This past Thursday night I had the honor of seeing, The Bad Plus, at The Neptune Theater in what turned out to be an incredible performance. I have been a fan of The Neptune Theater ever since my first show there which was Snarky Puppy. I think the venue is an excellent size, and usually has pretty good sound as well. Upon arriving Thursday night, I was surprised to find seats on the floor right in front of the stage. This was my first concert at The Neptune that has been seated, but looking back on the performance it fit the atmosphere very well.
Having no opener for them, The Bad Plus came out on stage and instantly started burning on a tune I didn’t recognize, and eventually morphed into a roaring chart titled “My Friend Metatron”. Instantly blown away, I knew the entire performance was going to contain the highest level of musicianship. It was after this tune that bassist Reid Anderson finally addressed the crowd. Showing a remarkably dry sense of humor throughout the performance, Anderson welcomed us all to the show and made everyone chuckle before the lads brought down the energy with a sensitive cover of “Time After Time” by Cyndi Lauper.
As the tune progressed, The Bad Plus continued to expand our understanding of the song by adding dissonant harmonies and convoluting the pulse more and more. Following up the cover came an Ornette Coleman tune entitled “Law Years”. The juxtaposition of these two songs one right after the other perfectly highlighted that, The Bad Plus, are not only musicians that know what the crowd likes to hear, but are also heavy jazz players that love to venture off into the realm of free improvisation as they abandoned tonal center and traditional rhythm. The Ornette Coleman tune found The Bad Plus experimenting with textures and harsh timbres that any free jazz fanatic would have been impressed by. What followed for the next hour came an inspiring mix of both pop and heavy jazz tunes that shifted along the spectrum from the most “out” to the most “in”, inciting cheers and immense applause from the audience countless times.
Over all, The Bad Plus demonstrated an ability to combine the familiar with the unknown, all the while remaining tasteful. Not a single note or idea was played that the music didn’t call for, which showed that pianist Ethan Iverson, bassist Reid Anderson, and drummer David King poses an immense sense of maturity and trust in each other as musicians. I would recommend seeing The Bad Plus to anyone who is a fan of music and can appreciate witnessing the experience and comfortability of three killin’ musicians who have spent the last 17 years shedding and making music together.
This Thursday, the 19th, The Bad Plus is performing at The Neptune Theater. I first heard about The Bad Plus from their collaboration with saxophonist Joshua Redman, which was equally exciting and experimental. Similarly, on their own, The Bad Plus refuses to be confined into any one genre or sound. Drawing most of their influence from jazz, The Bad Plus often venture off into genres of rock and pop, but do it in a way that feels comfortable and not gimmicky. Known for off-the-wall covers of various rock and pop tunes, seeing The Bad Plus perform live will be an adventure through the realms of free jazz and pop music alike. The trio consisting of bassist Reid Anderson, drummer David King, and pianist Ethan Iverson all met back in high school and have been making music together since 1990. Regardless of what set the band decides to bring to the audience on Thursday night, it will undoubtedly be one that reflects their forward-thinking mindset and 27 years of musical experience together.
For as long as human beings have arbitrarily measured the Earth’s rotations around the Sun, there have been year-end lists. Best declarations of independence of 1776, best presidential assassinations of 1963, you get the idea. But, recently, musical publications have seen fit to arrange the year’s finest musical accomplishments in a hierarchical list format. I have been doing this since I was a youngling back in 2011, when 14-year-old me decided that Foo Fighters’ Wasting Light was the best record that year. In 2012, it was Godspeed You! Black Emperor’s brilliant comeback album Allelujah! Don’t Bend! Ascend!, and 2013 saw me giving the title to Danny Brown’s retrospectively underwhelming Old.
In 2014, I was singing the praises of Run the Jewels’ amazing second album, and last year it was Death Grips’ double-sided “reunion” record The Powers That B. For those years, I unveiled my favorite records on social media, one post at a time, for 50 awesome records. But, I’m doing things a bit differently this time around. With so much worthy material this year, and the overall hellish absurdity we’ve experienced as citizens of Earth, I’ve decided to go with the randomly selected and insignificant number 69 for this year’s list. Honestly, though, I could’ve easily done a Top 100, considering I listened to over 500 albums this year. The things I do for the lovely people who bother tuning into my lists year-after-year.
Anyway, without further ado, below is my definitive, laboriously crafted, and highly anticipated Top 69 Albums of 2016. Here’s a list of honorable mentions, after which you can find the favorite albums list, along with a short blurb about what makes each of these albums so amazing. Thank you for making 2016 a strange year, and I can only hope that we survive 2017.
