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Although his meandering vocal melodies and piano lines are largely improvised, they appear to spill out of his mind fully formed. Hunched over a keyboard in the live setting, the Alabama-born musician and visual artist Lonnie Holley will take a line like "I went picking up in my memory" and repeat it over and over again, leaning into the words until they gesture at something larger than themselves. But you can tell that she's dreaming big, and the music makes that idea alone feel like an act of bravery. Of course, you don't need to know all that to get the wind knocked out of you by lead single and "aria" "Lonely OIOION," which plays out like a multi-part epic unto itself, threading bits of organ, strobing power electronics, and flute into an undulating cyclone of Hollywood-ready strings and guitar squall. Set to a score that includes an eight-piece chamber orchestra, its narrative of a tragic love affair between two divine beings is meant to be a parable for the origin of all things, but also a metaphor for the philosopher-musician's System of Transcendental Qabala, and an illustration of her long-gestating concept of Total Art.
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Per frontwoman Hunter Hunt-Hendrix, who has been releasing a series of lectures on YouTube just to explain it, it's an album, but also an opera, but also a film, starring Hunt-Hendrix herself. Just about everything about Origin of the Alimonies, the fifth full-length from New York experimental-black-metal-meets-everything project Liturgy, is huge. But who cares? Give yourself a break and just let yourself enjoy something stupid, at least for this year. "Bloody Valentine," driven by Barker's genuinely excellent drumming and a splash of gang vocals, is the perfect powerpop drug for 12-year-olds, cosplayers, Hot Topic shoppers, emo rappers, you, and certainly me, an adult who should know better. MGK knew this, hung out with Travis Barker a ton, some weird tattoo osmosis happened, and now he's made this very well-produced, delightfully bratty record. If you're between the ages of 19 and 37, there is a very good chance that at some point you owned Enema of the State on CD and you damn well liked it.
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Call Machine Gun Kelly a guilty pleasure if you must, but why have guilt this year when we've barely had pleasure? Unabashedly pivoting to pop punk was the smartest thing that MGK could do, both aesthetically (he has the anarchy symbol tattooed on his solar plexus, after all) and because a good pop punk song is eternally irresistible to the masses.