Lindsay Zoladz

And Dijon's own solo album, Baby, was also on my list.

It's a really unique just fusion of all sorts of different types of sounds.

They're songs that kind of turn into something else midway through, but it's also grounded in this experience of new fatherhood.

It's a record that Dijon made about he and his partner having a kid.

And there's something really, really lived in and kind of tactile about the lyrics and the perspective on the album combined with these really avant-garde sounds that I think make the record really compelling.

I think more than almost anything else on my list, I would say that about Baby.

And I think he thought of it, I almost said conceived, but I didn't want that pun there.

Too late.

Oh, no.

I think he really is someone who's thinking about the larger shape of an album.

But I think the flip side to the sort of producer-artist hybrid is that sometimes it can be difficult to translate the kind of studio rat energy into a compelling live show.

And I found Dijon as a live performer was fine, but his show didn't really grab me as a great

show.

And so as producers become sort of musical celebrities in their own right, how much charisma do you need when you're used to sort of taking a backseat to another star?

Oh, Karen has thoughts too.

And we all have thoughts about Geese.

Actually, my album of the year is Geese's album, Getting Killed.

Great album title, Geese, Getting Killed.

I love this record.

I find it just exhilaratingly inventive and strange.