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matpisound · 4 years ago

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matpi’s 2020 top ten

With this crazy year finally being thrown to the wolves, I thought I’d share some of my favorite songs. Usually I rank songs based on my mood, but I thought long and hard about this list to make it as accurate to my tastes as possible. In addition to the musical elements, I’ve also considered my personal experience with each song. With that said, get ready for a list that defines the phrase, “all over the place.”

10. ”約束” - Roselia

Translating to “Promise,” this Roselia song rounds out the list with its dynamic highs and lows and metric complexities. Combine that with Roselia’s signature sound and you have yourself a straight up banger. There are a lot of feel changes, with sections of 3 against 4 polymeter, steady rock groves, and a double time chorus, and this keeps the song interesting and super fun to listen to. Not to mention the powerful lead vocals, courtesy of Yukina Minato, played by the insanely talented Aina Aiba, as well as the occasional trading of vocal lines with bassist Lisa Imai, voiced by Yuki Nakashima, allow the song to really shine.

Song: https://www.youtube.com/watch?v=YQS0LZfXRCs&list=OLAK5uy_l6KyKKWX1j8vHY-PjK6yJHkIZpOV0WMrE

9. “Avant-garde HISTORY” - Roselia

Going up the list now we have another Roselia song. This song is marked by its progressive rock influence in the intro, with a lack of adherence to a single key or time signature, all while remaining an epic intro to the majestic 6/8 rock ballad that follows. Combining rock with orchestral elements is a recipe for greatness, and Roselia really pulled through here. The lead vocals are supported by a chorus of the other members in a really significant way in this song, contributing even more to the sheer glory that it exudes. Add in some huge drum fills and epic buildups between sections, and it creates this absolute work of art.

Song: https://www.youtube.com/watch?v=nakW_Ziciik&list=OLAK5uy_lImYujueVzq7DDMrRc2TX8qnp1ZzMlHKM&index=6

8. “Ride” - Samuel R. Hazo

No, this is not the twenty one pilots song, nor is it a cover. It’s a wind ensemble piece chock full of the good stuff. Spicy harmonies, giant fanfares, fast runs, solos, time signature changes, heavy yet tasteful use of percussion, what’s not to love? I really wanna play this in band one day, because aside from being fun to listen to, it’s a real challenge to play, especially with a large ensemble. Wind ensemble pieces in general are really cool because they are light-years ahead of most modern music in terms of dynamic contrast, and "Ride” has a ton of it.

Song: https://www.youtube.com/watch?v=au4geHy_S_0

7. “Amaryllis” - Shinedown

I honestly don’t know how to describe why I like this song so much; I just do. It’s a really nice song. The amaryllis as a flower is extremely beautiful, sporting vivid reds and pinks in its petals, and that imagery really shone through with its lyrics and 6/8 ballad feel. I’d like to mention the key signature as well. The key of D♭ just feels like a beautiful key signature, and here that beauty was thoroughly reflected.

Song: https://www.youtube.com/watch?v=ixltBz9IENw

6. “FIRE BIRD” - Roselia

Back again with another Roselia song. First of all, this song is great because of the story of the Phoenix. I always thought an immortal bird of fire rising from the ashes was such a glorious thing, and this song captures the essence of this tale perfectly. A quiet start with just piano and vocals gives way to a ginormous sounding intro as all the band members sing as a choir, which then leads into a crazy double-time groove which persists throughout the song. Combine that with Roselia’s sound and you get a triumphant anthem that’s sure to energize anyone and anything.

Song: https://www.youtube.com/watch?v=I_F7l7n_oP8&list=OLAK5uy_lImYujueVzq7DDMrRc2TX8qnp1ZzMlHKM&index=4

and here’s a live version because the visuals are IMMACULATE: https://www.youtube.com/watch?v=5AwP7S9f3A8

5. “Guilty All The Same” - Linkin Park

Off of one of the greatest rock albums in my opinion, “Guilty All The Same” is nothing short of a masterpiece. A nearly 6-minute song, and it’s never boring for a second. The unique drum grooves and use of 3 against 4 polymeter are what make this song so damn interesting to listen to, and lead singer, Chester Bennington’s, vocals are nothing short of spectacular. Rakim’s verse in the bridge combined with the sick guitar riff and the drums backing them up makes it one of the best combinations of rock and rap that I’ve heard.

Song: https://www.youtube.com/watch?v=cEaEdLQbAFM

4. “LOUDER” - Roselia

This being one of the first Roselia songs I’ve listened to, it has a really special place in my heart. But musically, it’s super awesome too. At a blistering 195 BPM, it’s one of the fastest songs on here, meaning it’s also super fun to play on the drums. It also changes keys between the verses and choruses from D minor to D major and back. And of course, who could forget lead vocalist Yukina Minato guiding the song through her soaring melodic lines. All in all, it’s a great song that managed to top my Spotify Wrapped.

Song: https://www.youtube.com/watch?v=wYSXZQ2b1-c

Now before we get into our top 3, let’s look at some honorable mentions:

“A DECLARATION OF ×××” - RAISE A SUILEN: A song inciting revolution, this combination of rock and EDM is a straight up vibe. We also get some djent as a bonus! https://www.youtube.com/watch?v=713nCe8LLa0

“DIVE!” - Setsuna Yuki: Rock music in the world of anime idols is a foreign concept, and to me it’s a welcome one. It seems, however, that others disagree... https://www.youtube.com/watch?v=HXXxW8hEF3o

“Neo-Aspect” - Roselia: I swear this is the last Roselia song, but it was way too good not to include here. A powerful song filled to the brim with expression. https://www.youtube.com/watch?v=snp_DT9EqiQ

“カレンデュラ“ - RONDO: “Calendula” for those who can’t read Japanese, this heavy song carries a lot of weight in it’s lyrics as well. Overall a really epic song. https://www.youtube.com/watch?v=ZRnaYwx2fH4

“Daybreaker” - Waterflame: Made fairly recently by a producer who made music that was a huge part of my childhood, this song just vibes so fucking hard. Fun fact: it was released on my birthday! https://www.youtube.com/watch?v=uLomCDE7E50

3. “Transcendent Journey” - Rossano Galante

Now we’re talking about the true bangers of my music taste. I love Galante’s music because it’s always so dynamic always with super melodious lead parts. This piece is no different in that sense. It really feels like a journey. Fast woodwind runs supporting soaring brass lines, quiet woodwind melodies, blazing fanfares, and varied tempo make this piece of music really feel like a spiritual journey. There’s so much about this piece that I just can’t put into words so you just have to listen for yourself.

Song: https://www.youtube.com/watch?v=ZuMi2z2F3io

2. “Nostalgia” - Rossano Galante

Another wind ensemble piece making the top 3? Well, aside from being a beautiful piece musically, it brings a lot of good memories for me personally as well. We played this for my band’s spring concert when I was in 8th grade. As 8th graders, our ensemble included the high school band students as well, and that was the year one of my favorite seniors was graduating. He was such a big role model for me, and the entire concert was extremely emotional. This was my favorite piece we had programmed that night, and it’s made its way into my favorite songs of all time.

Song: https://www.youtube.com/watch?v=_qaq_WKsatg

1. “The Catalyst” - Linkin Park

This was one of those songs. You know those songs that you fall in love with as soon as you hear it for the first time? Yeah, this was that. With every listen, I only liked it more and more, and it crawled its way to the top. It starts off soft, but it just keeps building. Everything builds and builds and becomes increasingly chaotic until it all collapses in the second half of the song. From there, the repeated lyrics “Lift me up, let me go” carry this song to its epic finale, in which we feel the culmination of all that chaos from earlier. Not only does the song work so well as a standalone track, its use as the penultimate track on “A Thousand Suns” (my favorite album of all time) serves as the final climax before resolving the intricate story weaved by the album. This is a perfect song if I have ever heard one.

Song: https://www.youtube.com/watch?v=3sBjZBn3DQU

Well, folks, there you have it. A playlist of the best songs that got me through this forsaken year and will hopefully empower the next. I wish you all a better and happy 2021, and I’ll catch you at the double barline!

#music nerd #music #top 10 #top ten #music analysis

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taste-in-music · 5 years ago

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My Other Favorite Songs of 2019

This is a list for all of my favorite songs of the year that aren’t on my album of EP of the year list. (Read my top albums and EPs of the year lists if you want some context.) However, songs from albums that were on my rapid-fire review list are fare game. That’s enough preamble, this list is in no particular order (except, of course, for the final song.)

Listen along to the complete mix of all these songs HERE. Let’s talk about some great music!

affection by BETWEEN FRIENDS: This was my favorite song off of BETWEEN FRIENDS’s debut EP from this year, we just need some time together. This is the perfect swoony, dreamy pop song that was my relaxing Summer jam. I love the way the melody on the hook is ushered in with a churning bass in the pre-chorus and washes over me with each listen.

trevi fountain by Leo Kalyan: Leo Kalyan is one of my favorite, (and most underrated) dream pop artists, always able to capture a sense of otherwordly bliss in his music. If there was one word I had to use to describe this song, it would be romantic. This song feels purely, dizzyingly, head-over-heels in love, and it was on repeat for me all throughout Valentine’s Day.

Numb by Baker Grace: One of the most instantly catchy songs of the year. Chopped-up vocals don’t always work for me, but here they combine with the punchy production in such a way that they contribute to the “over-it” attitude of the song. God, what a bop.

Clumsy Love by Thelma Plum: This melancholy love song traipsed its way right into my heart as soon as I heard it. The light tambourines, bubbly guitar, and upbeat melody give this song a sunny feel that contrasts nicely with Thelma Plum’s heartbroken lyrics and delivery.

Love You For A Long Time by Maggie Rogers: If more people used that reverb-layered-vocal-chorus-of-angels effect in their music, then I would like that very much, because so far Miss Maggie Rogers has used it twice, (on this and “Retrograde”) and it has made those songs some of my favorites from her. This sweet, upbeat track was a surprising single after the album, and I swear I listened to it on a loop for a week straight. I’m going to love this song for a long time.

Karma by MARINA: This is probably my favorite song off of Love + Fear, or at least it was the song that I returned to the most as the year went on. The icy backing vocals and Spanish guitars give the track a cool and refreshing feel. MARINA’s performance is, as always, gorgeous, her rich vocals skating over the frosty soundscape with grace and a hint of sarcasm.

Gone by Charli XCX ft. Christine and the Queens: One word: BOP. I seriously considered ending the write-up there, but I’ll also mention that Charli and Chris have amazing vocal chemistry, the lyrics about being socially awkward are seriously relatable, and the bass is sick. Also, Chris’s lines in French? Iconic. Even the instrumental breakdown at the end has grown on me.

Death By A Thousand Cuts by Taylor Swift: This ended up being my favorite song off Lover, (with “Cruel Summer” taking a close second.) I am obsessed with the sparkly production, (my boy Jack Antanoff, once again, went antanOFF,) especially those flitting, echo-y vocal samples that start the track out and the glittering keys that dance under the verses. Along with that, Swift’s writing is sharp, recounting a breakup in a specific yet relatable way.

make up by Ariana Grande: This was the first non-single off of thank u, next that I really loved. I think it’s due to the fun, cheeky energy. The beat perfectly balances tense plucked bass, chimes, and vintage-leaning, pitch-shifted backing vocals, I especially love those “hey-hey-hey”s that pepper the chorus. This is a great song to get ready for a party to.

Don’t Say by Robinson: I didn’t realize how much I missed Robinson until she came back with this immaculate synthpop banger of a breakup song. The upbeat production on this make it fun and danceable, but Robinson’s delivery makes it a fireball of emotion as well. She’s supposedly dropping a new EP soon, and I can’t wait.

Live Forever by Nasty Cherry: Nasty Cherry were one of the most fascinating bands to emerge this year, backed by Charli XCX and a Netflix docuseries. Now I don’t care about all that so long as the music was good, and you know what? They’ve got some damn good songs, and I’m a sucker for all-women bands. This song edged out the band’s debut single “Win” for the list. The harmonies on the chorus, bright guitars, and all-around nostalgic feel of this song made this an instant pop-rock jam in my book.

Blinding Lights by The Weeknd: I’ve always found The Weeknd’s music to be most engaging when it sounds like he’s having fun, like in “Can’t Feel My Face.” This song is an absolute jam, with an instrumental that sounds like it was ripped right from the 80′s, (but it literally was though, it samples “Take on Me” by a-ha,”) and one of the most instantly likable choruses I’ve heard in a while.

Playing Games by Anna Of The North: This is just a total jam that I couldn’t stop playing at the end of the Summer. I love the light guitars on the verses and the smooth, relaxed-yet-upbeat feel. It’s probably my favorite song off of Dream Girl.

Sanctuary by Joji: Joji’s music has always been hit or miss for me, but this song is definitely a hit. The dreamy, spacey atmosphere built up by the spacious synths and Joji’s laid-back delivery instantly puts me at ease.

Soaked by BENEE: The song that introduced me to BENEE also ended up being my favorite from her. The jaunty, casual feel of this song make it the ultimate laid-back indie pop tune. Both of BENEE’s EPs from this year, FIRE ON MARZZ and STELLA & STEVE are quirky listens that are worth your time.