69. Rae Sremmurd – SremmLife 2 (EarDrummers/Interscope)
Kicking off the list is an album that took me almost completely by surprise, and one of the very few instances of a sequel outperforming its predecessor. Atlanta-via-Mississippi rap duo Rae Sremmurd did very little for me on their early 2015 debut, SremmLife, which has a few memorable pop rap singles but little else worth mentioning. When SremmLife 2 came out, I almost immediately wrote it off as similarly schlocky radio crap that no one will remember or care about in a year.
Boy, was I wrong. SremmLife 2 succeeds where SremmLife fails, because not only did Swae Lee and Slim Jxmmi step up their rapping, singing, and vocal performances all over this album, but resident producer Mike Will Made-It unleashed a gauntlet of diverse, melodic trap production. Mike Will is just as important to the success of this album as Swae and Jxmmi, making this group seem more like a trio than a duo.
I stand by my assertion that SremmLife 2 is one of the year’s best pop records, with Swae Lee’s sticky, infectious hooks (all of which are surprisingly well-sung) and his brother Slim Jxmmi’s unpredictable delivery. I would even go so far as to saying that some of the year’s best hip-hop vocal performances are on this album, from the buckwild “Start A Party” to the moody, ecstasy-laden “Look Alive.” Of this album’s 11 songs, there’s hardly a bad one in the bunch, which is quite the achievement for two kids I was quick to write off as cheap gimmickry.
This record is a diverse compilation of masterfully written pop rap songs, and there’s bound to be at least one song on here that you vibe with. Lyrically, it’s not the strongest album in the world, but it’s funny, memorable, and fulfills the mountainous task of making a pop rap album that is totally worth revisiting long after its initial release. Why do you think “Black Beatles” blew up months following the album’s release? These songs have staying power, whether they’re rapping about girls doing yoga or beaucoup bottles on the counter. This really is how you start a party.
Key tracks: “Black Beatles,” “Start A Party,” “By Chance”
68. Martyrdöd – List (Southern Lord)
Shouts out to Stereogum for doing a writeup on this album that inspired me to listen to it, because List, the seventh album by Swedish hardcore/death metal band Martyrdöd, is a blisteringly brilliant album. I can’t remember the last time I felt so invigorated by a new metal album, and it’s due in no small part to the band’s filthy crust punk roots.
Nearly every minute of this album is filled to the brim with a great riff, a slick guitar lead, or a viciously delivered lyric. I seriously have no fucking clue what the singer is saying on this album, or how he manages to create melody out of something so atonal and dissonant, but every possible factor of this record that could go wrong instead goes completely right.
Martyrdöd’s penchant for experimentation and unapologetic fusing of grimy, gritty crust punk, visceral hardcore punk, and monstrous death metal riffage results in one of the most exciting records I’ve heard this year. This band is by no means new, but it is new to me, and I look forward to keeping up with whatever album drops next.
In about 35 minutes, these Swedes manage to take everything that has always been great about the various Scandinavian death metal and hardcore scenes and infused an uplifting sense of purpose into it all. It’s a breath of air that is simultaneously fresh and rotten, and there’s not a note or cymbal-hit out of place. It’s purposeful, loud, brash, and an outstanding release in a year with some amazing loud rock records.
Key tracks: “List,” “Wipeout,” “Transmission”
67. Regina Spektor – Remember Us to Life (Sire)
Pop vocalist Regina Spektor is someone I’ve admittedly never really given proper appreciation. I mean, beyond her killer theme song for Netflix’s smash hit “Orange is the New Black,” I honestly never bothered to delve into her musical career. Then, after seeing a lot of the reception her latest album, Remember Us to Life, was getting, I figured why the hell not? And boy, am I glad I did.
This record is one of the more gorgeous, eccentric pop albums to come out this year. Regina’s vocals are pitch perfect, her musical arrangements are breathtaking, and the lyrics always contain keen social or artistic points. From the therapeutically personal opening cut, “Bleeding Heart,” to almost hip-hop inspired “Small Bill$,” all the way through my personal favorite song on the album, “The Trapper and the Furrier,” Regina Spektor spills her socially anxious guts out, hoping the listener to do the same. And she manages to do so without losing her ear for melody, turning a line like “What a strange world we live in/Those who don’t have, lose/Those who got, get given more, more, more” into a haunting hook.
I’m glad I enjoyed Remember Us to Life as much as I did, because I definitely feel inspired to visit Regina Spektor’s earlier material. Her lyrical voice is incomparable, the diversity of the sonic palate on this album is enviable, and it’s just an extremely solid set of tracks, none of which should be skipped.
