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Top 10 Albums of 2018

It’s that time again. What a year. Thank gods we had great music for a little reflecting, some much-needed re-energizing, and of course, a lot of rabblerousing.

Here are my picks for the year’s 10 best albums. What turned your tables in 2018? Let me know at [email protected].

Happy 2019!

Rey

10) Sleep — The Sciences [Third Man Records]

San Jose psych-doom power trio Sleep have emerged from the purple haze to release “The Sciences,” their fourth studio record — their first in nearly two decades — giving stoner rock fans everywhere 53 glorious minutes of dark, dank, primordial heaviness that few if any bands can deliver. Anchored by Jason Roeder’s surgical-strike stickwork and vocalist Al Cisneros’ syrupy, sludgy, downtuned bass, master axe-smith Matt Pike plows through the kind of menacing riffs one can imagine flying off Hephaestus’ anvil as he’s forging Poseidon’s new trident — just as the god of the sea is packing his bags (and bowl) for a journey into the deep.

Listen on Spotify.

9) Mojo Juju — Native Tongue [ABC]

Born in Australia of mixed heritage — Aboriginal (Wiradjuri) and Filipino — Mojo “Juju” Ruiz de Luzuriaga, in her third full-length LP, digs deep into race, family, immigration, colonialism, identity politics and Indigenous heritage across 16 soulful, sultry, deeply personal and exquisitely original tracks that stretch across styles, genres, vibes and even languages. In a troubling era where xenophobia is on the rise, “Native Tongue” deftly explores what it means to be “the other.” “Just because you own the airtime, you think you own the sky,” she proclaims on “Think Twice,” lassoing a global Zeitgeist that is impossible to ignore — and making it far groovier than anyone thought it could be.

Listen on Spotify.

8) JPEGMAFIA — Veteran [Deathbomb Arc]

For his third studio album “Veteran” (a reference, at least, to his four-year stint in the U.S. Air Force), the 28-year-old mad-scientist glitchcore rapper/producer JPEGMAFIA (aka Barrington DeVaughn Hendricks) pulls out all the stops and then some to deliver one of the most distinctive hip-hop albums in years — if his wild and wooly aural experiments can even be considered hip-hop at this point. Vulcanic bass lines slither over shattered post-industrial beats as the New York native, now based in Baltimore, stretches his restless, inquisitive mind (he has a master’s degree in journalism), riffing on such far-ranging matters as Defense Department discharge forms and the fashionista handbags made famous by singer Jane Birkin (the one-time collaborator/lover of Serge Gainsbourg). The production is totally frikkin’ insane; the samples alone set him apart, from the bizarre epiglottal workout (a looped ODB vocal) that snakes through “Real Nega” to the brilliant rapid-fire Bic pen-clicking in “Thug Tears,” which triggered, at least in one fan, an ASMR (“autonomous sensory meridian response”), the unique auditory-tactile synaesthetic feeling of euphoria that has been used to describe a “spine-tingling” event. In fact, the whole 47-minute affair is fairly spine-tingling — and a bit bone-rattling, too. (h/t: JF)

Listen on Spotify.

7) Art Brut — Wham! Bang! Pow! Let’s Rock Out! [Alcopop!]

The Berlin- and London-based art-punk quintet comes crashing back after seven years of silence with their exuberant, hook-laden fifth studio LP, a tightly-wound 35 minutes jam-packed with gorgeously odd, party-ready, rock-steady mini-anthems with more horns, harmonies, group ah-ahs and sing-alongs than your drunken final campfire jam at band camp. Cheeky speak-singer Eddie Argos keeps things humming along with blisteringly droll deliveries of super-catchy, instant-classic lines. “I hope you’re very happy together, and if you’re not, that’s even better,“ he sniggers to an ex-lover in what could be the most gleeful break-up song ever written. In “Too Clever,” Argos distills the waggish self-reflexivity that has been his touchstone since the band emerged 14 years ago: “Sometimes the smartest man in the room would rather be outside — howling at the moon … Ah-woo!” Press play and let the bad/good times roll...

Listen on Spotify.