The King by Conan Gray: 2019 saw Conan Gray taking his lyricism into a more heartbroken and sarcastic direction, which was an interested evolution to witness. Out of all the singles that Conan Gray dropped throughout the course of the year, this one is my favorite. I love the way the chorus rushes through me with every new listen, Conan’s delivery is so dang breezy.

Twist by Dizzy: I swear Dizzy have nostalgic melancholy perfected into a science. This song has one of my favorite choruses of the year, featuring lyrics that are heart-twisting (ha, but no really,) and a gentle yet earnest delivery from frontwoman Katie Munshaw. Whenever I hear this I feel sad in a reflective, smiling-with-a-single-tear-rolling-down-my-cheek kind of way.

Joyride by SONIA: I came across this on a Spotify New Music Friday one week and clicked on it just for kicks and it has been one of my favorite finds of the year. SONIA has one of those smoky, sensual voices that I can’t help but love, and her performance paired with the yearning lyrics make for a song that is sorrowful yet romantic at the same time.

You Sexy Thing by Zella Day: And the award for comeback of the year goes to Zella Day, whose music I fell in love with back in 2016 and have been patiently awaiting for new content from since. She hinted at dropping new music last December, and boy was this worth the wait. This cover of the 1975 release by Hot Chocolate is retro, playful, and, what else? Sexy. I hope to hear more from Ms. Day in the near future, but until then, I will have this, Kicker, and the Man On The Moon/Hunnie Pie single on a continuous loop.

Red by Lucy Daydream: I found this song in my Spotify Discovery Weekly back in April, and what a fun find it was. This song is a relaxing indie pop bop with inexplicable replay value. I loved this so much that I even checked out Lucy Daydream’s album from this year, Awake & Dreaming, and while the rest of the album didn’t quite match this song in my opinion, I still thought it was a nice listen. I’m definitely keeping Lucy Daydream on my radar going into the future.

What About Love by BANKS: As I mentioned on my Rapid-Fire Reviews list, I wasn’t all that into III. However, there were some songs on it that I really latched onto, and this was one of them. This song conveys so much raw emotion, with one of BANKS’s most impassioned performances on the whole album. I love the use of autotune, quivering strings, sparse keys, and fluttering vocal samples to create an isolated yet overwhelming soundscape, (it’s amazing with headphones on.) Also, every lyric in this hits like a gut punch.

Harmony Hall by Vampire Weekend: I thought that I liked this song, but I guess I love this song, because it ended up being my fifth most listened to song of 2019? There’s definitely a reason for that, this song is so instantly likable, with a memorable guitar line, bright pianos, and one of the most anthemic choruses of the year.

Alligator by Of Monsters and Men: What a smash debut single this was, I was hooked from the very first chord. The energy in this song is unmatched, it has a sense of propulsive power that always hypes me up. The thin layers of distortion and reverb over the guitars and Nanna Bryndís Hilmarsdóttir’s voice give this song a sense of otherworldly eeriness that I really enjoy.

Blown to Bits by Charly Bliss: This song sounds like the jittery feeling I get after drinking caffeine in the best kind of way, if that makes any kind of sense. The buzzy guitars, vocal layering, and overall electric energy present on this track made it an instant favorite off of Charly Bliss’s album from this year Young Enough. Also the lyrics are weirdly relatable as they recount feelings of uncertainty and nostalgia, and Eva Hendricks delivers them with firepower.

House Of Glass by Cage The Elephant: This is just a banger through and through, and the fact that the opening riff is reminiscent of “Come A Little Closer” doesn’t hurt either. The verses maintain a nice sense of tension, with Matt Schultz delivering the lyrics in a near whisper. But once that chorus kicks in, it’s official, I have no choice but to become a swaggering badass.

still feel by half•alive: This was my first favorite song of the year, (and I know it was technically a single from last year, but the album dropped this year, so I’m counting it,) I remember playing this on a loop all throughout January. And you know what? It hasn’t faded on me in the slightest, this is still a banger through and through. The bass groove, the snaps, that little chime that comes at the end of the prechorus, it makes for one hell of a buildup. And once that chorus hits I have no choice but to groove off into the galaxy.

In the Afternoon by MGMT: Another comeback that made this year amazing! Not only are MGMT back with a new single, but they’re also independent now, which inspired my best pun of the year. This song slams, it’s filled with creepy atmosphere but by the end you’ll be dancing and singing along. Needless to say, I’m hyped to see what they bring into the new year.

My Favorite Fish by Gus Dapperton: The melody on this chorus is so catchy, once you hear it it will not leave your head. I also love the vibe of this song, it’s very relaxed and nonchalant in its delivery. I reckon it’d be a nice song to take a long, sunset walk on the beach to.

Little Trouble by Better Oblivion Community Center: Better Oblivion Community Center, the collaboration project of Phoebe Bridgers and Conor Oberst, put out a lot of great music this year. I was torn between this and “Dylan Thomas” to make the list, but ultimately picked this one because its energy, built up by squealing electric guitars and shuffling drums, is so upbeat, and over the course of the year it never failed to put a smile on my face.

Can’t Buy Happiness by Tash Sultana: Tash Sultana has always been a musician I’ve tended to admire for their talent from afar, never returning to their music all that often. This song, however, broke that pattern with its hypnotically beautiful simplicity. The gentle guitars that open this track blossom into a lush soundscape during each chorus, studded with grandiose synths, light cymbals, and Tash Sultana’s larger-than-life performance.

Fucking Money Man by ROSALÍA: I’m including both songs on this single release because they’re equally brilliant. “Milionària” is a lively, upbeat track that relishes in opulence, peppered with the playful refrain of “fucking money man” and snappy drums. The tone switches right after with the haunting ballad “Dio$ No$ Libre Del Dinero,” which warns of the dangers of greed.

Everybody Loves You by SOAK: The way the narrative on this song unfold as the track progresses is just beautiful. I don’t want to go too in depth, because I feel like it’s someone a person should experience without knowing anything prior. Let’s just say that this was a song I came back to whenever I was feeling emo, and the way it blossoms into brightness always has a way of making me feel better whenever I’m down.

Rylan by The National: So The National have been around for literal decades but I just discovered them this year, loving the song “I’ll Still Destroy You” off of Sleep Well Beast especially. However, I also really enjoyed this song, with its breezy rock sound and melancholy lyrical narrative. The ghostly backing vocals that inhabit the mix send shivers down my spine. Also, the bridge. Just, everything about the bridge.

Summer Girl by HAIM: This breezy, chill tune was perfect for those long, relaxed days in August where the afternoons drag on until 9:00pm. It reminds me of “Walk on the Wild Side” by Lou Reed, but a bit jazzier, with the saxophone and the playful “doo doo doo” refrain. I aspire to the levels of cool that HAIM have achieved. I know I’ll never reach it, but I still aspire to it.

cellophane by FKA Twigs: If there was any one quality that I would point to in order to describe why this song is so good, it would be its build in dynamics. This song starts out as sounding so fragile it could shatter at any second, which Twigs’s vocals barely rising above a whisper and backed in gentle murmurs and light pianos. However, as the sharper synths slither in and her voice gets more powerful, the sound builds to a gorgeous and jaw-dropping finale that never loses any of its emotion for a second.

Barefoot In The Park by James Blake ft. ROSALÍA: This song sounds like running through a forest while alien lights flash overhead. The ambiance is romantic and slightly chilling, made up of light marimbas, siren-like vocal samples, and whispering synths. I initially listened to this song because of ROSALÍA, but I ended up loving it so much that I checked out James Blake’s album from this year, Assume Form, too.

Bags by Clairo: Clairo’s debut album Immunity was a beautiful display of emotion and subtlety, and this was my favorite song off of that project. The production here is sweet and sorrowful, with flitting guitars and light drums, and Clairo’s lyrics and performance match perfectly. Everything about this communicates reserved, tender pining, (are y��all sensing a theme on this list?) It makes me go absolutely bananas every time I hear it.

Get Well by Donna Missal: Y’all know I’ll take any chance to talk about my queen Donna Missal. She released two singles this year, this and the excellent R&B slow-burner “You Burned Me,” but I had to pick this one for the list. Not only did this drop on Valentine’s Day, but I love how restrained and delicate this song is, both in its simple production and in Donna’s bordering-on-fragile delivery.

Falling by Harry Styles: This turned out to be my favorite song off of Fine Line. (My rapid-fire review for that album: pretty good, but a bit bland, and I missed the rock edge of Harry’s debut.) Still, this is a stunner if there ever was one. I’m just a sucker for a regretful love song with a bare yet effective instrumental and emotive vocals.

I Lost a Friend by FINNEAS: I’ve spoken multiple times about how I love the way this song builds throughout its runtime. This song starts out with a simple guitar line and slowly adds elements like distortion, flutes, and bass to communicate the emotional intensity in the lyrics. FINNEAS is a fascinating performer and producer, both in his work and with others, and I can’t wait to see what he does in the future.

Seventeen by Sharon Van Etten: This year I’ve been thinking a lot about the future, and one of the ways I would sate my anxieties about uncertainties to come would be through music, (I don’t know if that was apparent from many of my picks on this list.) No song better described the whirlwind of emotions ripping through me than this one. Sharon Van Etten’s take on giving advice to her younger self served as a comforting voice of reason to me throughout the year. Her performance here is assuring yet slightly concerned, nostalgic and yet tinged with regret. This almost sounds like a lost Stevie Nicks song, with a propulsive build of guitars, unrestrained synths dancing throughout the mix, and a chorus that I want to scream out the window of a car speeding down a highway. I absolutely adore it.

I Dare You by The Regrettes: If you aren’t surprised, then I’m not surprised. I’m pretty sure I’ve mentioned before that this is my song of the year, hands down. If “Seventeen” was the song that articulated all of my anxieties throughout the year, then “I Dare You” was the song that provided a reprieve from them. This song feels timeless, like it could’ve come out during a slew of decades, and yet it sounds modern as well. Every detail of the instrumental seems perfectly designed to form the most catchy and likable song ever created, from the light snares, to the “oohs” in the prechorus, to the colorful guitars. Also, can we talk about how adorable the lyrics are? They perfectly describe the flurry of feeling that come with a crush, from “you’re the one that brings the sun” to “there's a look that you give me, a switch / and my filter melts, and the words just slip.” Not only was this my most-listened to song this year, but I can’t think of a piece of music this year that made me happier every time I returned to it. Also, the music video was just as cute as the song was.

And that’s the list! What were your favorite songs of 2019? Any artists, albums, singles, etc. I should know about? Leave your thoughts and recommendations down below.

#favorites #songs #music #song of the year #song recommendation #not tagging every artist good lorde #taste in music #taste in music 2019 faves

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noveltylsland-blog · 6 years ago

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Our Favourite Albums of 2018

2012-2017 - Against All Logic

(Other People)

Whether Nicolas Jaar meant this to be an understated release or not, the deeply soulful samples, thunderous lo-fi aesthetic and immaculately timed and detailed track phasing of 2012-2017 make it one of the year’s most impressionistic and innovative electronic releases. Not pretending to be any more than a collection of house tracks, 2012-2017’s cohesion lies in its consistency of quality, as well as its lo-fi style. Jaar’s taste for extended, developmental dance songs is addictive and as fit for easy, danceable listening as it is for intense scrutiny. Every track begs repeated listens and rewards through revealing yet more hidden elements. It goes to show just how technically gifted Jaar is that an offhand collection of tracks can be so thoroughly excellent and make more of an impact than his more dedicated peers. -E

Dead Magic - Anna Von Hausswolff

(City Slang)

Dead Magic is Anna Von Hausswolff’s fourth full-length record in which she delves into the dark abyss in a purifying explosion of distressed emotion. A sinister ambience is maintained throughout, even during the more beautiful and uplifting moments – which are typically conveyed through Anna’s rich harmonies alongside powerful, yet unnerving, electronic drones. It is these moments that make Dark Magic what it is. Instead of wallowing in a pit of despair and desolation, Anna offers a way out, stressing that there is beauty even in the darkest of places. It is an exquisitely refined project which blends dark musical themes with emotive vocals to create a sonic soundscape that will leave you completely mesmerized. -M

7 - Beach House

(Sub Pop)

Simplicity has always been Beach House’s charm and on 7, not only do they manage to revert back to the gorgeous, organic simplicity of Teen Dream and Bloom, but they do so while immensely expanding the breadth of their sound. 7 is only fingertips away from the untouchable timelessness of those two aforementioned records, and is one of Victoria Legrand and Alex Scally’s most ambitious artistic leaps and successful reinventions. This is an affirming record, demonstrating the duo alive-and-well, working with a still-evolving sound; and as easily as capable of producing indie-pop hits (‘Lemon Glow’, ‘Drunk in L.A.’) as they are of thoughtful, tender ballads (‘Black Car’, ‘Last Ride’). 7 has its fair share of career highs, cementing Beach House’s reputation as one of the finest indie acts of this decade. -E

Twin Fantasy - Car Seat Headrest

(Matador)

