contains the phrase, ‘I know’,  repeated in resigned acceptance. 

It’s heard in groups of three,  usually finishing restfully on  

the tonic – the note that sounds like home. But on the last time, the melody wanders,  

an ellipsis that sets up the  song’s intense final minutes. 

9: Phoebe’s Boygenius bandmates, Julien Baker and  Lucy Dacus, join in the outro of ‘Graceland Too’. 

These lyrics echo the end of ‘Halloween’,  where they feature Conor Oberst,  

of Bright Eyes, instead. Chromatic mediant chords are  

used for contrast here: E flat major,  with a regular G, and G flat major. 

8: Movement from E flat major to G flat  major is also used to highlight the  

ending of the choruses on ‘Moon Song’. This is followed by one of Punisher’s  

most striking lines, about the  death of Eric Clapton’s child. 

It’s a poignant reflection on the relationship  of listeners, musicians and emotional expression. 

7: ‘Garden Song’ includes some of Phoebe’s most  beautifully observed and idiosyncratic lyricism. 

Above a muffled kick drum and heavily filtered  guitars, she recounts a recurring, mutating dream. 

The words ‘tidal wave’ are awash  with reverb, while the next line uses  

breaths and vocal melismas. 6: Unlike ‘Garden Song’,  

where the kick is almost subliminal, on  ‘ICU’, it acts as more of a focal point. 

In the chorus, the texture  thins and a four-on-the-floor  

rhythm underpins the line ‘I feel something’. Drums are linked to the romantic interest, from  

verse two’s backbeat to the fills in the bridge. 5: Drum fills are also central to  

‘Chinese Satellite’, where they accent  transitions from one section to the next. 

Each is grander than the one before: a low rumble  or the panned skitter and clatter of a snare drum. 

At the song’s climax, these elements are combined  with the noisy scrambling of an electric guitar. 

4: ‘Savior Complex’ is even more adventurous with  texture – especially just after the title line. 

A reference to skeletons in  the closet briefly pushes the  

arrangement into a kind of macabre waltz. Later, eerie tones melt into gorgeous,  

opulent strings, before the  nightmare threatens to resurface. 

3: The title track may be  understated, but its inventive  

use of vocal processing immediately grabs us. A lyric about hiding in plain sight is knowingly  

sung a cappella, shrouded by a cloak of reverb. The most memorable line takes a different  

approach, its overlapping parts  refusing a neat resolution. 

2: ‘Kyoto’ may be an anomaly,  with its cheery intro and its  

intentionally simple indie rock beat. But each chorus ramps up the anguish,  

leaning into the note that’s a  dissonant tritone above the bass. 

Despite the tension, though, we do find relief, as  the melody winds its way back down to the tonic. 

If you haven’t already, remember  to like and subscribe. Here’s the  

final entry in our countdown. 1: We’ve heard about the final  

track’s line ‘I know’, but its most  explosive material comes at the end. 

A plaintive violin leads us into a conflicted yet  cathartic road trip across apocalyptic America. 

Over group chants of the phrase ‘the end is here’,  cymbals crash, guitars squawk and trumpets call. 

Then four and a half minutes in comes  carnage, with darker harmonies and  

shrieking that eventually collapses in on itself. Let us know your favourite moment on Punisher. 

Take a look at the Apocapop 10 playlist for  more albums, including NFR by Lana Del Rey. 

And consider supporting the channel  on Patreon. See you next time.