6) Young Jesus — The Whole Thing Is Just There [Saddle Creek]

For their third studio album, art rockers Young Jesus have crafted fresh, expansive highways and byways across the musical map. Ranging like the plains of boozy philosopher-poet bandleader John Rossiter’s Midwestern roots — and shot through with the jazz-inflected post-rock his Chicago hometown made famous — “The Whole Thing Is Just There” shows the now Los Angeles-based four-piece at their edgy-yet-dreamy, exquisitely exploratory best. Enveloped by a spacious production, Rossiter muses nimbly, often ironically, over complex arrangements interspersed by instrumental improvisations, with angular shards of guitar peppering lush soundscapes. “If saints aren’t given voice to teach of burns, we’re led to blood periphery,” he warns on the brooding, labyrinthine opener “Deterritory,” before the band opens the throttle and doesn't let up for the rest of this multifaceted 49-minute masterwork.

Listen on Spotify.

5) Daughters - You Won’t Get What You Want [Ipecac]

The hyper-intense post-grindcore noise mavens from Providence come out swinging on their fourth studio full-length (their first after an eight-year hiatus), showing that age hasn’t mellowed them out one bit. Above droning swirls of machine-edged walls of guitar, monomaniacal tank-tread basslines and call-to-battle drums, lead caterwauler Alexis S.F. Marshall lords over a gathering storm, slinging scorching, misanthropic observations of humanity’s dark side. “It may please your heart to see some shackled, wrists and throat, naked as the day they were born,” he howls on “Long Road, No Turns.” For 48 grinding, often terrifying minutes, Daughters exercise a powerful, all-consuming yet controlled cacophony — the kind of music killer hornets must listen to when they swarm. Still, there are intermittent flashes of beauty amidst the menacing Sturm und Drang of this post-apocalyptic wasteland, like one of those hornets pausing on a lonely flower, drawing a touch of sweet nectar before buzzing off for the kill.

Listen on Spotify.

4) Unknown Mortal Orchestra - IC-01 Hanoi [Jagjaguwar]

While recording their fourth full-length “Sex and Food” (also released this year) in such far-flung locales as Mexico City, Seoul, Reykjavik, Auckland and Portland, Unknown Mortal Orchestra’s Ruban Nielson (guitar, bass), his brother Kody (drums) and their father Chris (keyboards, flugelhorn, saxophone — the latter two often patched through effects) found themselves hunkered down one night in Hanoi. There the wandering New Zealand minstrels met up with Vietnamese musician Minh Nguyen (on sáo trúc, a traditional Vietnamese flute) for a casual jam at Phu Sa Studio. What emerged from that session are seven inspired tracks of sexy, smoky, brooding, propulsive Miles Davis-inspired exploratory improvisation. “IC-O1 Hanoi” may only clock in at 28 minutes, but it unfurls otherworldly mood for miles.

Listen on Spotify.

3) Jeremy Dutcher — Wolastoqiyik Lintuwakonawa [Independent]

Toronto-based operatic tenor, pianist, composer, ethnomusicologist and Indigenous activist Jeremy Dutcher mines his First Nations roots for his striking, inspirational debut, a labor of love that is the culmination of five years researching and transcribing the traditional music of the Maliseet, an Algonquian people of New Brunswick, Quebec. “When I first got to hear these voices, that work for me was a profoundly transformational moment in my life,” he said in a CBC interview. “It was a process of deep listening — to sit there with these headphones and really hear what these voices had to tell me.” Featuring the grainy, century-old recordings of his ancestors’ songs (which he uncovered on wax cylinders at the Canadian Museum of Civilization), the endangered Wolastoqey language (spoken by around 100 people), modern sounds and rhythms, and his own penetrating, emotive voice winding through sprawling post-classical rearrangements of traditional First Nations music, “Wolastoqiyik Lintuwakonawa” (“Our Maliseet Songs”) is an ambitious, fascinating and important work — a richly deserving winner of the Polaris Prize, one of Canada’s most prestigious music awards. Dutcher says his art is rooted in “Indigenous futurism,” one aspect of which is recovering traditional languages and viewpoints to counteract the Western narrative that seeks to erase them. Celebrating ancestral voices while looking to the future in a fight for today, this is one for the ages.

Listen on Spotify.