Will Toledo is perhaps the most inventive, boundary-pushing artist in modern indie rock; so when he turned his hand to remaking his own 2012 Bandcamp release Twin Fantasy, the result was always going be interesting. With two ten-minute-plus songs, extensive spoken-word passages, and a distinctly self-aware tone, nothing of the charm of the original was forsaken. A hi-fi recording, reportedly utilising seven musicians and a hell of a lot of retrospective adjustment to the source material, 2018’s Twin Fantasy is everything you felt the original had the potential to be, and more. Instead of a messy, chaotic cacophony, here Toledo’s project is revealed as an intensely personal, momentous opera of indie rock, with Toledo as a proclamatory main protagonist, an idol of teenage angst and confusion. Twin Fantasy is epic and indulgent, flawed and truly excellent. Indie rock hasn’t seen anything as promising as Car Seat Headrest since its heyday in the 90s, and this band are still yet to disappoint. -E

You Won’t Get What You Want - Daughters

(Ipecac Recordings)

Bleak, harrowing and violent – three words that are often tossed around to describe bands loitering around the darker offshoots of noise rock; yet Daughters’ You Won’t Get What You Want accentuates those descriptors in their fullest definition. Like an atrocity one can’t seem to look away from, the Rhode Island band take the same uncompromising swathes of noise from their 2010 self-titled record but warp and extend it. Swallowing the rest is a manufactured, engrossing silence of negative space that underlies everything from the pulsating waves of distortion to Alexis S.F. Marshall’s vocals; from the clattering, dictatorial drumming to the smatterings of dramatic piano. Daughters’ thoroughly austere ethos has no release; You Won’t Get What You Want is uncompromising in its walls of thick, violent sound and thorough in its sheer immersivity. This is music unlike anything else released this year, and a revival statement for a genre that’s been largely stale for years. -E

Ordinary Corrupt Human Love - Deafheaven

(-ANTI)

With their fourth release, Deafheaven give their critics the middle finger with an uncompromising statement of intent and self-determination. 2015’s New Bermuda hinted that the band had taken the critique of 2013’s Sunbather by metal purists to heart, as they went for a darker, more aggressive sound. With Human Love, however, we see Deafheaven position themselves in-between these two contrasting sounds, as they get the best of both. The hard-hitting aggression of tracks like ‘Honeycomb’ and ‘Yellow Canary’ will satisfy the most committed metal heads, whilst the hazy shoegaze of the shorter tracks, ‘Near’ and ‘Night People’, will enchant the Sunbather converts. As always, the juxtaposition of George Clarke’s piercing screeches paired with the beautifully aggressive guitar hooks of Kerry McCoy is something to behold. With the addition, this time of a heavily post-rock influence, the progression to an explosive climax has never been so poignant on a Deafheaven project. The LA outfit have switched up their sound flawlessly, finding the perfect balance of style and aggression in a masterwork of emotion and intensity. -M

Year of the Snitch - Death Grips

(Third Worlds)

How do they do it? This is Death Grips’ sixth studio album in as many years, and each one has been as exhilarating and unique as the next. Year of the Snitch is perhaps their most out-there project to date, and that’s saying something. This time out the trio go for a more experimental rock approach. The familiar elements of industrial hip-hop are of course still there, but they are dominated by heavy synths and guitar riffs to create a soundscape that is both unfamiliar, yet somehow typical of Death Grips. That, for me, is the beauty of Death Grips; no matter what direction they take their sound, they completely own it. Year of the Snitch is not going to dethrone Exmilitary or The Money Store, but it’s also not a runner up; it’s in a different world altogether. A typically unapologetic adventure through pop music from the Sacramento trio. -M

Knock Knock – DJ Koze

(Pampa Records)

knock knock is a house album that manages to escape the rather utilitarian nature of the genre, and is instead an artful and diverse project from the German. Koze is clearly a master of his class, as he effortlessly floats between hip-hop, soul, disco, house, and even folk, to create a project that is not merely a compilation of bangers, but a versatile playground of sounds, similar to that of [i]Wildflower[/i] by The Avalanches. The features on here are just as puzzling as the multitude of genres, with the likes of Bon Iver and Roison Murphey making appearences, but, of course, Koze manages to slot them in effortlessly. At 19 tracks, one would expect this album to feel like it had overstayed its welcome, but thanks to the wealth of ideas, it is a perfectly judged, captivating record. -M

Some Rap Songs – Earl Sweatshirt

(Tan Cressida)

Earl’s transformation from the “hot and bothered astronaut” we were introduced to eight years ago, into the mature, yet despondent 24-year-old he is today has been and interesting and difficult experience to observe. His fourth full length album picks up where his latest EP, Solace, left off, as he continues to improve his craft, whilst simultaneously sees his mental health decline. Just like his earlier releases, the Madvilliany and Donuts influences are obvious, but this time take the form of production and song structure. Verses begin and end abruptly, choruses are essentially non-existant, and most of the beats consist of just a roughly looped sample. The result is that it feels as if we’re getting a peak into Earl’s musical sketchbook. Nothing feels finished or even polished, which gives the project a raw and intimate feel. Earl’s lyrics add to this feeling as he explores his state of mind by discussing his struggles with depression and the passing of his late father, displaying a maturity beyond his years. Some Rap Songs is a delicate and honest project from a talented and troubled artist, focused on the improvement of his art. -M

God’s Favorite Customer - Father John Misty

(Bella Union/Sub Pop)

Attuning his touch to more tender, less ironic pastures suits Josh Tillman to the tee. God’s Favorite Customer is a significant scaling-down from the grandeur of last year’s Pure Comedy, but the novelty of hearing Tillman’s actual emotions proves an adequate substitute. The metaphysical is, as always, a dominant, recurring theme, but the engrossing topics of failed relationships, suicidal thoughts and substance abuse combine for a stirring sort of listen that long-time listeners of his haven’t really had the opportunity to divulge in. As much as records need pacing, careers do too - whereas on I Love You, Honeybear and Pure Comedy Tillman is feeling sorry for us as a society and suffering with us along the way, God’s Favorite Customer sees him looking inward and finding a certain personal relatability. He’s a man who makes mistakes, and not so much the hip-swinging, foot-stomping unstoppable rock star he’s always seemed to be. Unmistakeably pitch-perfect vocals, supported by his usual excessively stellar songwriting and lush arrangements of horns, strings and so on, all make for yet another impeccable record from a man who can seemingly do no wrong. –E

Beyondless - Iceage

(Matador)

There’s a certain magnitude to the overall sound of Beyondless that takes your ears off; the culmination of four records of growth for Iceage from which they’ve emerged masterful, tasteful manipulators of their own terrifically refined chaos. The Danish art punk quartet edge closer to almost entirely orchestral noise rock (‘The Day the Music Dies), while also never straying too far from pop (‘Pain Killer’, ‘Catch It’). More a refinement of the style initiated on Plowing into the Fields of Love than its own bold stylistic turn, Beyondless reveals Iceage as a much-needed successor to the angrier days of the Bad Seeds. Gritty and throttling but eloquent too, their particular brand of post-punk isn’t just vastly noisy and technically excellent, but distinctive, promising and unlike anything else in the current scene. –E

Joy as an Act of Resistance - Idles

(Partisan)

Not one for the Tory snowflakes. Forty-odd minutes of Joe Talbot unrestrainedly slapping down the hypocrisy in the British right wing, taking pleasure in exposing the ridiculousness of all things bigoted, from Brexit to anti-immigrant sentiment, toxic masculinity to class hierarchy and general snobbery. It’s a piledriving critical punk commentary on Britain’s 2018, but more than just Brutalism updated for this year’s current affairs. Joy has some impressive musical developments, from more ambitious slow cuts like ‘Colossus’ to more emotional instrumentals, such as the heart-breaking ‘June’. Talbot isn’t the most subtle of political commentators but that’s precisely his point; and instrumentally Idles make sure every track is immaculately and brutishly performed, with nods to various strands of British punk dotted throughout. All the perks of Brutalism plus clear improvement, Joy is one of the finest punk records of the decade, from one of this year’s most essential bands. -E

POST- - Jeff Rosenstock

(Polyvinyl)

Jeff Rosenstock follows up his 2016 record, WORRY., with a similarly hostile and exhilarating showcase of pop-punk as it should be done. On POST-, Jeff’s dense style really shines through as the fierce melodic punk music is paired with cynical and somewhat depressing lyrics to create a perplexing, yet rousing juxtaposition. The lyrics are as catchy as they are striking, with many notable chants that will get stuck in your head for days. “ET TU USA, ET TU, ET TU USA!” It is unfortunate for Jeff that the success of WORRY. has somewhat degraded the standing of the record with most critics. POST- should not be overlooked as it is still an incredibly fun album, full of memorable chants and defiant sentiments. -M

Aviary – Julia Holter

(Domino)

With such a change of direction from her previous effort, Julia Holter’s fifth full length release, Aviary, rejects traditional pop song structures, and offers us a work of art which is as beautiful as it is mad. It is perhaps the most uncompromising album released this year, with no regard for its accessibility or its reach. There are four-minute bagpipe spectaculars, howling choral compositions and moments of arduous free jazz. It is, indeed, a difficult listen at times, but we are rewarded with moments of sheer beauty. This is exactly the point Julia wants to make. She wants to portray the mayhem and hysteria of modern life, describing Aviary as “the cacophony of the mind in a melting world”, but also gives us an important message of hope and the resolve to look for an answer. That is why this album is so important; it is a vessel for empathy that invites disparate people to join in her euphoria.-M

Kids See Ghosts - Kids See Ghosts

(G.O.O.D. Music/Def Jam)

Kids See Ghosts is a rare, rare breed of album that manages to take two artists and exact them both at the pinnacle of each of their abilities. Take Kanye West, at his most creatively unsettled, apparently cramming as many production ideas as he can into twenty-four minutes. Add Kid Cudi, and his apparently perfect range of singing, humming, harmonising and hook-crafting. Kids See Ghosts not only has them both at their creative peaks, but at their most lyrically relevant. West’s verses are incredible, eloquent and playful, reminding listeners exactly why he’s more than just a talented producer. He’s less confrontational and hubristic, while Cudi offers sensitive and deeply personal verses on his own journey through mental health problems. This is easily both artists’ best work this decade, an endlessly relistenable treasure-trove of a record that feels like more than just a genuine accomplishment, but justification that neither of these artists deserve any less reverence than they were deserving of in the first place. -E

I’m All Ears - Let’s Eat Grandma

(Transgressive Records)

British teenage duo Let’s Eat Grandma’s debut is enthralling, accomplished, experimental stuff. Channelling a broad range 80s synth pop idols such as Soft Cell and George Michael, but also taking obvious influences from modern pop artists like SOPHIE and The xx (not to mention Pink Floyd on ‘Calm and Collected’); Jenny Hollingworth and Rosa Walton’s ambitious songwriting, endearing lyrics and knack for poppy hooks aren’t just immaculately written and arranged, but make for some of 2018’s most addictive tracks. Virtually every track feeling like a single; the emotionally heavy ‘I Will Be Waiting’ or the jumpy ‘It’s Not Just Me’ are just as easily radio-friendly as the slow cut ‘Ava’, or the Oil Of Every Pearl’s Un-Insides run-off ‘Hot Pink’. Add to the mix the two long cuts, ‘Cool and Collected’ and ‘Donnie Darko’, and I’m All Ears gives a broad definition of the duo’s ambitions and talents, indicating their fondness for extended instrumental phases and ability for writing well-structured, impressively mature tracks. -E

Now Only - Mount Eerie

(P.W. Elverum and Sun)

Now Only, as a companion to last year’s A Crow Looked At Me, feels just as poignant a documentation of the process of one man’s grief as that record did. Slightly brighter and more reminiscent than purely devastated, Now Only shows improvements in Phil’s mental health not only through its themes and lyrics, but in how it expands instrumentally and structurally far beyond Crow, further toward the territory of the Mount Eerie work of old. Phil still has an unerring ability to chillingly plunge his listener back down to Earth with the utterance of a single, understated line, always having the reality of death looming over his vocals, no matter how wistful and optimistic they may seem. Phil can (like Kozelek, Malkmus, and few others before him) sing regardless of rhyme or pace, transcending lines and effortlessly fitting instrumental structures that occasionally err towards his work on Wind’s Poem or Clear Moon. Now Only is anything but another A Crow Looked At Me, an intense, documentary listen that demonstrates musical recovery as a metaphor for personal progress, that will (along with its companion live album, After) surely go down as one of the most profound artistic commentaries on death in popular music. -E

All Melody – Nils Frahm

(Erased Tapes)

Nils Frahm’s All Melody is a real masterclass in progressive electronica. Following the atmospheric opener, ‘Sunson’ really kicks things off; a nine-minute rhythm-driven epic, with the pulsating hits of the bass marimba intertwined with pan-flutes and delicate synth melodies. From here we get an assortment of climactic electronic tracks, intense choral compositions and beautiful piano pieces, which somehow manages to maintain an impressive sense of cohesion and flow despite the disparities of sound. All Melody remains calm and meditative throughout, with a melancholic mood, but you never lose interest; each track is as captivating as the next. The attention to detail and texture, really make this album what it is; the nuances and subtleties give it the depth that an album with such ambition needs to stay interesting and emotionally compelling. A remarkably well rounded and unique album, incorporating qualities of techno, ambient and classical music to a devastating effect. -M

Wide Awaaaake! – Parquet Courts

(Rough Trade)

