Some albums I liked this year but didn't quite make the cut:
Deafheaven-New Bermuda
Baroness- Purple
Travis Scott- Rodeo
Cat Hoch-Look What You've Found-EP
Bully- Feels Like
25. Rae Sremmurd- SremmLife
2015 saw an abundance of hip-hop artists taking themselves incredibly seriously and trying to put out their personal MBDTF. Thankfully there are still some rappers out there that just want to make fun bangers as well. Rae Sremmurd's debut "SremmLife" essentially filled this void. This album ran on the strength of it's massive singles "No Type" and "No Flex Zone" that made the Mississippi duo standard at every club in America. The album was clearly made by kids with a lot of energy who just wanted to have fun. The choruses are infectious and the songs all have huge production from Mike WiLL Made-IT. "SremmLife" accomplishes exactly what it set out to do which is why it is so effective. Slim Jimmy and Swae Lee came to make party anthems. Be ready for them to blow your speakers out.
.png)
24. Bjork- Vulnicura
Who would have thought in 1993 that the eccentric electro-pop singer from Iceland would continue to captivate listeners 22 years later? Bjork continues to make stunningly beautiful music from her vast arrangements to her piercing voice. Perhaps the most shocking thing is that in her extensive career she is still making music filled with engrossing and honest lyrics. This is Bjork’s most heartbreaking record yet. “Vulnicura” finds Bjork inviting her listeners to suffer alongside her. To feel her pain. Even the tragic string arrangements are drenched in Bjork’s melancholy. Where Bjork’s experience as an artist shows is in her remarkable ability to communicate her emotions better than just about any artist today.
23. Sleater-Kinney- No Cities to Love
When combing through lists like this you will rarely find comeback records, but Sleater-Kinney came back on a worthwhile mission in 2015. “No Cities to Love” has the same fire and intensity that the band were known for in the 90s and early 2000s. This record is evidence enough that the Sleater-Kinney reunion was much more than just a cash grab or a last glorious victory lap. This record has vintage Sleater-Kinney riffs from Carrie Brownstein and booming choruses behind Tucker’s powerful howl. Carrie Brownstein, Janet Weiss, and Corin Tucker still have something to say even if, “No one here is taking notice.” It does not matter to the trio, they are going to say it anyway.
22. Joanna Newsom- Divers
This was a transitional album for Joanna Newsom. She was finally taking the step from the harp girl with the unorthodox voice to a well-established indie superstar. The kind of artist you now see advertised on the CTA surprisingly enough. Joanna’s first work since 2010 was a welcome addition to her discography that fits perfectly within her body of work. She brought all the trademarks she is known for on “Divers”: lush instrumentals, brilliant imaginative lyrics, cryptic story-telling, and beautiful harp arrangements. The effort Joanna Newsom puts into her arrangement is very obvious and she puts forth another solid batch of creative songs with “Divers".
21. Lianne La Havas-Blood
2015 was a breakout year for a seemingly more mature Lianne La Havas. Her sophomore record “Blood” shows a singer songwriter that seems totally comfortable in her own skin as well as someone who has truly found their sound. The soulful Brit’s lush arrangements and carefully crafted guitar work perfectly compliment her soft voice. The album has great pop hooks and honest lyrics that recall early St. Vincent albums, but even more pop heavy.
20. Daniel Romano- If I've Only One Time Askin'
The honesty country ballad has been on life support since the 70s, but songwriters like Daniel Romano are starting to breathe fresh air back into the genre. These songs explore romance, drinking, sorrow, and relationships in refreshing ways. One of the most memorable tracks off this album is "Two Word Joe" which uses a narrative structure similar to Johnny Cash's "A Boy Named Sue." When searching for modern country songwriters like Waylon Jennings and Willie Nelson, looking toward our Canadian neighbors is rarely a first thought, but Daniel Romano has captured this sound better than any of his American peers this year.