2) King Tuff — The Other [Sub Pop]

On his dark-themed yet fun-filled fourth studio album, Vermont’s reigning king of psychedelic garage rock roams new territory, plumbing the worrisome depths of our current technology-driven, environmentally-destructive reality. Backed the impressive drumming of longtime collaborator Ty Seagall and aided by blasts of brass and sinewy synths, King Tuff (aka Kyle Thomas) rolls through crunchy, bluesy riffs, peeling back the layers of our iPhone-addled brains to reveal the poetry, nature and wilderness that we’ve lost along the way to our self-inflicted digitized annihilation. “So take me to your telescope and point me to the void, save me from the ones and zeros before it all gets destroyed,” he beseeches on “Circuits in the Sand.” If The Doors would’ve been the perfect final act to take the global stage as Armageddon rains down on Earth (“The End,” of course, being the last song we’d ever hear), King Tuff, with “The Other,” stakes a fairly convincing claim to the rabblerousing penultimate slot.

Listen on Spotify.

1) Caroline Rose — LONER [New West]

Somehow, Caroline Rose has managed to explore tough themes like sexism, misogyny, loneliness, self-doubt, infidelity and death, while delivering some of the most instant-party gems of 2018. Arch yet artful, Rose’s satire-spitting, synth-heavy third studio LP slips into seductively murky corners that burst open into dazzling technicolor skies on a dime. “I go to a friend of a friend’s party,” she deadpans on the opener. “Everyone’s well dressed with a perfect body. And they all have alternative haircuts and straight white teeth, but all I see is just more of the same thing,” The album, however, is anything but. With razor-edged turns of phrase, in-your-face punk attitude and catchy, curvilinear melodies, “LONER” certifies the Long Island songstress as a genuine pop maestro whose super-sly winks belie her 28 (!) years.

Listen on Spotify.

Honorable mentions:

Cassper Nyovest — Sweet and Short [UMG/Family Tree]

South African rapper Cassper Nyovest’s club-ready fourth studio album signals a return to his roots in kwaito (Afrikaans for “angry”), a heady mix of hip-hop and house music that originated in Johannesburg in the 1990s featuring slow tempos and African sounds, samples and slang that has grown into a potent youth culture.

Listen on Spotify.

Peter Brötzmann and Heather Leigh — Sparrow Nights [Trost]

For their first studio album, Scotland-based improv pedal steel master Heather Leigh (whose excellent solo album “Throne” was also released this year) and German free jazz sax legend Peter Brötzmann show off the intimate, minimalist intensity they’ve developed over three years of collaboration. Probing and melancholic, “Sparrow Nights” is often rapturous, at times profound.

Listen on Spotify.

Tomáš Kačo — My Home [Independent]

On “For Chopin,” the opening track on his long-awaited debut album, 31-year-old virtuoso pianist and composer Tomáš Kačo takes the master’s lead, playing the famous Nocturne Op. 9 No. 2 (first published in 1832). But soon, the song diverges into his own expressive, jazzy strands to create not only an homage but an audacious musical conversation that stretches across the centuries. History plays a central role in “My Home,” which features some of the vibrant traditional gypsy music that Kačo’s father played for him when he was a just a young Romany pianist studying at the Academy of Performing Arts in Prague. A special treat: legendary bassist John Patitucci joins in for the duet “Marov.”

Listen on Spotify.

Scud + Nomex — Maschinebau EP (re-release) [Praxis]

In 1997, London techno-scuzz impresarios DJ Scud (founder of Ambush! Records) and Nomex (founder of Adverse Records) joined forces to launch the Maschinenbau label, releasing just two 7”s. Praxis had to good sense to re-release these deliriously filthy and abusive breakcore/industrial noise tracks just in time for the 21st-century robot invasion.

Listen on Bandcamp.

Ÿuma — Poussière d’ètoiles (“Stardust”) [Innacor]

In Poussière d’ètoiles (“Stardust”), Tunisian duo Ÿuma (singer Sabrine Jenhani and guitarist-singer Ramy Zoghlami) offer an intimate, minimalist blues-folk gem, sung in Arabic, that isn’t afraid to tangle with the difficult cultural politics of their homeland. In “Mestenni Ellil” (“I wait for the night”), they explore the desperation of two young lovers who can never be together due to the girl’s arranged marriage — a practice that is sadly legal and common in Tunisia.

Listen on Spotify.

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