Wide Awaaaaake! is a fantastic leap forward for Parquet Courts. The record is produced by Danger Mouse, a match that doesn’t necessarily make much sense on paper. However, the Grammy award winning producer allows Parquet Courts to run free, only adding his signature touches when completely appropriate. The result is that Wide Awaaaaake! is the groups most diverse record to date, with a wonderful sonic range from aggressive indie-punk to afro-groves reminiscent of Remain in Light. And the songwriting on this record is amazing. Savage and Brown hit gold with a dynamic blend of their classic art-punk rages and a more contemporary commentary. These lyrics are politically charged and socially conscious, yet done with such taste and style that nearly all pretension is avoided. Wide Awaaaaake! is a success on all accounts; Parquet Courts have experimented with their sound just enough to create something that sounds familiar but also entirely different. -M

DAYTONA – Pusha T

(G.O.O.D Music)

I think we’ve all been waiting for this for a very long time. Since Clipse broke up in 2010 and Pusha T started his solo career, there have been glimpses of brilliance, but his full-length projects have never truly delivered. Daytona, however is the perfect mix of his cocaine kingpin persona, political art rap, and gritty, challenging beats. All of these factors are typical of a Pusha project, but, under the direction of Kanye, there is a real sense of cohesion and focus which has been missing throughout Pusha’s solo career. The ending, Infrared is a particular highlight, as Pusha addresses the unscrupulous history of mainstream hip-hop, whilst also cementing his integrity within the genre; he truly is the ‘rapper’s rapper’. At a mere 21 minutes, this album will be one of the shortest in terms of run time you will hear all year, but it makes for an airtight listen, with no fillers – just straight bangers. -M

Compro – Skee Mask

(Ilian Tape)

On Compro, Skee Mask takes us on a trancelike adventure into the heart of the arctic tundra and out the other side. The opener ‘Cerroverb’ sets the scene as reversed samples are paired alongside occasional bass flickers to create a cold, dreamy atmosphere. From here on in there is a subtle exploration through 90’s dance music, with influences including trip-hop, jungle, and everything in between. Through his keen ear for a melody, and ability to bring his drums to life, Skee Mask reminds us how devastatingly sensual the fundamentals of dance music can be. Compro is a masterwork of simplicity and perfectly timed progression. The subtle changes to the texture and the slow build-up of the breakbeats throughout results in a vastly nuanced record capable of mixing these cold ambient scores with the energetic breaks and techno beats. -M

Oil of Every Pearl’s Un-Insides - SOPHIE

(MSMSMSM/Future Classic/Transgressive)

SOPHIE’s full length debut is as beautiful, beguiling and absurd as expected. Humorous and sincerely insane, Oil of Every Pearl’s Un-Insides ranges from achingly, tentatively soft to thunderously, tectonically loud, from dystopic drone to tongue-in-cheek BDSM references. It’s extravagant and knows it, and we wouldn’t have expected any less from the debut of one of contemporary electronic music’s most promising and revolutionary pioneers. Everything about Oil of Every Pearl’s Un-Insides is postmodern and glorious, displaying an excellence down both ends of the intensity spectrum; from the enveloping atmosphere of opener ‘It’s Okay to Cry’ to bombacity of EDM banger ‘Immaterial’. It feels exploratory of the capabilities of electronic music, seemingly including a take on Top40 pop, glitch, ambient and many, many other styles. A deliberately confusing listen, this is easily one of the most interesting albums of the year and one that I hope becomes a blueprint for others to copy in the years to come. –E

Superorganism - Superorganism

(Domino)

No one quite knows exactly what a “Superorganism” is (in musical terms), but if it’s some kind of eclectic creature churning out broad, slightly-left field and all-fun pop tracks, then this London-based, multi-continental eight-piece bedroom-pop collective fit the description pretty well. Don’t think too much when listening to Superorganism and it’s a joyous and bouncy, accessible indie pop album brimming with catchy choruses and ear-worming melodies. Listen deeper, and it’s jumpy and rich, glitchy and noisy; laden with quirky “found-sounds” like car horns and screeches, and playfully complex and layered. Playful, fresh and fun, the octet’s debut proves that mainstream pop doesn’t have to be mundane and formulaic, and that there’s a potential future in interesting, inventive pop music. -E

Konoyo – Tim Hecker

(Kranky)

Following the somewhat disappointing Love Streams, Tim Hecker is back on top, as he turns to Japan for inspiration – in particular the ancient courtly music known as [i]gagaku[/i]. The archetypal flutes, drums and strings of this traditional genre are contorted and manipulated, and eventually swept away into the cold and eerie electronic drones typical of Tim’s previous work. What emerges are vast soundscapes that are both minimal and monumental. Tim knows exactly what he is going for and is in complete control, able to fuse points of extreme simplicity and intense noise together so seamlessly. Konoyo is one of the most immersive listening experience you will have all year, and certainly puts itself forward as contender for ambient album of the decade. -M

Cocoa Sugar - Young Fathers

(Ninja Tune)

There aren’t many sounds in modern R’n’B as soothing as the three Scottish voices of Young Fathers, pining in tandem with their signature hypnotic, larger-than-life harmonies. Cocoa Sugar brings together the trio’s expansive, hymnal vocals and impassioned performances over instrumentals constructed of bass-heavy beats and minimalist melodic injections; crafting dense tunes with emotional weight and political potency. There’s an ardent politicism running throughout tracks like ‘In My View’, ‘Toy’ and ‘Border Girl’, as well as an undeniably British perspective that makes Cocoa Sugar relatable, relevant and important. On top of all that, it’s also impressively experimental; Young Fathers’ freedom from traditional song structures, accompanied by their distinctively alternative beat style, feels abstract and purposeful and unlike anyone else. This is their finest release yet, a brilliant demonstration of their stylistic breadth as well as their ability to work politics into their very particular niche of R’n’B. -E

#music #2018 #end of year list #rock #pop #pop punk #ambient #hip hop #best of #lists

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recordsshmecords · 7 years ago

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THE 50 GREATEST ALBUMS OF 2017 (PART ONE OF TWO)

The whole year of 2017 was a cluster fuck. Be it politics, media or our own social standing, 2017 was the year most would like to forget. Throughout the year though, quality music releases popped up to remind us that all of the bullshit is indeed, bullshit. When listening to music this year, I wanted to hear music that transported me out of reality or music that challenged listeners to think deeply about the events around them. Music in 2017 was a catharsis, and these are the albums that represented the very best escapism possible. Picking 50 of my favorite albums of the year was almost impossible, but the albums presented struck a chord with me in one way or another. These are my choices for the 50 best albums of the year. (Part one of two, of course).

50. Bicep – Bicep

Hailing from Northern Ireland, the electronic duo Bicep quietly wormed their way into minds with this stunning self-titled debut. On paper, there isn’t much to this album that we haven’t seen before: low-key house music and subtle shifts to carry the entire album. But what makes Bicep stand out is the way the whole album buries itself deep in the subconscious mind. At first, I felt this album was decent, but unspectacular. But even after one listen, I had various effects from every track stuck in my head for weeks. Bicep is so low-key that you might miss the intricate electronics on display, but the album is seemingly designed to get in your head whether you want it to or not.

49. Majid Jordan – The Space Between

As one of the many to be affiliated with Drake’s OVO Sound label, R&B duo Majid Jordan displayed promise on their debut self-titled album in 2016. A promise left initially unfulfilled, but one capitalized here on their sophomore album The Space Between. Sure, there’s the obvious Drake influence here, but Majid Jordan find a surprising balance between full-blown pop and the moody R&B that has defined the Toronto sound for years. As writers for one of Drake’s biggest hits, “Hold On We’re Going Home,” Majid Jordan finally capitalize on their potential with a set of atmospheric, immaculately crafted R&B.

48. Julien Baker – Turn On the Lights

On Julien Baker’s second album Turn On the Lights, the singer-songwriter grapples with the bleakest of themes. Shaken faith and anxiety fuel the album’s 11 tracks, all of which are stripped down to the bare essentials to allow Baker to to be at the forefront of each track. Turn On the Lights is a moody piece as songs gradually build a surprising amount of tension throughout the runtime. I was genuinely surprised to get lost in Baker’s haunting narrative, as if she was singing directly into my soul. This is an album of questioning, one that feels real because it taps into anyone’s fear of the world around them. Turn On the Lights may not be the easiest listen for some, but for those with patience and the desire to ask the existential questions, this is the perfect reflective album.

47. The War on Drugs – A Deeper Understanding

With their previous album Lost in the Dream, The War on Drugs finally made their way to a bigger audience. Drenched in Springsteen-inspired Americana, the album was full of epic hits that were seemingly pulled straight out of the 1980s. A Deeper Understanding continues what made that album so great in the first place, doubling down on the layered production and epic feels that made Lost in the Dream so great. If this new album isn’t quite the masterpiece the last album was, it’s only because it’s more of a refinement instead of an originator. No matter, A Deeper Understanding is a great follow-up and an indicator that this band is only now getting started.

46. Gorillaz - Humanz

For all the hubbub of a new Gorillaz project from Damon Albarn, Humanz is a surprisingly scattershot record that managed to alienate a number of fans. No matter, Humanz still sees the Gorillaz in the familiar twisted-pop frame as before. The D.R.A.M featuring “Andromeda” could bring the whole club down, but Humanz is at its most provocative with tracks like “Ascension”, featuring a politically charged performance from Vince Staples. With aggressive beats propelling the whole album, there’s a politically charged message here, but one that greatly benefits from the trademark kinetic eccentricity of the Gorillaz.

45. Arca - Arca

I can’t say I’ve been a fan of Venezuela producer Arca’s previous two records. These albums were critically acclaimed across the board, enough so that he’s been getting producer credits from various projects and artists. Personally, I found the music more aimless than it needed to be; abstract electronics with no real emotional core to them. However, Arca’s third and self-titled album is fucking great.

With an increased vocal presence among the eccentric productions, Arca displays an emotional center that greatly improves his abrasive electronics. Arca is an album of personal reflection, one that takes shape with its abstract beauty and never winds down. Easily the best album in Arca’s catalog, this self-titled album finally gives him a platform that even his past critics can’t fault.

44. Rezz – Mass Manipulation

In the world of festival-ready EDM, innovation has taken a backseat to instant bangers, the kind of songs that provide a visceral thrill without any lasting impact. Rezz’s debut album Mass Manipulation provides the requisite bangers, but there’s a creative spark that carries the album beyond a quick adrenaline shot.

Mass Manipulation isn’t a total genre reinvention, but the willingness to experiment with genre conventions gives Rezz a one-up on her contemporaries. Short and sweet, Mass Manipulation descends into odd, sometimes psychedelic territories without sacrificing the bangers. And really, who thought there was any gas left for albums in this genre? A good one is a cause for celebration.

43. Kelela – Take Me Apart

As one of the years’ freshest voices, Kelela’s debut album Take Me Apart might be the sexiest album of 2017. Not in the manner that every song features a frank discussion about the biznizz, but more in a way that washes over you in a soothing manner. Take Me Apart shifts gears and presents itself as a document of a flawed woman, basking in her imperfections and reflecting the ups and downs of love better than most albums in 2017.

Kelela is confident in her tone throughout Take Me Apart, but she never deviates from a subtle singing tone that makes the album a bit of a slow burn, expanding into heavier territory to match cathartic revelations. Take Me Apart might fall into the conventions of electronic R&B, but the results are so seductive and revealing that it begs for repeat listens to dissect every emotional intricacy.

42. Migos – Culture

Migos dominated 2017. The trio of Quavo, Offset and Takeoff managed to climb their way into the public consciousness with Culture, the debut studio album that wasn’t supposed to be this good. It’s hard to consider now, but Migos were looking to fall into obscurity, only reaching a select audience and never making it abundantly clear what the endgame was. However, from the moment the first track begins, Culture reveals Migos as a rap trio meant for the big leagues.

Culture is the culmination of everything trap music has been leading to, solidifying the genre’s ground in the mainstream. Artists like Future or Chief Keef brought this particular rap music to the mainstream, but no other artist created respect from all angles quite like Migos did. With Culture 2 slated for release in 2018 and each member joining various collab projects, the Migos domination doesn’t look to end anytime soon.

41. St. Vincent – Masseduction

Every St. Vincent album has a theme and if her 2014 self-titled masterpiece was the artsy world builder, Masseducation is the more intimate and personal record in her discography. While this new album can’t quite reach the highs of that previous record, it’s still a fantastically weird and entertaining look at one of the most exciting artists in music.

More than any of St. Vincent’s albums, Masseduction feels like the culmination of a varied career as songs branch into every style St. Vincent has dabbled in; songs go from electronic pop to psychedelic rock at a moments notice. St. Vincent juggles so many concepts on Masseduction that the results are most certainly overwhelming, but it’s never less than engrossing throughout.

40. Father John Misty – Pure Comedy

Josh Tillman has become one of the most respected musicians for simply being a satiric asshole. Maybe just an asshole, but as Father John Misty, Tillman explores endless social topics with a wink and a nudge around every corner. Pure Comedy, Tillman’s third album as Father John Misty, continues this tradition over the course of an epic, hour-plus runtime. While lengthy, Pure Comedy wastes no time getting to the best aspects of the Father John Misty legend.

