t take away from how intense and amazing the rest of the track is.

Something Comforting – Porter Robinson

There’s something about music that can manage to be sorrowful and yet absolutely gorgeous that I find totally irresistible. “Something Comforting” is a song about wishing you could hear some positive affirmations during a time of need. Its weeping piano passages, eerily glitched sound effects, and somber plucked strings shouldn’t pair so well with bright slamming synth lines, yet it does. Everything about this is so impossibly bittersweet; the music perfectly fits that endless yearning for something more that’s portrayed in the lyrics. During the song’s more upbeat moments, we’re treated to this almost-celestial vocal wailing with these graceful, dancing piano lines on the top of radiant synth patches; it makes for an absolute blast of euphoric bliss, which contrasts so well with the song’s more melancholic parts.

Fall In – Cloud Nothings

Cloud Nothings manage to deliver a punchy and fiery Indie Rock track with palpable Punk influence on “Fall In”. The song manages to stay lively and vivacious without relying too much on distortion. Even the solo that closes the song out, despite how thrilling it is, isn’t that distorted. The vocals get a little aggressive on the verses, but it’s not really worthy of reaching for my mom’s fake pearl necklace. It may seem like a minor point, but it’s impressive just how much punk energy the band exudes without relying on the genre’s more abrasive conventions. On top of all that, it’s just a fun, vibrant, and catchy song with a dead simple chorus that practically begs to sung along to.

Dooyo – Dur-Dur Band

You little Joshua trees ought to know by now how much I love music from Africa – it’s pretty much required sustenance for me at this point. So, when I heard this effortlessly groovy Afro-Funk track from Somalia, I became totally enamored with it. The funky rhythm guitar does most of the heavy lifting in the instrumentals, laying down the backbone for rest of the track. What I really love about the song is the call and response vocals, they fit perfectly within the rests of the instrumental, creating this really infectious energy. The warm lo-fi sound of the recording just works so well with the minimalist instrumentation – and despite the song’s subtle elements, it never feels like it’s missing anything integral, instead, its stripped-back approach comes across as full of life and effervescent.

Worry Too Much – Buddy Miller

I think “Worry Too Much” might be the perfect Country song for me. It has just about everything needed to create that roots-y sonic palette and dramatic atmosphere that any good Country barn-burner could need. The bluesy, over-driven, Southern-style guitar flourishes, country fiddle playing, touches of organ, and even the Soul singers in background who are wailing their heads off all give the track the larger-than-life energy that the song would be just nothing without. It feels foreboding or ominous, like it’s the soundtrack to a coming storm, which actually compliments the lyrical themes of looming anxiety at the state of our world quite well. I just love soaking in its grand, almost-gothic vibe – I find it completely intoxicating.

Escape – Ho99o9

I’ve noticed that Hip-Hop artists generally have a hard time transitioning to making Metal and Hardcore Punk, but Ho99o9 manages to stick the landing where so any other acts have failed. “Escape” is a perfectly constructed, anthemic piece of Hardcore. I love how the song launches into the chorus after the verse with a thunderous blast of distorted guitars, grandiose backing vocals from both band members, and these intense, shouted vocals. I also like how spare the track is during the verse – just a fuzzy sounding bass and groovy drums – as it just allows the chorus to speak for itself and become the explosive monumental event Ho99o9 clearly planned for it to be. It’s just an enthralling smash of a song that has me excited for what the band plans on doing next.

Timebomb – Old 97’s

For an Alternative Country song, “Timebomb” has an irresistible, rowdy energy to it. The Punk energy comes out in spades right from the get-go with this blaring guitar riff, frenetic snare rolls, and the boyish, yelpy lead vocals. I also really like the backing vocals that subtly keep the lively attitude going. However, the song doesn’t fully come together until the chorus, where the whole band hollers into oblivion over the rambunctious instrumental. It’s one of those songs that just feels specifically made to yell all the words to while you’re speeding down the interstate, at least it does for me. I love songs like that; I need more of them.

I’m a Survivor – Reba McEntire

Much like “Misery Business” earlier in the list, “I’m a Survivor” is a go-to pick-myself-up anthem for me, which is fitting because that’s more or less what the song is: a song about defying the odds and to keep living your best life despite the obstacles in your way. It’s a sentiment that I find very endearing. And an early 2000’s woman-led Country ballad with that sentiment? I couldn’t possibly resist. It doesn’t hurt that the song has a gorgeous and gentle rootsy sound to it that feels so inviting in it’s softer moments, yet so powerful and uplifting during the chorus. McEntire also delivers a fantastic performance, giving the song the perfect amount of drama it needs to be really poignant to the listener.

The Valley of Strathmore – Silly Wizard

As if Julie Fowlis didn’t provide enough contemplative Scottish folk music earlier in the list, Silly Wizard has come in to bring another hearty dose. The instrumental backing of this song is just a thing of pure beauty. The gentle, weepy fiddle in the track makes up the core of the track, but the light and plucky finger-playing on the Celtic mandola, somber accordion, and airy flutes provide excellent accompaniment for the meditative elegance that track exudes. Over the 6-minute run time, the song slowly progresses and transforms, adding more elements that just compliment the stunning atmosphere of the song. I especially enjoy when we get some layered harmonizing on the chorus towards the end of the song, it’s the perfect send-off for such an immaculate track.

My Queen Is Harriet Tubman – Sons of Kemet

Despite my love for Jazz, it can be difficult to find modern records in the genre that really excite me. Sons of Kemet sidestep that problem entirely by dishing out some of the most fervent and rhythmically-dense contemporary Jazz I’ve ever heard. I love the rumbling percussion that kicks the song off; it lays the groundwork for the low, brassy tuba and the warm, passionate saxophone. The composed sections are amazing but the real meat of the song comes from the wild and bombastic improvised sections. The saxophone really comes through during these spontaneous moments with its wailing and squawking,, which pairs fantastically well with the bouncy tuba, the frantic cowbell clanging and cymbal crashing. It makes for such an intense modern Jazz spectacle that is a powerful, showstopping listen.

There we have it, my spring Shae-List. Truth be told, I had no idea what this one was going to look like this time around. I can always predict what my top song is going to be, but the rest just felt like spinning a roulette wheel and writing down what comes out—thank God for last.fm. Regardless, I hope all you lovely readers had an unforgettably amazing spring and I hope your summer is just as fantastic. I’m really excited for all of my upcoming reviews for this summer that I’ve been quietly working on. Here’s to a productive next few months for me and an enriching next few months for you.