Key tracks: “The Trapper and the Furrier,” “Grand Hotel,” “The Light”
This is one of those collaborative albums that works way better than it should. Longtime fans of Justin Broadrick (Jesu) and Mark Kozelek (Sun Kil Moon) know what to expect from both artists separately, but together? Preposterous.
Well, actually not. For 80 minutes, Kozelek delivers heartfelt, heartbroken sad-dude poetry over Broadrick’s diverse, uncategorizable instrumentation. This record treads some similar terrain for both artists, but when combined results in a complete, breathtaking experience.
Whether he’s supplying beautiful ambient passages or delivering sludgy, atmospheric riffs, Justin Broadrick serves as an excellent supplement to Koz’s rambly, confessional style of songwriting. If you thought Sun Kil Moon’s slightly controversial 2015 album Universal Themes was difficult and messy, there’s a chance you might not care much for this collaboration, but I guarantee that Mark Kozelek doesn’t give a fuck if you like it or not. In fact, he’s probably already written three albums about how much he couldn’t possibly give a fuck if you like his musical direction or not.
Thankfully, Jesu/Sun Kil Moon is executed more successfully than Universal Themes, with Kozelek waxing personal about everything from the love he has for his significant other to the untimely death of Nick Cave’s son a while back. It even includes two extremely heartfelt fan letters from people who have been personally affected in a positive manner by Mark Kozelek’s music, live show, and personality (which isn’t as edgy as Pitchfork might have you believe).
So yes, this album is extremely long, dense, personal, and difficult to make full sense of without a lyric sheet in front of you. However, it’s impossible to be unaffected by what lies within. Mark Kozelek, as one of his fans suggests on the album, is one of the best songwriters of our time, and his wealth of life experience makes for an album that is an emotional roller coaster, with its expressions of enthusiastic love (“A Song of Shadows”) and solemn acknowledgement of bereaved parents (“Exodus”). Perfect in its imperfection, and merely a sneak preview of what’s to come – a second collaborative album between the two arrives in May 2017 – Jesu/Sun Kil Moon is an emotional experience that, if cleaned up a bit, rivals some of Mark and Justin’s best output.
Key tracks: “Exodus,” “America’s Most Wanted Mark Kozelek,” “Beautiful You”
65. Moonsorrow – Jumalten Aika (Century Media)
This record right here is another new discovery that took me on an unexpected journey into psychedelic folk/black metal mayhem. Finnish group Moonsorrow is by no means a newcomer; Jumalten Aika is the band’s seventh album in two prolific decades. Regardless, the band takes pagan folk metal to new, unforeseen heights. While a lot of the bands in this genre tend to be really cringey, Moonsorrow brings a level of experimentation to this album that I don’t typically hear from similar artists.
The five songs on this album bring Jumalten Aika to an intimidating 67 minutes in length, but no two moments on this album are alike. Each 15-minute monolith of a song is broken up into brilliantly sequenced movements, and the swath of instrumentation across this record results in a constantly interesting palate of sounds.
This record is an unbreaking thrill ride, with visceral vocal performances and some of the most unique musical ideas I’ve ever heard on a metal album. It takes a certain kind of ear to appreciate what these extreme Finnish oddballs are doing on this record, but people already tuned into the frequencies of Scandinavian loud rock already know what I’m on about.
The title of this album directly translates to “The Age of Gods,” and the transcendental intensity of the music within certainly does that title justice. If you’re looking for a black metal experience unlike any other in 2016, Jumalten Aika is one of the brightest spots in the genre’s current iteration. And all it had to do was inject some humanity into the sometimes dull symphonic black metal sub-genre. Who’d’ve thought?
Key tracks: “Ihmisen aika (Kumarrus pimeyteen),” “Suden tunti,” “Jumalten aika”
64. Astronoid – Air (Blood Music)
The first time I listened to this album, I was probably just as surprised as every other person who gave Boston five-piece Astronoid’s debut album a spin. At first, I took this for yet another post-rock/black metal record that stands no chance of being memorable in a post-Sunbather world. Then, the vocals kicked in.
Astronoid borrows from the instrumental qualities of dreamy, shoegaze-y, contemporary black metal acts while incorporating clean, almost poppy vocals. Melodies and hooks soar, making this sound more inspired by a band like Circa Survive than Deafheaven or Wolves in the Throne Room. This is a formula that has no right working as successfully as it does, and thankfully Astronoid manages to pull together a fantastic debut album that is far more than the sum of its easily pinpointed parts.
Does this album wear its influences on its sleeves too much? Maybe a bit. But what results is an album that would probably be complete shit if it was attempted by anyone else, especially an already-established band. This record is catchy, beautifully produced, and heavy enough to please any riff-and-solo worshippers out there.