Pure Comedy is unfortunately a more unwieldy beast than Tilllman’s career best, I Love You, Honeybear. But while Pure Comedy is a more challenging record, Tillman remains ever satiric, touching on themes of social interaction, politics and love with the same middle finger we’ve always enjoyed. At this point, it’s hard to knock Father John Misty for anything other than predictability, but the biting lyrics emphasize a man with a lot on his mind and a big middle finger towards all of it.

39. Sylvan Esso – What Now

Electronic-pop duo Sylvan Esso first broke onto the scene in 2014 with a self-titled debut that was decent enough but far from memorable. They seemed destined to follow the route of an indie-electronic artist following trends that had already faded. There were good ideas, but it didn’t seem like there was room for any more artists of their type. Surprisingly, the duo’s 2017 follow-up What Now improves on everything the band had tried before.

On What Now, Sylvan Esso’s songs sound better and feature a bevy of catchy hooks. It’s a fun record, full of folk-pop littered from beginning to end with odd electronic flourishes. If the duos first album wasn’t your favorite, definitely give What Now a listen. It’s a whole hell of a lot more fun and displays more ambition than this duo initially displayed.

38. Kesha – Rainbow

Who would have thought the woman behind “Tic Tok” would drop one of the most relevant albums of 2017? In a year where sexual assault allegations dominated the headlines, Kesha’s sexual assault accusations against producer Dr. Luke in 2014 an unfortunate precursor. While the case was dismissed in 2016, Kesha’s cries for justice were later echoed by a plethora of celebrities across a multitude of platforms. Kesha’s shocking allegations had a profound effect on her, something immediately evident on her third album Rainbow.

Deviating from the shallow club music of previous albums, Kesha sounds like a completely revitalized artist, dabbling in country, rock and soul music throughout. There’s more talent on display here than Kesha had ever exhibited before, a response to the horrific legal battle that preluded the album’s release. Kesha stands defiantly on Rainbow, singing from a place of newfound wisdom and perspective as she rallies against those who wronged her not only as a woman, but as a human being.

37. Arcade Fire – Everything Now

Easily one of the most divisive albums of 2017, Arcade Fire’s Everything Now pushed the band further into the alternative dance-rock style that was first introduced on their previous record, Reflektor. But while that album was bogged down by filler and an excruciating run-time, Everything Now delivers a quick burst of indie-pop centered on the dangers of a world dominated by mass media. Even as the most scattered in the band’s discography, Everything Now is a poignant reflection of our modernized culture.

Arcade Fire have always concerned themselves with societal issues in their music and here, it’s a concern that’s brought out through the ABBA-inspired title track, or by the fuzzy electronics of “Creature Comfort.” It’s easy to knock Everything Now as this is no Funeral, The Suburbs, or even Neon Bible. But as the next chapter in the band’s reinvention, Everything Now displays a band unafraid to take risks, exploring concepts that make us look at ourselves in a different light.

36. Mount Eerie – A Crow Looked At Me

Death is the only inevitable thing in life. It’s the crushing weight of knowing this that can lead to the most cathartic moments in music. After the passing of his wife in 2016, Phil Elverum took a needed year off to grieve and returned to his Mount Eerie project with A Crow Looked At Me. His eighth studio album, A Crow Looked At Me is one of the heaviest meditations on death ever put to record.

A Crow Looked At Me is not an easy listen. Stripped down to the bare essentials, Elverum takes center stage on the album with only his guitar in hand and the words of a man coming to terms with death in the harshest of moments. A Crow Looked At Me might not be the album to test your new subwoofer out with, but it’s one of the realest and deeply felt albums of the year. This is the kind of album the power to bury itself deep into the soul of anyone who has experienced any sort of death life.

35. Open Mike Eagle – Brick Body Kids Still Daydream

As the sixth album from Open Mike Eagle, aka Michael W. Eagle II, Brick Body Kids Still Daydream stands tall as the rappers’ best work to date. It’s also the timeliest. A concept album centered around a housing project in Chicago, Open Mike Eagle tells the stories of the people and the interactions within the neighborhood to give the impression of a lived-in place. Brick Body Kids Still Daydream doesn’t examine racism by focusing on harsh realities or reinforcing the violence around such realities.

Instead of centering on heartbreaking anecdotes, Open Mike Eagle simply raps his observations of everyday life in the projects. It’s a poetic and lyrical achievement, bringing to light stories that aren’t portrayed on the media and giving credit to the beauty still found within less desirable conditions. Brick Body Kids Still Daydream functions as a snapshot of a place tarnished by media perception as the day-to-day lives continue with startling beauty.

34. Sharon Jones & The Dap Kings – Soul Of A Woman

The death of Sharon Jones at the end of 2016 wasn’t just a blow to rest of the members of The Dap Kings, it was a blow to the entire music industry. Jones achieved success relatively late in life with her breakout performance coming from the 2014 album Give Them What They Want. The album was a Grammy award winning hit that catapulted Jones’ soulful ferocity into a new spotlight. Her final album with The Dap Kings before her death, Soul Of A Woman stands as a testament to the woman Jones’ always was: a ferocious presence in music that demanded attention.

Jones carries every song on Soul Of A Woman with a snappy soul that’s impossible to recreate. It’s her presence on Soul Of A Woman that reminds the listener of everything this woman was capable of. The album sounds nostalgic, but completely fitting with the times. Maybe it has something to do with how delightful the whole thing can be, even with the death of Jones looming over it. It may not be a total game changer of an album, but with Jones and The Dap Kings at their absolute best, Soul Of A Woman serves as a fitting conclusion to a spectacular life.

33. Spoon – Hot Thoughts

Nine albums in, it was safe to assume Spoon would slip up. After all, the indie-rock band had become synonymous with the genre, gaining a feverish following with albums like Ga Ga Ga Ga Ga and Kill the Moonlight considered classics by fans and critics alike. The thing is, their worst album is still damn good and Spoon’s discography has gone without a ding in sight. Hot Thoughts is not the best Spoon album, but it’s a fantastic albu that continues one of the hottest streaks in music.

Rather than playing it safe, Hot Thoughts sees Spoon experimenting with a heavier emphasis on electronics throughout. It’s a move that makes the album their most accessible yet, but it also allows for the group to try out new dynamics while keeping the band’s spirit in tack. Hot Thoughts is another great Spoon album and though that might not be enough for some, most should be pleased with this addition to a stellar discography.

32. SZA - Ctrl

As the sole female member of Top Dawg Entertainment, the same house as Kendrick Lamar and ScHoolboy Q, SZA has taken her time to stand out among the group. Her EPs, while solid and well received, didn’t help her garner nearly the level of attention her label mates were receiving. Well, turns out she was quietly waiting to drop the bomb of her debut studio album Ctrl.

Ctrl is a phenomenal record, full of complex characterizations that hadn’t been expected from SZA until now. It’s an album about the intricacies of love, one that fuses soul music with the hip-hop sensibilities straight out of the TDE playbook. With Ctrl, SZA establishes herself as a heavyweight among her peers, but the album also continues the label’s incredible hot streak with finding incredible talent capable of dropping instant hits.

31. Broken Social Scene – Hug of Thunder

For the seemingly endless array of artists involved in Broken Social Scene, the group have consistently entertained with cohesive, epic indie-rock albums that never crumble under the densely packed songs. Seven years removed from their previous album Forgiveness Rock Record, it seemed like the weight of getting so many artists together for a record was next to impossible. Thankfully, Hug of Thunder is up to the challenge of continuing the band’s fantastic track record.

Hug of Thunder surprises by bringing back a majority of the original band members, but surprises even more by being a fucking great rock record. Full of emotion and soaring crescendos, Hug of Thunder is Broken Social Scene at their most comfortable, and while it is a relatively safe record, it’s also an immensely well-executed one. On almost their second decade, Broken Social Scene continue to prove their vision time and time again. Amazing considering it’s the vision of over 20 musicians.

30. Vince Staples - Big Fish Theory

While Summertime ’06 was a telling and often violent meditation of his past, Vince Staples’ debut studio album was unsatisfying. The lyrics were great and the production was fine, but Staples displayed a far more interesting version of himself on the preluding EP, Hell Can Wait. By experimenting with hip-hop conventions, Vince Staples sounded more crucial than ever. Summertime ’06 seemed content with following the debut studio album checklist.

Big Fish Theory is by far the most radical change the rapper has dropped on us yet. Instead of the usual rap tropes, Vince Staples dropped an album of ferocious raps delivered over club beats too fucked up for the club. Big Fish Theory takes seemingly danceable club bangers and flips them into visceral vignettes too abstract for the club. But underneath the bizarre production lies Vince Staples with a lyrical ferocity that demands attention. It might not be the album some were expecting, but it’s Vince’s wildest statement yet.

29. Washed Out – Mister Mellow

The era of chillwave dominance has long since passed, but don’t tell that to Ernest Greene, the man behind Washed Out. Mister Mellow, the third official studio album from the chillwave pioneer, delivers the expectations of the genre’s low-fi pop and then some. Featuring a new obsession in sample based production, Greene orchestrates a breezy, enjoyable listen that’s primed for a stoned Saturday afternoon.

Mister Mellow doubles as a visual album and becomes a compelling psychedelic experience when paired with the accompanied visuals. It’s an album of few faces. This is a chillwave artist after all, so the results are bound to be breezier than they are complex. But it’s the song craft and a loving embrace for all things retro that elevates Mister Mellow above any Washed Out project yet. There’s so much to enjoy on Mister Mellow and nothing that demands anything more than to listen and relax.

28. Charlotte Gainsbourg - Rest

As an actress who has appeared in art-house fare like Nymphomaniac and Antichrist, Charlotte Gainsbourg has somehow carved a unique voice for herself in the music industry. Her fifth album Rest may be sung in more French than most English-speaking audiences would be interested in, but the themes of loss and addiction are driven in with shocking emotional precision.

There’s pain in Gainsbourg’s voice across the 11-tracks of organic and electronic pop. Rest surprises by simply how much fun the album can be, but that doesn’t mean heavy emotions aren’t delivered with a sucker punch to the gut. Something like this shouldn’t be made by someone who acts for a living, but Rest truly makes it clear Charlotte Gainsbourg is a bonafide artist who can use any medium to convey the most intimate of emotions.

27. Perfume Genius – No Shape

Mike Hadreas used to shock me. As Perfume Genius, the talented musician approached uncomfortable topics surrounding his upbringing with heavy reflection. No one would ever call an album like Put Your Back N 2 It or Too Bright easy listens, but as his breakout albums, the pain within each song was too real to brush off so easily. Approaching his own sexuality with frank and heartbreaking revelations, Hadreas has never minced words, but on his latest album No Shape, he looks ahead with a hopeful gaze.

The pain of the past is still present, but there’s a quirky spirit to this latest Perfume Genius record that could deem it the “happy” record of his catalog. Make no mistake, No Shape still sees Hadreas hurting and hoping for change, but the fact that there is hope for change already elevates this album beyond being another confessional. Anger makes way for love on No Shape, but the album still shows that the anger will always be there. It’s a stunning album, realized by an artist who has yet to compromise his art for the sake of anyone.

26. The National – Sleep Well Beast

Fans are likely to be torn on Sleep Well Beast, the latest album from The National. Some may find the slower approach to their trademark, brooding indie-rock too patience testing. Some may find this to be the most personal and adult album of the band’s career. Both sides are valid, and while Sleep Well Beast lacks the triumph and accessibility of albums like Boxer or Trouble Will Find Me, The National have never sounded as fine-tuned as they do here.

Sleep Well Beast is a slow-burn of a life lived with regret, hoping to find the light in the murkiest of times. By doubling down on the anxiety and fear present on previous albums, The National have crafted their most intimate record yet, one that doesn’t initially reveal its beauty, instead taking its time to set the perfect mood. Sleep Well Beast demands repeated listens, but when the music is this powerful, that’s more of an endorsement than anything.

Check back tomorrow evening for part two of The Greatest Albums of 2017!

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josemaximiliano-blog1 · 7 years ago

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FAVORITE ALBUMS 2017 (TOP 50)

2017 was a phenomenal year for music and a special one because this year I went full dedication to music, heard albums here and there, a lot of them actually to be precise 402 albums I heard just from this year, there were good albums, bad albums, horrible albums, happy albums, sad albums, we had everything this year and out of those 402 I heard I selected the 50 that I liked the most from New Wave to Doom Metal to Bubblegum Pop to Hip-Hop, I found out about a lot of new interesting artists and I’m looking forward for what next year has in store for us. It was hard to choose my top 50 but here are the ones that stand out the most.

1. Alex Cameron - Forced Witness (New Wave, Synth Pop, Soft Rock)

Wow. This album has the best songwriting of the year, just to start the character development is sublime, the hooks are catchy, the lyrics are hysterically funny and the production is awe-inspiring, it brings back the 80′s in such an amazing way, his vocal performance is stirring. This album is an introspective look into the persona that Alex created. The recurrent themes of masculinity, bravado, love, failure, sincerity, hope and hopelessness make this album grow into you until it becomes addictive. The lyrics might be fun and everything but at the end there is a raw reality that some might feel identified with it.