19. Sannhet-Revisionist
“Revisionist” packs more raw guitar power than any other album in 2015. The Brooklyn, NY collective put together a fascinating group of experimental post-rock and shoegaze instrumental tracks that brood and dramatically explode with enough texture to send chills down Kevin Shields’ spine. Reminiscent of an act like Pelican, Sannhet brings just as much power and double the noise in about half the time with only one track topping the six minute mark. Constantly crashing symbols cascade in the background as this record continues to drive your heart rate higher and higher, but Sannhet keeps the energy focused and purposeful similar to when Explosions in the Sky is at their best. Nothing about the album feels like misdirected noise, rather the record is extremely resolute.
18. Girlpool- Before the World Was Big
Cleo Tucker and Harmony Tivdad aren’t messing around anymore. The debut album from Girlpool found the duo significantly more serious that their EP, but it seems like the ladies are still having fun. The songs retain the simple and endearing formula Girlpool is known for, but the lyrics indicate that the songwriters are maturing. Exploring themes of growing up, relationships, and youth; the profound insights from these youngsters are indicative of intense reflection and a willingness to share themselves. The melodies and harmonizing are also incredibly catchy if you can tolerate the ladies’ high pitched voices. The album retains enough of the early Girlpool distortion and rapid downpicking, but shows the artists are seemingly in the process of transitioning into a new sound. The duo manages to perfectly capture what it feels like to be 19 or 20 years old and this album should resonate well with anyone near that age.
17. Jamie xx- In Colour
It seemed like there were nothing but good times for Jamie xx in 2015. He dropped a majorly successful album, had a huge single with a feature from Young Thug, and legitimized himself a major electronic producer. This is a sample heavy record that should make you want to move right with it. Half the record feels appropriate for the next album released by his old collective, The xx. These tracks are beautiful, slow, and intimate while slowly building volume and further layers of sound. The other half of “In Colour” is nothing short of anthemic. Although the album has a wide dynamic range it still feels cohesive because the tracks all feel like they could only be a product of Jamie xx’s unique vision. The pulsating bass never changes, but the tracks are always brooding and shifting as new pieces are introduced and slowly soak more and more of the spotlight.
16. Destroyer- Poison Season
Dan Bejar is beside himself. He hates indie culture, the coverage he gets, and being labeled within this space. While occupying the role of indie's favorite curmudgeon (a title formerly held by Mark Kozelek), Bejar has delivered once again on a lush baroque pop record that is gaining Destroyer more fans. "Poison Season" is catchy while retaining a certain amount of eccentricity due to Bejar's abstract lyrics.The album cover does an excellent job reflecting Bejar's songwriting themes, but serves as just the opposite for indicating what actual music is on the record. Fans of the first Arcade Fire record will feel perfectly comfortable within the numerous string arrangements that paint the album with much more color than is found on it's cover.
15. Ought-Sun Coming Down
Ought plays a unique blend of post-punk that relies on tranquility which slowly descends into catharsis. “Sun Coming Down” is the second record by the band who present a solid set of tracks attempting to channel everything that makes the twists and turns of “Marquee Moon” so amazing. Tim Darcy employs the classic Ian Curtis inspired monotone style delivery with vocal and lyrical repetition to contrive listeners into a state of safety. This record’s sound always seems to fall in between the former as well as a state of total calamity induced by screeching guitars and Darcy’s panic inducing shout. The band channels nervous energy brilliantly which leads to the listener always wondering when the group are about to fly off the ropes.
14. Milo- So the Flies Don't Come
“So the Flies Don’t Come” was the probably the second best release of 2015 according to most backpack rapper fans, so interpret that with a grain of salt. Milo’s sophomore effort is a very solid collection of tracks produced entirely by Kenny Segal. With all the production done by one person, the record feels very uniform by creating an atmosphere that Milo stays within throughout the album. This album also has the most clever wordplay of any release this year with tropes such as, “They could predicate upon a precipice, Bet I feel like Persius but less merciful, I’m thirstiest,” and, “We was lurking Michael Larkin with the Midas Touch, Eat at Perkins and resign to never being much.” This album is tough to swallow all at once. Many of these songs require a few listens to effectively decipher everything Milo says or to appreciate just how witty he is. Milo's style and flow is similar to some of the best rhymes MF DOOM has dropped. Hip-Hop fans who can appreciate a genuinely talented wordsmith and unique mechanical production will find this record among their favorites for the year.
