The Scout staff has created a list of its favorite songs to listen to as we welcome the month of October, along with explanations and descriptions.
Rome Tews:
“Trying to Escape the Inevitable” by Pencey Prep
The eerie story of delusion told by Pencey Prep on this track is akin to watching your last candle burn out before you’re engulfed in darkness. Probably, at least; I’ve yet to forget the electricity bill. “Trying to Escape the Inevitable” blends a generally pretty punk sound with a dreamy, romantic bridge that feeds into the narrative.
“C*ntology 101” by Lambrini Girls
After a divine set at Riot Fest, also the first time I had heard of Lambrini Girls, the absolute hit that is “C*ntology 101” has been on my mind. The track represents a revelation that a lot of young people, especially women and other gender non-conformists, have to have: sometimes, you need to prioritize your own needs.
Latif Love:
L.O.A.T. by Veeze
I have been dying for Veeze to drop a new album, and L.O.A.T. isn’t a project, but it will satisfy my appetite for the time being. Veeze nonchalantly floats over the beat, smoothly rapping about how much fashion, money and women he has. It’s not groundbreaking rapping, but his cadence and pacing are elite.
TWENTIES by Giveon
Giveon pours his heart out on this song, discussing wasting his twenties on a girl. It resonated with me because I can relate to wasting years on women and not realizing until the relationship ends. He sings about the dangers of putting someone before yourself, and it can allow you to lose yourself—Chef’s kiss per usual from Giveon.
Scarlett Rose Binder:
“Run” by Collective Soul
When I listen to this song, I can’t help but reflect on how far I’ve come and have yet to go. It is an unexpected ballad that has grown on me immensely since my first listen. The incorporation of strings at one point is transcendental–the kind of music you might hear in a dream. As I listen to Ed Roland muse about whether he has a long way to run, I know there is so much ahead of me. It is an inspirational and devastating revelation all at once.
“Untouched” by The Veronicas
“Untouched” is infectious: a childhood favorite of mine that I sometimes forget. Rediscovering it is like reconnecting with an old friend. The synth-heavy song is full of “la-la-la’s”; its lyrics are repetitive, but they never lose their luster. All four minutes and 15 seconds are energetic and entertaining, so much so that as soon as it ends, I’m likely to press play all over again.
Injy Wasfy:
“Into Me” by Glare
The song is only five lines long, but it’s not the lyrics that capture attention. The hook starts with a guitar strum, patient enough to let it echo, timing each strum right before the last one fades. When the drums pick up, it feels natural with the lyrics. Despite the instruments dominating most of the piece, the lyrics flow with them, and the background notes punctuate the words. In essence, the song packs a wide range of moods into two minutes. And with the distinctions of every note, the instrumentals become lyrics in their own right.
“Entombed” by Deftones
The electric guitar is what sells this one. It starts with it and keeps the same rhythm throughout before fading off and closing with drums at the end. Through that consistent rhythm, however, are lyrics that capture the feeling of being trapped in unfulfilling loyalty. Where you would expect more of a quiet and somber instrumental for the subject, “Entombed” brings spikes and strums to keep the rhythm moving, giving the song an image of feeling used while floating in the galaxy at the same time.
Paul Swartz:
“Targets” by Derek Webb
One of my favorite rock songs of the past few years, “Targets” has a grungy, garage band sound. The drums have an unpolished, booming quality that makes you feel like you’re in the room with the percussionist. Webb’s impassioned and energetic vocals match the at-home feel of the surrounding sounds, but the star of the show is the grinding electric guitar. The opening riff is killer, but the lick that plays in the middle of each chorus is one of the nastiest guitar passages I’ve ever heard. “Targets” is a patient, endlessly cathartic track, and one of the most underrated songs of the 2020s.
“MONDAY” by Quadeca
Even though it was released just six months ago, “MONDAY” has quickly become one of my favorite songs ever. Quadeca’s songwriting is at its peak, with each verse representing a different season. But as good as the lyrics are, the majestic instrumentation is the main attraction. From the glistening piano melodies in the first chorus, to the bouncy drum breakdown in the bridge, to the gorgeous string passages in the climactic third refrain, I pick out a new detail on every listen. Every aspect of this track is operating on the highest possible level, coalescing together to create a song that’s as replayable as it is beautiful.
Jordan Jones:
“Zip Up My Fly” by Malcolm Todd
Malcolm Todd has been one of my favorite artists this year, and “Zip Up My Fly” is a big reason why. The feeling is light and playful, with lyrics that feel oddly sincere yet sentimental, and all put together with Malcolm Todd’s delivery makes this song stuck in your head for weeks on end.
“Die Trying” by Drake, PartyNextDoor and Yebba
Drake unfolds with PartyNextDoor, resonating over a simple acoustic guitar beat that makes the track feel intimate and raw. “Die Trying” is subtle but powerful, adding another strong track to Drake’s packed discography. PartyNextDoor contributes his recognizable vocals to the track, making listeners feel like they’re gonna start floating.
Ethan Diamond:
“For Sure” by Future Islands
Sometimes you have to go to a niche location to find your favorite songs. “For Sure” first became a favorite for me back in 2021, as it was on the soundtrack of MLB The Show 21, which to this date is my favorite sports video game I’ve ever played. Every time I listen to the song, I get brought back to that time of my life. There’s just something about it that’s so, for lack of a better term, perfect.