Three songs you should check out: Candy May, Stranger’s Kiss (Duet With Angel Olsen), Politics of Love.

2. The War On Drugs - A Deeper Understanding (Heartland Rock, Synth Rock)

This album is awesome from start to finish, makes me want to take the car during midnight and drive and never look back, its beautiful and satisfying guitar riffs to its gorgeous instrumental breaks and dreamy synths make this album an almost perfect listening experience, with the cherry on top being the thoughtful and heart melting/breaking lyrics.

Three songs you should check out: Pain, Thinking Of A Place, You Don’t Have To Go.

3. Arca - Arca (Art Pop)

Immaculate and gorgeous production joined by a powerful voice, it is a journey into Alejandro Ghersi’s sexual life, fantasies and thoughts. This album has astonishing and beautiful falsettos with great lyricism.

Three songs you should check out: Anoche, Castration, Miel.

4. The National - Sleep Well Beast (Alternative Rock)

This album explores new territories into The National’s great discography and it is their most experimental album yet and it might be their best album too, time will decide. Frontman Matt Berninger gifts us one of the best written albums of the year with a sorrowful and mature songwriting joined by an amazing band work by the Dessner twins and company.

This album could’ve been my number one spot but being honest... Turtleneck is not for me. Excited to see them live next month!

Three songs you should check out: Nobody Else Will Be There, Dark Side of the Gym, Sleep Well Beast.

5. BROCKHAMPTON - SATURATION (Experimental Hip-Hop, Hip-Hop)

The first album out of the Saturation trilogy and what a perfect way to get introduced to this boyband, I want to be like them so bad! this album is banger after banger, the production is juicy and amazing, you will never get tired of this album.

I have more to say about them but (spoiler alert) they have two more spots on this list and I don’t wanna run out of praise.

Three songs you should check out: HEAT, SWIM, MILK.

6. Lorde - Melodrama (Art Pop)

This is an album that can define an entire generation, Ella wrote an album for the teenagers and it is a true blessing, with her beautiful voice and gorgeous production by Jake Antonoff (fun, Bleachers) Melodrama is really a melodramatic expression of the daily lives of many of us.

That’s a beautiful cover art by the way.

Three songs you should check out: Liability, Hard Feelings/Loveless, Liability (Reprise)

7. Perfume Genius - No Shape

Love has no shape, this album gorgeously produced songs (totally deserved that Grammy nomination) and Mike’s angelical voice make a wonderful listening experience.

Three songs you should check out: Slip Away, Die 4 You, Alan.

8. Sorority Noise - You’re Not As Alone As You Think (Emo, Indie Rock, Punk)

In a year where I openly struggled with depression, suicidal thoughts and a friends death this album helped me a lot even though I might still be depressed, yes, this album talks about the same stuff I struggled with but sometimes a negative plus negative make a positive change.

Three songs you should check out: No Halo, A Portrait Of, A Better Sun. (It is just 30 minutes long so why not check the whole thing)

9. Father John Misty - Pure Comedy (Singer Songwriter)

2017 was a hell of a year and it is slowly going to fade away as long as we keep fighting each other and this album is just a reminder of that but it is also a reminder that it is a miracle to be alive and there is nothing to fear. Tillman’s songwriting is really an inspiration for me and he is my role model.

Three songs you should check out: Pure Comedy, The Memo, In Twenty Years or So.

10. King Krule - The OOZ (Post Punk, Art Rock, Nü Jazz, Trip Hop)

Yeah that genre description is cool isn’t it. Archy came out this with an amazing set of songs that explore depression and he just keeps showing us how great of an artist he is and yes we have to honest his voice is just something else I dream with his voice.

Three songs you should check out: Dum Surfer, The Ooz, Midnight 01 (Deep Sea Diver).

11. Charli XCX - Pop 2 (Electro Pop, Bubblegum Pop)

Charli closed the year with an amazing mixtape that stands out thanks to the amazing production by the PC Music team, the album is very futuristic and enjoyable with great features.

Three songs you should check out: Lucky, Porsche (Feat. MØ), Track 10.

12. Remo Drive - Greatest Hits (Indie Rock, Emo)

Same issue as Forced Witness but now with the title, to my understanding this is their DEBUT ALBUM and the fact they named it “Greatest Hits” made me think that this was a compilation from an old band trying to have more revenue but I’m glad I was wrong. This set of upbeat teenager songs is one of the best debut albums of the year.

They’re going to be touring with Sorority Noise how cool someone take me there!!!

Three songs you should check out: Crash Test Rating, Yer Killin’ Me, I’m My Own Doctor.

13. Julien Baker - Turn Out the Lights (Singer Songwriter)

The follow up to her debut album “Sprained Ankle” couldn’t be better, this is one of the most heart breaking and depressing albums (second most depressive because A Crow Looked At Me exists) of the year, Julien opens up with more depressive themes such as drug abuse, faith, suicidal thoughts and love and her delivery brings me to tears, the song structures here are brilliant and satisfying almost depending on the vocal performance but she doesn’t disappoint.

Three songs you should check out: Appointments, Sour Breath, Claws in Your Back.

14. Tyler The Creator - Flower Boy (Experimental Hip-Hop)

I didn’t like Tyler before this release but it did change my mind, this project was the album of my summer, literally, that was the only album I heard during summer camp so it brings me a lot of good memories with my friends and girlfriend.

Three songs you should check out: See You Again, Boredom, 911/Mr. Lonely.

15. Kirin J Callinan - Bravado (Art Pop, Synth Pop, Euro Dance)

The fact that one of my favorite songs from this album is one of my favorite memes of the year makes me feel wholesome.

Watch it for yourself: https://www.youtube.com/watch?v=rvrZJ5C_Nwg the joy starts at 2:23

Three songs you should check out: S.A.D., Big Enough, Bravado.

16. Fleet Foxes - Crack-Up (Chamber Folk, Folk)

One of the best produced and written albums of the year, beautiful instrumentation comes along with a strong set of lyrics to give one of the most pleasing albums this year, this would be even higher on my list if it hadn’t been for the replay value (that is good but it took me a while).

It has one of the most beautiful cover arts of the year for sure.

Three songs you should check out: -Naiads, Cassadies, Third of May / Ōdaigahara, Fool’s Errand.

17. Phoebe Bridgers - Stranger in the Alps (Singer Songwriter)

Another set of depressing songs now this time from Phoebe, props for being a debut album too, her songwriting reminds me a lot of Mark Kozelek and yes she actually sings a cover (which is my favorite cover of the year) from a Mark song. The narrative on her songs is criminally incredible.

Three songs you should check out: Smoke Signals, Funeral, You Missed My Heart (cover).

18. Charli XCX - Number 1 Angel (Electro Pop, Bubblegum Pop)

It’s Charli, again. One of the catchiest releases of the year with a more mainstream focus than Pop 2 but still the album is great and the features again are amazing, so much chemistry.

Three songs you should check out: Emotional, Babygirl (feat. Uffie), Lipgloss (feat. CupcakKe).

19. Protomartyr - Relatives In Descent (Post Punk)

The songwriting...

I’m not saying anything about this album just read this verse.

From the song “Half Sister”

In Northern Michigan There was an incident in winter A horse was hit by lightning And began to speak in a foreign language When he was finally understood It repeated, "Humans are no good" So they shot it behind the shed and stuffed him He's now on display as a lesson For the kids to always do your best Do your best always.

Have to say that the “she’s just trying to reach you” reprise used throughout the album is just heart breaking.

Three songs you should check out: A Private Understanding, The Chuckler, Night Blooming-Cereus.

20. Counterparts - You’re Not You Anymore (Metalcore, Hardcore Punk)

This album doesn’t catch a break at all 27 minutes of straight forward madness. All I have to say.

Three songs you should check out: Bouquet, No Servant of Mine, You’re Not You Anymore.

21. Mount Kimbie - Love What Survives (Future Garage, Indietronica)

Every time I listen to this album I just want to lay down and chill for a minute, great production and it has an overall dreamy vibe, shout out to Mount Kimbie for introducing me to King Krule.

Three songs you should check out: Blue Train Lines, Marylin, We Go Home Together.

22. BROCKHAMPTON - SATURATION III (Experimental Hip-Hop, Pop Rap)

The boys back at it again, the conclusion to the Saturation saga and it is as creative as previous efforts, they keep changing their sound with every new album, what I liked the most from this album was that members like JOBA got more spotlight than ever before, the MVP’S of this one were Matt, Merlyn and JOBA.

Three songs you should check out: LIQUID, BLEACH, HOTTIE.

23. Oneohtrix Point Never - Good Time Original Motion Picture Soundtrack (Soundtrack, Ambient, Original Score)

The highest entry for a movie score is Good Time, what an addition to the movie with high gripping and tense sequences of dreamy acid songs and with one of the best closing tracks of the year with The Pure and the Damned featuring Iggy Pop the song is heartbreaking and a great culmination to the album.

Three songs you should check out: Leaving The Park, Connie, The Pure and the Damned.

24. Rex Orange County - Apricot Princess (Alternative R&B)

This is an underrated and overlooked album that definitively deserves more attention, Alex delivers sweet and lovely songs with his unique and tender voice, great instrumentation and vocal performance. If you are looking for a love album this might be one of the best ones of the year.

Three songs you should check out: 4 Seasons, Rain Man, Happiness.

25. BROCKHAMPTON - SATURATION II (Experimental Hip-Hop)

What a year for the boyband. This one is full of bangers.

Three songs you should check out: SWAMP, JUNKY, SUMMER.

26. King Gizzard & The Lizard Wizard - Flying Microtonal Banana (Psychedelic Rock)

It is the strange vibe to this album and the crazy tuning that makes this an exotic and groovy album. The prolific Australian band proved that they are here to stay, they put out four solid albums in a short span of time and this has to be my favorite (one more to come out before the year ends). Looking forward for the fifth of the year!

Three songs you should check out: Rattlesnake, Sleep Drifter, Doom City.

27. Kyle Dixon & Michael Stein - Stranger Things 2 (A Netflix Original Series Soundtrack)

In my opinion the score outlives the tv show, this nostalgic vibe is incredible and all the layering is chilling yet beautiful to hear, from mellow synths to dark and eerie atmospheric sequences this album is one of the most memorable things of the show.

Three songs you should check out: Eulogy, Descent into the Rift, Soldiers.

28. Xiu Xiu - FORGET (Art Pop)

It’s unsettling, bold and dreary, this is an album you should not forget about, vocal performances on point plus a weird and iconic instrumentation.

Three songs you should check out: The Call, Wondering, Get Up.

29. Mount Eerie - A Crow Looked At Me (Singer Songwriter)

The year’s most depressing album follows the story of Phil Elverum who tragically lost his wife after fighting against cancer, this is as real as it can be, the songwriting is heart breaking and outstanding, this album is arguably one of the best three albums of the year for me but the replay value affected its place on the list, the listening experience is too pessimistic and full of gut punches that I find it hard to listen to the full album in just one sitting.

Three songs you should check out: Real Death, Swims, My Chasm.

Starting from the next album I’m just giving my quick thoughts...

30. Benjamin Clementine - I Tell A Fly (Chamber Pop, Art Pop, Avant Garde)

An album with great and beautiful instrumentation joined by one of the most interesting and satisfying voices working today.

Three songs you should check out: God Save The Jungle, Phantom Of Aleppoville, One Awkward Fish.

31. Sampha - Process (R&B)

One of my favorite R&B releases of the year, Sampha has such a great voice.

Three songs you should check out: (No One Knows Me) Like the Piano, Under, Timmy’s Prayer.

32. IDLES - Brutalism (Post Punk)

The album title describes everything, brutalism all over the place with an interesting political/social point of view. Vocal performances are awesome.

Three songs you should check out: Mother, Divide & Conquer, White Privilege.

33. Ariel Pink - Dedicated to Bobby Jameson (New Wave, Synth Pop, Art Pop)

This album was my introduction to Ariel Pink and it was so good I enjoyed so much every track with a nostalgic vibe of music from the last century.

Three songs you should check out: Feels Like Heaven, Another Weekend, I Wanna Be Young.

34. Destroyer - Ken (Synth Pop)

I love the synths here, to be honest that was what made me love this album, it is so well designed and the lyrics were pretty cool.

Three songs you should check out: Sky’s Grey, Rome, Sometimes in the World.

35. Daniel Hart - A Ghost Story (Original Soundtrack Album)

I went to see the movie almost six months ago and the first thing I did after walking out of the movie theater was crossing the street to the nearest record store and buy the album, it still haunts me to this day, the album itself haunts me as well as the movie.

Three songs you should check out: Whatever Hour You Woke, Post Pie, The Secret In The Wall.

36. Jay-Z - 4:44 (Hip-Hop)

One of the best written hip- hop albums this year for sure, pure sincerity and emotion in this project and the production is just brilliant.

Three songs you should check out: The Story of O.J., Caught Their Eyes (feat. Frank Ocean), 4:44.

37. The xx - I See You (Indietronica)

One of the first albums I heard this year and it was good enough to make it to my list, I like the sensuality of the beats here and the smooth vibe to it.

Three songs you should check out: Say Something Loving, Perfomance, Test Me.