13. Loma Prieta- Self Portrait
“I’m losing touch with how much it means to be alive.” Life can fall into a blur between what is real and what is not, what is important and what is insignificant, what’s worth living for and what is not, or some combination of all of these feelings. Loma Prieta exists and thrives in this ambiguous blur that humanity is constantly trying to make sense of. Their 2015 record “Self Portrait” seamlessly blends post-rock and noise rock to create a loud and sonically diverse set of tracks that leads to walls of distortion covering beautiful melodies and harmonies while never compromising the punk rock attitude that fuels the band.
12. Cloakroom- Further Out
Everyone remembers the first time they heard “Only Shallow” from Loveless. The textured assault coming from the speakers just sounds unlike anything heard previously. “Further Out” by Cloakroom features track after track trying to emulate that exact moment when trying to discover how to react to this incredible texture and noise. Yet rather than staying within that space like My Bloody Valentine does, Cloakroom are able to seamlessly transition between this massive sound and a calmer presence that shines the spotlight on Doyle Martin’s soft vocals. This Indiana trio’s sophomore record explores a reverb drenched landscape in a uniquely sullen and heavy, but the band has no problem navigating its listeners to a final destination far away from where they initially started.
11. VHOL- Deeper than Sky
The big four are alive and well in 2015 thanks to bands like VHOL. “Deeper Than Sky” instrumentally is a throwback to the 80's thrash that remains classic to this day. Vocally the album sounds leans more on the Slayer side while instrumentally it draws more from a Metallica sound. What makes “Deeper Than Sky” so effective is its versatility. The band seems to draw from all types of metal sub-genres which should make this a great record for any metal fan. This album immediately sounded classic because VHOL wears their influences so obviously on their sleeve. Vintage, over the top, technical, and flamboyant can all be used to effectively describe “Deeper Than Sky”. Big riffs and ten minute thrash monsters were not delivered more effectively than VHOL’s sophomore record.
10. Courtney Barnett- sometimes i sit and think, and sometimes i just sit.
With this release Courtney Barnett established herself as one of the most quirky and unique songwriters today. Her lyrics are charming and clever on top of catchy guitar riffs that are by no means short on raw power. The breakthrough release for these Aussies found themselves extensively touring throughout 2015 on top of the album's hit single "Pedestrian at Best" where she croons, "Put me on a pedestal and I'll only disappoint you." Barnett is just about the most charming garage rocker you'll ever meet and her words are simply irresistible to digest. Another highlight from the record is, "Depreston" which covers the drab suburban life that can stunt anyone's personal growth.
9. Viet Cong- Viet Cong
Most people are talking about Viet Cong recently because of their controversial name and decision to rename the band. Viet Cong also grabbed headlines all the way back in January of this year by releasing the strongest Post-Punk record of the year. Tracks such as "Silhouettes" are filled with the pulsating energy of Gang of Four. The album also features calculated but strangely cryptic lyrics in the same vein as Interpol. The biggest highlight is the 10 minute closer "Death" which sandwiches that fast paced song structure between a long droning piece that builds tension effectively and dramatically. This album hardly treads new ground in the post-punk world, but proves that creating something dissonant and dramatic is still an entirely feasible task.
8. Zs- Xe
The avant-garde jazz trio led by tenor saxophonist Sam Hillmer found a way to break into a larger audience with their newest record "Xe". Hillmer himself credits this to a nice blend, "of our most accessible and most challenging stuff aesthetically." The record features the drumming talents of Greg Fox who adds a pummeling distinction beneath the strange melodies produced by Hillmer and Patrick Higgins. "Xe" exists as one of the most unique listening experiences of 2015 with the band incorporating jazz, drone, and noise in completely purposeful ways. This is a record that creates a nice journey with the the challenge of unraveling these pieces, discovering and latching onto individual pieces of the instrumentation that are initially fascinating , and the reward of discovering how well the pieces work as intricate expressions of emotion.
7. Chelsea Wolfe-Abyss
Chelsea Wolfe is always balancing the scale between folk and doom metal. While at the beginning of her career the scale was tipped in favor of the folk side “Abyss” swung much harder toward metal, leading to Wolfe’s loudest and best record yet. Monolithic roars of guitar created a large space for the singer-songwriter to operate within. Lyrically, she chronicles her battles with sleep paralysis and ex-lovers. The album is at its most successful when Chelsea’s words are drenched within dark brooding soundscapes such as “Carrion Flowers” and “After the Fall” where the listener finds themselves completely immersed within the dark environment Chelsea Wolfe has created.