“Go Cubs Go” by Steve Goodman
I originally had a different song in my second slot, but I had to change it at the last minute. After the Cubs defeated the San Diego Padres in Game 3 of the National League Wild Card series, I was reminded just how much I love hearing this song when the Wrigley faithful sang it. Especially in October, hearing 40,000 fans sing about the team that’s got the power and the speed to be the best in the National League, it makes it a no-brainer for me to include the iconic song played after a Cubs win.
Mark Wagner:
“Natural” by Imagine Dragons
Sometimes, you just have to go back to times of simpler music. Imagine Dragons did just that with their songs in 2017 and 2018, including “Natural.” The vocals of lead singer Dan Reynolds never fail to impress me, going from a soft tone to the highest notes he can hit. Whenever I hear this song, it brings me back to the 2010s, like a distant childhood memory that seems so recent. It’s no secret that I listen to it over and over when I get the chance.
“New Tooth” by Rich Brian
The smooth beat and fast-paced lyrics of Indonesian rapper Rich Brian is very underappreciated. The best example of this is his 2021 single “New Tooth.” While the song is composed of the classic lyrics you would hear in most rap songs, the beat pulls you in like a magnet, combining perfectly with the lyricism that Brian brings to the table. Towards the end, the beat switches up, allowing for a new feeling to take over your body while he continues to provide his unique rap vocals. This song has been on my playlist for years, and it continues to be towards the top of it as well.
Davis Kinch:
“Rolling Stone” by The Weeknd
The Weeknd’s “Thursday” mixtape is often not given as much recognition as it should be given. “Rolling Stone” is a song that perfectly defines what The Weeknd’s early life and career was like, stuck in a constant cycle of depression and using drugs to numb the pain.
“After Hours” by The Weeknd
In this song The Weeknd describes feeling heartbroken while also being filled with regret. Even though he is clearly going through a break-up throughout the song, he also can’t help but feel that he is at fault and responsible for why he was left.
Celine Lamirand:
“Beachboy” by McCafferty
This song was released with the “Beachboy” album back in 2014, but recently passed 300 million streams on Aug. 4. What draws me to this song is the messy guitar and rebellious lyrics. Something about it reminds me of those cheesy movies about teenage angst. If you listen to this song, I feel like you can definitely tell what time it is from. It has a feel of grunge and angst with a little bit of garage band therapy.
“AI” by Ghostemane
Ghostemane is my favorite artist of all time. I currently hold a record of five straight years of Ghostemane being my number one listened to artist on Spotify. What hooks me to his music is the dark and grungy instrumentals and the takes on struggles with depression. From his album “Anti-Icon” released in October of 2020, “AI” is by far my favorite. From my understanding, he talks about how within the music industry rappers will deceive you and hide their true colors, focusing on money rather than their community. Then, they will eventually be “sold to a label” then never be seen again. He goes on to later mention how he personally doesn’t care about a critic and instead would “live and die for the kids.” Personally, I appreciate when artists are aware of the way the music industry functions and isn’t afraid to speak out about it.
Nikko Wotherspoon:
Trebles Finals: Bright Lights Bigger City/Magic by The Treblemakers
There’s something brilliant about seeing college boys sing a cappella, especially 22 year old Ben Platt. The blend of “Bright Lights, Bigger City” by Cee Lo Green and “Magic” by B.o.B scratches my in all the right ways. The transitions are seamless and the energy between both songs creates this perfect harmony that just works. The upbeat confidence of “Bright Lights, Bigger City” meshes perfectly with the smooth, laid-back vibe of “Magic.” Not to mention Ben Platt’s vocals in the second verse are the real showerstopper. His control rage and passion for singing elevates the performance beyond a song from a movie.
“Daddy Cop (From the show ‘The Rookie’)” by Zander Hawley
This song is my Roman Empire. I literally cannot escape this song regardless of whether it’s on social media or when I’m rewatching “The Rookie.” The song is pure, unfiltered fun, and in all the best way possible. Hawley’s delivery sells it all completely, there’s this level of confidence and earnestness to his performance that makes the comedy land even harder. The way the song builds and the vocal choices throughout show real comedic timing. Hawley knew exactly what they were doing with this song.
Jessica Taylor:
“Two” by Sleeping at Last
I could write a whole essay on this album and song, but the short version is that Sleeping at Last made songs for each of the 9 Enneagram types. I’m a personality typing nerd, so this probably means more to me than it does to anyone else, but essentially, the Enneagram system focuses on your core fear and desire. The type two core fear is being unwanted/unloved, with its core desire being to love and be loved (not necessarily romantically). This song captures that beautifully. Its arrangement relies solely on stringed instruments, symbolizing both the strings that can come attached to love and the self-sacrificing nature of affection (“take the oxygen straight out of my own chest”). There’s a desperation woven deeply into both the lyrics and instruments, and as a whole, it is composed into a desperate message to tell others the needs you never voice.
“Waiting Room” by Phoebe Bridgers
“Waiting Room” is, at its core, about longing. Longing for something better, something you want to be good, something that for whatever reason, you can’t reach. The verses are great, wanting to wait for something that might not even be best for you. It talks about wanting to never move on, but the real hard hitter is the outro. One line, “know it’s for the better” over and over again, until it takes whatever longing you have out of your chest and leaves you gapingly empty. Maybe it really is for the better, maybe it isn’t. The phrase disguises itself as comfort and rips everything out of you; and sometimes all you can do is let it.
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