38. Primitive Man - Caustic (Doom Metal)

I like the way my favorite reviewer (theneedledrop) described this album, I share the same feeling so I’m just going to quoute “ Doom metal trio Primitive Man returns with one of the most nihilistic albums in the genre. For anyone who enjoys some pain with their pleasure.”

Three songs you should check out: My Will, Victim, Inevitable.

39. Moses Sumney - Aromanticisim (Art Pop, R&B)

Uhhh his voice is so beautiful and he is such a talented artist I’m in love with his voice, make sure you enjoy his voice as much as I do. I urge everyone to listen to Doomed if you wanna know what I am talking about.

Three songs you should check out: Plastic, Make Out in My Car, Doomed.

40. Code Orange - Forever (Sludge Metal)

It is brutal it is dirty it is aggressive it makes you wanna throw punches.

The cover art is easily top 3 of the year for me.

Three songs you should check out: Forever, Real, Spy.

41. King Gizzard & The Lizard Wizard - Polygondwanaland (Psychedelic Rock, Progressive Rock)

This is a great concept album that you should check out (if you are into concept albums otherwise you might not like it) because I love how every song builds to a great climax at the end.

Three songs you should check out: Crumbling Castle, Loyalty, The Fourth Color.

42. Alvvays - Antisocialites (Dream Pop)

Dream pop at its best this year.

Three songs you should check out: Dreams Tonite, Your Type, Forget About Life.

43. Slowdive - Slowdive (Shoegaze)

Great comeback from one of the most important bands of the genre, good for driving.

Three songs you should check out: Star Roving, Sugar for the Pill, Falling Ashes.

44. King Gizzard & The Lizard Wizard - Murder of the Universe, Chapter 1: The Tale of the Altered Beast, Chapter 2: The Lord of Lightning vs. Balrog (Psychedelic Rock)

The boys are here again for the third time, why did I put the chapters? Because this album is divided in three chapters and oh god the third chapter almost ruins everything so that’s why I didn’t put it here and I think that the first two need recognition, I love the narrative tone of the album and how it feels like a real story or a video game.

Three songs you should check out: Altered Beast I, The Lord of Lightning, The Balrog.

45. Zola Jesus - Okovi (Art Pop)

This album is so meaningful (a little bit of background, Zola Jesus wrote this album for a friend who tried to commit suicide twice) and powerful, it has a very strong message and the production is beautiful.

My favorite cover art of the year here.

Three songs you should check out: Witness, Siphon, Half Life.

46. Hans Zimmer - Blade Runner 2049 (Original Motion Picture Soundtrack)

So nostalgic and brings back the vibe from one of my favorite movies of the year.

Three songs you should check out: Flight to LAPD, Joi, All the Best Memories Are Hers.

47. Yung Lean - Stranger (Clout Rap)

This album might had its flaws but it is a great listening experience if you just one to chill for a minute, solid production, lyrics and performances so yeah why not. Also bonus points for having two of my favorite singles of the year.

Three songs you should check out: Red Bottom Sky, Hunting My Own Skin, Agony.

48. ROSALÍA - Los Ángeles (Flamenco)

One of the last albums I heard this year, If I had listen to this album earlier on the year it might have been higher on the list but anyways this is a good project from Rosalía and she has one of the most attractive voices of the year.

Three songs you should check out: Nos Quedamos Solitos, Día 14 De Abril, I See A Darkness.

49. Ex Eye - Ex Eye (Post Metal)

This is just four tracks long but it is epic and progressive, really well produced album and nice to see Colin Stetson experimenting more with his saxophone.

Three tracks you should listen: Go with all the album, it is just four tracks, If I had to choose one... Anaitis Hymnal; the Arkose Disc.

50. Mac DeMarco - This Old Dog (Singer Songwriter)

The songwriting here is solid with a nice production, the song structures make this album a satisfying session.

Three songs you should check out: For the First Time, Moonlight on the River, Watching Him Fade Away.

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daylightarchives · 7 years ago

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TOP ALBUMS OF 2017 (SO FAR)

It’s been a crazy year.. But also, somehow, one of the best years for music I think I might have ever been alive for! Here are some of my favorite albums of this year, lovingly catalogued and described in hopes that others enjoy these records as much as I have and continue to. Enjoy!

20. Alvvays - Antisocialites - If European stalwarts of indie like Chromatics and Pheonix can’t be counted on to bring their twee, vaguely filmic charm to 2017 (sorry, Tí Amo,) well, at least we have Alvvays. Coloring the totally played out dream-pop formula with flavors of shoegaze, punk, and post-punk, Alvvays bring a shit ton of personality to a genre that, most of the time, projects aloof disinterest; needless to say, it’s a welcome change of pace. Furthermore, there’s some serious songwriting muscle on display here, and every song seems even catchier than the last: from the washed out, dreamy In Undertow all the way to the longing closer, Forget About Life, Antisocialites remains a fun, engaging and memorable listen that I honestly defy anyone not to enjoy - and it has some of the best singles of the year in tracks like Dreams Tonite and the previously mentioned In Undertow.

19. Arca - Arca - There’s always been a sort of totally alien charm to the twisted and avant-garde electronic music that Alejandro Ghersi makes as Arca - on his latest self-titled record, everything that entices me about Arca’s music is turned up to 11 with the inclusion of his pained, heart wrenching vocals. Despite being sung entirely in nakedly emotional fits of his native Spanish, Arca seems somehow to reveal even less about himself than he did on his previous, instrumental albums, shrouding everything in a vague, mysterious aura on tracks like Reverie, Anoche, and (my by-and-far favorite) Sin Rumbo. Perhaps one of the most unique records to hit the mainstream this year, Arca is as good an introduction to this guy as any, and a great album.

18. Ariel Pink - Dedicated to Bobby Jameson - Basically another great weirdo-pop record from the reigning king of weirdo-pop. Bobby Jameson is effortlessly funny, sexy, bizarre, and touching, even at its most gloriously lo-fi and porny moments (Death Patrol, anyone?) The instrumental palette expands and contracts throughout the record, with some genuinely affecting acoustic moments and some batshit sound effects elsewhere that evoke the weirder moments of 2014’s also excellent Pom Pom. Always different, always the same.

17. Mac Demarco - This Old Dog - Leave it to a goofball like Mac Demarco to make an album that’s simultaneously the saddest thing he’s ever done, and the easiest record to chill out to of the year. Seriously, This Old Dog can be gut wrenching, especially when Mac is coming to terms with his broken family dynamics on tracks like Sister and Moonlight on the River. But Mac’s penchant for endlessly breezy riffs is all over this thing, making tracks like Still Beating, This Old Dog, and One More Love Song some incredibly easy and fun songs to listen to, in spite of the heavy subject matter. This Old Dog is an album I’ve lived comfortably with since its release because it’s so catchy, listenable and light, but still manages to contain multitudes about the guy behind these pained songs.

16. Dirty Projectors - Dirty Projectors - To the extent that Dirty Projectors mastermind Dave Longstreth can be viewed as a sort of elder statesman of the modern indie-landscape (ushering in R&B and pop worship, introducing Ezra Koenig and Rostam Batmanglij, constantly participating in the critical dialog surrounding his art and the art of the others), I think his new album Dirty Projectors can be seen as a sort of comment on the landscape he’s helped to shape, as well as the maybe too personal breakup album we all know it as. Dirty Projectors is a primer on white-boy R&B presented as 9 gloriously overstuffed tone poems, each obsessed with some aspect of his failed relationship with former Dirty Projector Amber Coffman. Up In Hudson is an autotune epic full of joyous horns and harmonies, Cool Your Heart is an awesome cacophony of polyrhythms anchored by D∆WN’s levelheaded chorus, and centerpiece Little Bubble is a baroque masterpiece that’s understated and subtle in all the right ways - a pleasant break from Longstreth’s breathless oversharing everywhere else on the album. If FJM wasn’t so deft at manipulating the journalists, this would’ve been the event album of the year; for Amber’s sake, I’m glad it isn’t.

15. Father John Misty - Pure Comedy - Shave your beard, ditch the funny-guy schtick, and write your fatalist opus: at least, that’s how Father John Misty owned the first half of the year, deftly playing the soundbite game and keeping his name in everyone’s mouth until the fabled album finally arrived. Fortunately, the music holds up for the most part, even if Pure Comedy is a little heavy on the ballads and could've used some of I Love You, Honeybear’s variety. Still, songs like Smoochie, The Ballad of the Dying Man, and A Bigger Paper Bag are stunners, and the analog ear candy production all over this album is some of the best I’ve heard this year. I guess my only gripe is that 2017 is a bummer enough already without Father John Misty telling us how screwed we are… Maybe take the title a little more literally for Pure Comedy 2?

14. Gabriel Garzón-Montano - Jardín - Gabriel Garzón-Montano, the guy that Drake sampled for sleeper-hit Jungle, signed with beat-music giant Stones Throw (home of hip-hop institutions like Madlib, Knxwledge, and countless others) to release Jardín - turns out, that odd couple was perfectly paired. Jardín is full of these excellent, miniature masterclasses in beatmaking, like the skittering percussion of “Long Ears” or the funk swagger of “Crawl.” Still, the record is pretty far from being some low key hip-hop worship thing, and acts pretty often as a vehicle for Garzón-Montano’s ambitious arrangements (“Fruitflies,” “Trial”) and vocal performances (“Cantiga,” “Sour Mango”), which range from old school R&B to almost classically baroque. Throughout, the instrumental palette is tasteful and restrained, and everything is overcome by a sexy, nocturnal vibe that just sounds great. I’m not sure what more I could possibly want from a record as generous as Jardín.

13. Japanese Breakfast - Soft Sounds From Another Planet - Something of a companion to 2017’s other great dream pop album, Antisocialites, Soft Sounds From Another Planet ditches that record’s lighthearted romanticism in favor of blistering political intensity and a wistful sort of sadness that evokes the crooners of the sixties on cuts like Boyish and ’Til Death. Taking influence from towering figures like Bradford Cox, Michelle Zauner crafts a work entirely her own here, weaving in strokes of shoegaze, chamber pop, and even an almost disco influenced synth-pop moment on standout The Machinist. Furthermore, there’s a really compelling interplay lyrically between songs that seem to assert Zauner’s efficacy as a woman (Diving Woman, the title track) with stories about the men who try to tear that efficacy down on tracks like Boyish and Road Head. Zauner’s political subtext on this record is definitely more complicated than I could understand or attempt to explain, but it almost doesn’t matter: with Soft Sounds, Japanese Breakfast weaves that social dynamic into a tapestry of beautiful music and gripping lyricism that will continue to impress and compel me for a long time.

12. JAY Z - 4:44 - In a decidedly more minor way, JAY Z’s 4:44 feels like his Dark Twisted Fantasy moment: in a time of personal turmoil played out on a grand public scale, the misunderstood artist retreats into himself and blows an unimaginable amount of money crafting an album too good to be ignored by the hateful masses. Luckily, the similarities end there, and 4:44 stays a low-key affair that plays impressively to Jay’s skills as both a rapper and simply as a magnetic personality, even if his almost spoken word delivery here often blurs the lines between those two things. All over the place, 4:44 is a rambling and opulent affair, full of expensive samples and rumination on internal conflicts of the ludicrously wealthy; it’s certainly to JAY Z’s credit that he can somehow keep that entertaining.

11. Kelly Lee Owens - Kelly Lee Owens - It’s always impressive when a record as slight and barely there as Kelly Lee Owens’ self titled debut can make an impression as strong as it did on me; even more impressive is the fact that this is her first record. Genre signifiers like “minimal techno” are frequently thrown towards skeletal, extended beats adorned only with the simplest melodies - you’ll find none of that on Kelly Lee Owens, a decidedly minimal-techno record that manages still to be incredibly lush and intoxicating. Whether Owens is highlighting the unique aspects of her collaborators styles as on Anxi with Jenny Hval or showcasing her own voice as she does throughout much of the record, Owens remains immaculately perched at the nexus between seductive and subtle - I haven’t heard anyone else operating so assuredly in this lane at all in 2017.

10. King Gizzard and the Lizard Wizard - Flying Microtonal Banana - Far less jokey than the too-heavy Murder of the Universe and far less ephemeral than the barely there Sketches of Brunswick East, King Gizzard really nailed it on LP1 of 2017 with Flying Microtonal Banana. Shaking up their usually spartan Kraut-punk grooves with a wealth of added Eastern instrumentation and a whole different approach to tuning that required custom instruments for every band member, FMB sounds like a band intent on exploring every possible permutation of their sound; as luck would have it, microtonal is a good look for them, and the record is basically bangers from front to back. From the off-tune crooning of Sleep Drifter to the strangely danceable Nuclear Fusion, King Gizz really take a successful sonic detour on this one while still coming through with a wealth of strong material. Let’s hope things head back in that direction for LP’s 4 and 5 before year’s end.