6. Death Grips- The Powers that B: Jenny Death
Are they broken up or not? Whatever the case may be they did end up touring and dropping their second half of The Powers That B, “Jenny Death”. It is tough to connect the two pieces of music that make up The Powers that B, but one thing I can be sure of is that “Jenny Death” is absolutely the stronger set of tracks. This record features MC Ride sounding as ferocious as ever while delivering the best lyrics of any Death Grips release to date. The lyrics are mostly autobiographical and feature clever wordplay and Ride’s considerably unique perspective on living life in a nihilistic and hedonistic way. The production is also excellent with instrumentals at times sounding shockingly digestible by Death Grip’s standards. “Jenny Death” features more energy and pump than rocket fuel and would serve as a fitting bookend to the Death Grips cannon, but we’ve come to expect the unexpected from the trio who are just as likely to drop an album next year as they are to break up again.
5. Liturgy- The Ark Work
If you’ve read Hunter Hunt Hendrix’s manifesto on black metal and what the genre should be in 2015 this record should not have come as a shock. In fact, it’s absolutely remarkable how Hendrix articulated what he wants his music to sound like in the aforementioned essay and how accurately those ideas manifested themselves on “The Ark Work”. This record was the culmination of what Hendrix had always imagined Liturgy sounding like. While the record may not be for everyone, The Ark Work accomplishes what it intended to do better than any record released this year. The record features epic fanfare, a wide array of instruments, masterfully punishing blast beats from Greg Fox (who has now made a second appearance in the top 10), and blistering guitar work. Black metal is so carried away about what characteristics qualify a band to get access to its “special label.” It’s refreshing for a band to stand up to that rhetoric as wrong and make an attempt at innovation. Releases like this should be praised rather that become topics of debate especially when it is executed in a manner as polished as “The Ark Work”.
4. Kendrick Lamar-To Pimp a Butterfly
Throwing around the word “classic” is a risky and highly debated endeavor in the hip-hop community, even for albums released ten years ago. Even more futile would be trying to argue for an album that was released last year, last month, last week, or yesterday. In 2015 Kendrick Lamar delivered his second official record “To Pimp a Butterfly” which was an album that could not have come with more anticipation. The letdown record after the massive debut is pretty much acceptable in hip-hop. It happened to Wu-Tang. It happened to Jay-Z. It happened to Snoop Dogg. It did not happen to Kendrick Lamar. Instead, Kendrick Lamar delivered the closest thing to a unanimously classic hip-hop record as can be found. “To Pimp A Butterfly” was immediately an incredibly contemporary record because of its social themes dealing with violence in the African American community and what it means to be a black man in America today. The power behind the messages on “To Pimp a Butterfly” only grew stronger and more relevant as the socially tumultuous year went on. Violence against young black men continued as police departments around the country were more scrutinized than ever. The creativity and artistic merit with which Kendrick challenges these massive social issues is nothing short of breathtaking. “To Pimp A Butterfly” is a classic because it was a classic 20 years ago. It will be a classic 20 years from now too. What Kendrick could control was the album which was brilliantly executed, but it was also the social disasters of 2015 that continued to propel this album back into relevancy that makes this album in the year 2015 so remarkable. The album came right as the pot was overflowing and serves as an shockingly poignant reflection of our time.