9. LCD Soundsystem - American Dream - LCD Soundsystem is back, and everything they represented in their heyday is even more out of style now than it was when they broke up a few years ago. So why is American Dream so goddamn good? For me, it comes down to the fact that past the cloying pretension (again, very out of style in 2017) and attempted rock-star aloofness, James Murphy is a pretty passionate dude, and that soft side translates a lot more often than not on this new record. Far more low-key than the bombast of This Is Happening, American Dream sets the bar a few inches lower and then leaps over it with stunners like Oh Baby, Black Screen, and the defeatist funeral march of the title track. The righteous anger is a little less believable now that James Murphy has personally screwed his fans over, which unfortunately taints the supposedly epic How Do You Sleep? with the sour taste of a one sided dialogue where you know you’re getting an asshole’s side of the story. Still, American Dream is a very good LCD Soundsystem record, and at the very least earns its respect in the pantheon of 2017 releases on quality, if lacking in narrative thrust.

8. Oh Sees - Orc - John Dwyer is living proof that the troubadour still has a future in the financial black hole that is this music industry, and maybe one of the last DIY guys to break through and really become an institution in rock music; it’s telling that the man can count fucking Henry Rollins as one of his biggest fans. Approaching the 20 year anniversary of his longest standing musical project, Dwyer hunkered down with producer Ty Segall (!), a bassist, and two drummers to record Orc, a late period masterpiece that streamlines the best things about Oh See’s recent sonic direction into a sometimes blissed out, sometimes metal-leaning psych opus that’s weird and fun and exciting in all the right ways. Orc is a Spartan album with little to no filler and an almost monomaniacal focus on running the ten tracks that make this album up into the ground; Keys to the Castle is an eight minute epic that gives up on punk a third of the way in for heavenly keys, and Paranoise, well, lives up to its name. Anyone who claims that rock isn't exciting or viable anymore should be directed to this record with haste - John Dwyer presents a pretty convincing counter with this one.

7. Perfume Genius - No Shape - Perfume Genius’ No Shape is an incredibly dense and rewarding album: rich in sound, rich in feeling, rich in lyrical and instrumental complexity, it strikes me as an album that’s meant to be lived with, and that reveals itself over the multiple listens necessary to pick up on all the little quirks hidden throughout by mastermind Mike Hadreas. Luckily, none of what I just said precludes No Shape from also being the most immediately gratifying and exciting release yet from Perfume Genius, and maybe anyone else this year, too. The first two songs are barrages of massive indie guitars and anthemic melodies, and from there, No Shape settles into a stride of incredible song after incredible song that continuously demonstrate Hadreas’ incredible range and capacity for evoking emotion. The fact that it’s easily the best-produced record I’ve heard this year is just icing on the cake.

6. Thundercat - Drunk - The glorious shitshow of an album that this glorious shitshow of a year deserves - and I mean that in the best possible way. While other artists have grappled with the craziness of the year with unfailing pretension (Father John Misty) or with intensely personal storytelling (Japanese Breakfast,) Thundercat seems to be coping in the same way the rest of us are - disappearing down a “rabbit ho” of drunken hilarity and making light of his occasionally destructive personality. Drunk is just as much of a showcase for Thundercat’s virtuosic bass skills as his overall funniness, though, and hyperactive bass workouts on tracks like Captain Stupido and Tokyo remind of his skills just as chill out moments like Walk On By and Drink Dat remind of his pop sensibilities. Thundercat stood behind the best of 2016’s music on the merits of his musicianship alone; with his affable personality in the fore, it’s no surprise how easily his solo work is beginning to connect on its own.

5. Brockhampton - Saturation I/Saturation II - Outclassing heavyweights like Drake, JAY-Z, and Kendrick Lamar, Brockhampton’s exciting debut and follow up Saturation (and Saturation II )are a reminder to me of why I fell in love with hip-hop in the first place: these records are a document of a bunch of kids willing the coolest shit they can think of into existence and then turning themselves into rockstars with whatever they came up with. That’s Kanye’s story, that’s Chance’s story, and now that torch is getting snatched by the willing and able guys behind America’s latest and greatest Boy Band. Fortunately, unlike all these heavyweights that seemed to get stuck in a rut this year, Brockhampton still has something to prove; let’s hope that takes awhile.

4. Fleet Foxes - Crack Up - Unlike FJM, Fleet Foxes frontman Robin Pecknold hasn’t given up on the world quite yet - that optimism, along with some of the most creative songwriting, production, and instrumentation I’ve heard all year, are what make Crack Up so special. The album has this sweeping, almost baroque quality to it; it’s more an album of suites and movements than individual tracks (that the lead single is an eight minute, two part behemoth speaks to this,) and Pecknold’s songwriting has finely begun to match the stately and massive sound his backing band has always been capable of making. Still, what keeps me coming back are the moments of almost religious stillness Pecknold conjures up on acoustic numbers like “Kept Woman”, “If You Need To, Keep Time On Me,” and “I Should See Memphis.” Crack-Up truly is a stunning album in every sense of the word.

3. Big Thief - Capacity - I keep coming back to this album because Adrianne Lenker filled it with what are potentially the best standalone songs of the year; if you care about guitar music at all, your literal favorite song of the year might end up being something off of Capacity. From the haunting narratives of songs like Watering and Coma to the pop-classicist bent of tracks like Great White Shark and Haley, this album is chock full of incredibly strong chord progressions and melodies that continue to reveal deeper beauty to me as the year goes on. This album is really something special.

2. Ryuichi Sakamoto - async - In this most fast paced and dizzying year, Oscar and Grammy winning composer Ryuichi Sakamoto cheated death at the hands of serious throat cancer and came out of retirement to produce a slow, languid album that rivals some of his best film scores (which include classics like Merry Christmas Mr. Lawrence and The Revenant) with async. Drunk on every banal detail of the life he nearly lost, Sakamoto crafts a serene album full of ambient twists and turns, spoken word passages reciting cosmic poetry (courtesy at one point of Andrei Tarkovsky’s father), and the heart-wrenching piano work this guy seems to be able to do in his sleep. Everything about this album is incredibly masterful in its depth and detail; the sound design of some of the album’s looser moments are stunning, and piano compositions like ubi and the remarkable andata are some of my favorite tracks of the year. Sakamoto really is an international treasure, and in async he gives us a beautiful celebration of life viewed through the lens of his trailblazing career. We should all be grateful.

1. Tricot - 3 - I don’t know if I’ve heard a more fun, electrifying and emotionally potent record as Tricot’s 3 all year, and the lyrics are entirely in Japanese; hopefully that alone speaks to the skill of these 3 gifted women as writers, instrumentalists and vocalists. Their trick for connecting emotionally across the language barrier seems to be some combination of brute force (these tracks are performed at blistering tempos, in fits and starts of total instrumental acrobatics) and incredibly emotional vocals that communicate more than enough on sound alone - these girls sound like they’re exorcizing demons out of their very souls, they play and sing so goddamned hard. It doesn’t hurt that the writing is incredible, full of total jams like the one-two-three punch that opens the record or the totally anthemic Munasawagi. Who would’ve guessed that the pop record of the year might just be a math-rock album by a Japanese girl-group?

HONORABLE MENTIONS:

(Sandy) Alex G - Rocket

Sampha - Process

Spoon - Hot Thoughts

Tyler, The Creator - Flower Boy

Joey Bada$$ - All Amerikkkan Bada$$

The Murlocs - Old Locomotive

JLin - Black Origami

Beach Fossils - Somersault

Jay Som - Everybody Works

Cigarettes After Sex - S/T

Laurel Halo - Dust

Slowdive - S/T

Ty Segall - S/T

Everything Everything - A Fever Dream

Mount Eerie - A Crow Looked At Me

Black Lips - Satan’s Graffiti or God’s Art?

Milo - Who Told You To Think?!?!!???

Oneohtrix Point Never - Good Time (OST)

Grizzly Bear - Painted Ruins

Nmesh - Pharma

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ewanreviewin · 7 years ago

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Song: “Man of the Woods” by Justin Timberlake

In <100 Words: Justin takes us to the bayou with the title track for Man of the Woods with dizzy guitar riffs, soulful doo-wops, and deep-voiced backing vocals. “Man of the Woods” is given a bit of a modern twist with the kick-drum and synths – particularly in the bridge. I’m actually really obsessed with the harmonies in the chorus and the funky bass in the pre-chorus. This song is a definite highlight from the record because it’s actually a type of Justin song that he hasn’t done before. It’s really sweet, really well-produced, and he sounds great.

Fave Lyric: “I brag about you to anyone outside, but I’m a man of the woods – it’s my pride.”

I Also Recommend: “Midnight Summer Jam” is a combination of every other JT album in the best way. The harmonica in the bridge is everything. “Filthy” actually grew on me, serving industrialized FutureSex/LoveSounds in all the best ways. Missed single potential with “Wave” is a fun upbeat and acoustic-guitar driven track, with lovely steel drums in the chorus. Fan-favorite “Higher Higher” is another good one.

The Album Overall: This album is interesting – it’s honestly pretty bad, but it’s really sweet and quite well-produced. It’s just a lot of the lyricism is really weird (not in a good way) and it relies a bit too much on the Justified & FutureSex/LoveSounds production. Where he does try some new content, it falls kinda flat. I do think this is better than the Pt. 2 of 20/20 Experience though! But the original 20/20 Experience is still his top record.

What This Sound Like: Taking your friends out camping but you don’t go far enough out of service and they all end up being on their phones the whole time.

Song: “Get Out” by CHVRCHES

In <100 Words: My Scottish kin are BACK with some more electro-pop greatness. CHVRCHES really turn up the dial on the pop with this one. The quiet, emotional pre-chorus pushing into the chant-worthy “Get get get out of here!” is probably the poppiest thing they’ve ever done in a track, and it sounds awesome. They still keep their traditional CHVRCHES sound with the clapping synths powering the song in the background. I’m excited to see some more CHVRCHES/Greg Kurstin goodness.

Fave Lyric: “I pushed you to the edge, never knowing what I wanted, knowing what I needed you to say.”

What This Sound Like: Smashing a bunch of chinaware in a store and running away.

Song: “Reborn” by Rae Morris

In <100 Words: Driving first single from Someone Out There, “Reborn” is quite a cathartic song. Rae sings about new beginnings and starting over in this track, over a 1-2-3-4 plinky synth. As the song progresses, drums and other instruments keep the song going, and in the bridge Rae takes a little breath to allow a sweeping orchestra to soothe the listener. The 1-2-3-4 synth returns and the song ends on a cinematic high. It’s a fantastic track that apparently came out last year – but I didn’t know that so it doesn’t count!

Fave Lyric: “Find another name for me, finally transform me.”

I Also Recommend: “Dip My Toe” is the best (currently) non-single, and actually runs a lot of the theme of the album of trying new things and just going for it. Similarly, “Do It” runs the same lyrical theme and is a BANGER. “Push Me to My Limit” is an awesome opener, and “Dancing with Character” is a beautiful & touching closer, especially once you hear the full story of the song.

The Album Overall: This is electro-pop excellence! I’d not heard of Rae Morris before, so this album was a delightful introduction.

What This Sound Like: Going out to the bars/clubs/nightlife that you’ve been wanting to go to for ages after going through a long period of doing nothing in your room.

Song: “Phoenix” by Rhye

In <100 Words: I feel a connection with the lore of the phoenix, so I’m happy Rhye wrote a song about this (not my connection – the actual bird). This is easily the most immaculately produced track & Milosh delivers his best vocal performance here. He goes up and down, singing a bit louder than the rest of the record and the sexy, multiple deliveries of “Oh my God.” Halfway through, it starts to merge into the kind of music you would hear in the dark forest of a Final Fantasy game – the strings and subdued horns sneaking up on you with the utmost grace.

Fave Lyric: “I thought you’d love me ’til I’m raw – Oh my God… oh my God.”

I Also Recommend: The bass line of “Count to Five” is my favorite in the record, and the violin counterpart adds to the track even more. Previously released tracks “Please” and “Taste” are still great as well, especially the former.

The Album Overall: Woman is still such a great record, so I think it would have been tough to beat no matter what. It’s just a bit too samey & mellow for me to really enjoy it in the same was as I do the debut. I think it will make for some perfect easy listening though on a rainy day or a lazy summer afternoon.

What This Sound Like: Going on a safari through the jungle.

Song: “Sex, Love & Water” by Armin Van Buuren feat. Conrad Sewell

In <100 Words: I forgot how long Armin’s been making music for. This sexy, funky jam includes Conrad Sewell, most known in America for his inclusion on the Kygo hit “Firestone.” God does his voice sounds great & very passionate on the track – possibly even being the sexiest part of “Sex, Love & Water.” Personally though, I only really need water. ¯\_(ツ)_/¯

Fave Lyric: “Take your time to find your groove, it’s alright, we can do this all night.”

The Video: Who doesn’t love an inclusive, sexy video?

What This Sound Like: Being at a house party where you know most people are going back to their place with someone they did not come to the party with.

Song: “High Times” by Marcus Marr

In <100 Words: There’s something special about house music being released that could have easily been plucked from the early 90’s in the UK, but that might be my nostalgia talking. It’s similar to the instrumental-only tracks on Daft Punk’s Discovery like “Veridis Quo” and “Voyager.” The song is bright, easy to dance too, shimmery, and just lovely.

I Also Recommend: “Love Release” was another good one!

The EP Overall: A nice easy listen!

What This Sound Like: Dancing the night away at a French discotheque.

Week of February 2, 2018 Song: "Man of the Woods" by Justin Timberlake In <100 Words: Justin takes us to the bayou with the title track for

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