:format(jpeg):mode_rgb():quality(96)/discogs-images/R-7014389-1431704816-1655.jpeg.jpg)
3. Kamasi Washington- The Epic
In 1959, no one released an album with a title as bold or ambitious as Ornette Coleman’s “The Shape of Jazz to Come”. Ever since, the genre has seen albums being released with equally grandiose titles which leads us to 2015’s “The Epic” by Kamasi Washington. For those familiar with the work of Flying Lotus or Thundercat’s record label Brainfeeder, this record sounds exactly like what you would expect from a jazz record off the typically electronic label to deliver. Washington’s saxophone navigates this interstellar journey through jazz instrumentals supported by a choir from outer space, strong vocal soloists, and a full orchestra that gives the pieces variety and depth. Those traits needed to be executed flawlessly for a debut triple album to find success and Kamasi Washington absolutely nails these aspects without ever feeling cheesy or over the top. The tracks distinguish themselves nicely, so while you may not always feel the need to digest all three hours of this record in one sitting, portions of the record stick in your mind and keep you going back for more. This was one of the major surprise records for the year as jazz albums rarely have the crossover appeal that “The Epic” has garnered, but it is almost poetic for this record that is one giant surprise itself anyway. No one creates a triple debut album. No one really even does triple albums in the jazz genre either. Kamasi Washington is so fearless on his Homeric futuristic jazz fusion debut record that one cannot help but find themselves in a state of awe. Kamasi Washington feels like a giant figure serving as a calming presence that can guide anyone through his multi-faceted universe, eerily similar to how he is depicted on the cover.
2. Julia Holter- Have You In My Wilderness
Julia Holter has become one of the most consistent artists in the indie pop sphere. The singer-songwriter’s penchant for irresistible pop melodies, idiosyncratic lyrics, lush instruments, and unique yet classical arrangements just keep getting stronger with every release which culminates in her latest effort, “Have You in My Wilderness”. Rather than trying to constantly experimenting in different sounds, Holter has chosen her vision and is constantly improving it. The record is Holter's most powerful yet because all the parts are perfectly in sync. Everything about “Have You in My Wilderness” feels meticulously chosen and placed within the context of the greater sounds. Holter said that this was the first record she has done without an overarching theme, yet we have received her most concise collection of songs yet. Holter is on the verge of being the American Kate Bush for her brand of creative baroque pop that is constantly tweaking itself. The subtle changes within a determined model are a welcome reflection of a growing musician that has remained true to herself.
1. Sufjan Stevens- Carrie & Lowell
Sufjan Stevens’ words have never felt heavier than when he sang, “Carrie and Lowell, Such a long time ago,” but we were here for it when it was fresh and we should cherish that. The Michigan singer-songwriter took an unexpected turn in his career where up to this point he had been experimenting more and more on the electronic end. Instead, Sufjan decided to completely strip back his sound. In his return to his folk roots and a totally minimal sound, he has maximized the emotional power his music is capable of delivering. This album’s honestly is as bare and vulnerable of a folk album as you will ever hear.
Sufjan does a wonderful job conveying the inner turmoil he felt mourning the death of his mother, Carrie. His relationship with her was far from perfect, yet Sufjan still finds himself desperately brokenhearted as he pieces together the old memories he has with her and the family trips they would make together in Oregon."Fourth of July" sees Sufjan discussing this imperfect relationship he had with his mother as she is on her deathbed. The album acts as a portrait of Sufjan at his most uncertain and exposed while he searches for the answers of how he truly feels. This record was created by someone who has experienced terrible heartbreak, but heartbreak that you find yourself almost unable to relate to because Sufjan is able to portray it in such a deeply personal way. This is Sufjan Steven’s personal trial and no one else’s, yet he shares it in a remarkably consumable way.
“Carrie and Lowell” already feels like the “Blue” of this decade. The album can fit in just about any decade, especially the 70’s folk revival era, yet it came in 2015, and at a time when it seems the industry is still reeling from the Fleet Foxes and Bon Iver records that so heavily dominated the indie universe just a few years ago. A minimal record like this was something that sits more comfortably with his solo work around the turn of the century. “Carrie and Lowell” feels timely because of all this great unexpectedness that surrounds the album. “Carrie and Lowell” doesn’t have the production, experimentation, or ambition that so many great records from this year had. Instead, it relies on the most tried and true formula there. Brilliant lyrics, raw and emotional performances, and totally unwavering honesty. Sufjan has proven over and over that he has the talent to create so much with lush instrumentation and talented musicians at his disposal. Yet in 2015, Sufjan Stevens has done the most significant work of his career while issuing the most profound insight of his career with simply his guitar and the recording equipment in his Brooklyn bedroom.
-
TJ Kliebhan
12/23/2015
Thanks for reading and see you next year!
No comments:
Post a Comment