I love the musicianship on this album, I love the soaring, life-affirming vocals, and I love the textured songwriting. Air is a debut album gone horribly right by a band who, I hope, will continue to experiment, surprise, and wow us for years to come. I can already see this as a cult classic in the making, and people will be singing its praises for long after its quiet summer 2016 release.
Key tracks: “Incandescent,” “Up and Atom,” “Tin Foil Hats”
63. Thee Oh Sees – A Weird Exits/An Odd Entrances (Castle Face)
Insanely prolific garage rock act Thee Oh Sees is a group I’ve never fully gotten into, unfortunately. They’ve just always been one of those bands who spread themselves too thin by releasing some truly bland rock records amidst their older, better recordings. Then, they hit 2015 with the surprisingly decent Mutilator Defeated at Last, a foray into the world of the strange.
If Mutilator was a foray, then A Weird Exits/An Odd Entrances is the band frolicking through the sunshine meadows of weirdness and absurdity. While these are technically two albums, they are inextricably connected beyond the similar titles. In fact, if you play An Odd Entrances followed by A Weird Exits as one complete project, it actually works surprisingly well, with both records reinforcing each other. The result is a cerebral headfuck of a mess-terpiece, with some masterful musicianship and loose, bizarre songwriting.
Moreover, these two albums are hilarious. I find the whole California garage rock/psych rock scene to be way more interesting and memorable when the band is having fun and getting creative with it, and that’s exactly what John Dwyer and his band are doing on here. With two drummers in tow and some unstoppable grooves, Thee Oh Sees manage to do a hell of a lot with a little, resulting in a 14-track, hour-long journey into classic rock mayhem.
The lyrics on this thing are hilarious, especially on AWE’s closing track, and the songwriting is diverse enough to warrant many repeat listens. Dwyer delivers some funny vocal performances atop blissful riffs, jammy synthesizers, and tight drum fills. Playing these two records in succession is never boring, and I think this could be some of the band’s best work in many, many years. It succeeds where many rock records fail in that it plays to an older sound while still sounding modern, memorable, and unique.
Key tracks: “Unwrap the Fiend, Pt. 1,” “Jammed Entrance,” “The Axis”
62. Wreck and Reference – Indifferent Rivers Romance End (The Flenser)
I’ve been conscious of experimental metal duo Wreck and Reference for quite some time, thanks to their unique, unforgettable sound and the fact that they’re signed to The Flenser, one of my favorite go-to record labels for terrifying music. However, it wasn’t until the summer release of the band’s third album, Indifferent Rivers Romance End, that I felt truly captivated. Now, I’m all in.
This album is unlike any other experience I’ve had this year, with its demented vocals, slick drumming, and the band’s choice to replace all guitar sounds with samples, synths, and ambient noise. But, that’s been the band’s M.O. since the beginning. What truly gripped me about Indifferent Rivers Romance End was the lyrical content and the songwriting, both of which are top notch on this record.
If there’s ever been a case of a band adopting an original sound and smartly progressing on that sound over time, it’s Wreck and Reference, and this is the best album the band has put out to date. I haven’t totally deconstructed its gruesome poetry, but it seems to be about a relationship ending in ugliness. Themes of death, mental illness, suicide, and body horror pervade this album, yet it somehow manages to never quite escape my mind. I want to be disturbed by W&R’s wicked formula time and time again, which is the testament of true art. It’s sonic horror with replay value.
The vocal performances get a bit too theatrical and the lyrics a bit too obtuse at times, so there is definitely room for improvement. But, if this is Wreck and Reference still honing their craft and they’ve not reached their artistic peak, I am anticipating their next full-length with bated breath and a masochist’s love of nightmarish metal music.
Key tracks: “Liver,” “Languish,” “Ascend”
61. D.R.A.M. – Big Baby D.R.A.M. (Atlantic/Empire)
Initially thought of as hardly more than a gimmick with his Drake-inspiring smash single “Cha Cha,” Shelley Massenburg-Smith proved with this album that he really does real ass music. Hence, his alias: D.R.A.M. (pronounced like the first syllable of “drama”). This record is far better than it should be, holding down hit singles like “Broccoli” and “Cash Machine” with equally catchy and unique tracks like “Misunderstood” and “In a Minute / In House.”
This record can’t be tied down to a specific genre, because D.R.A.M. plays around with rap, pop, soul, R&B, and rock all over this thing. Big Baby D.R.A.M. is an apt enough title; just look at that cover and tell me you don’t wanna cuddle that smiley motherfucker and his adorable dog. And, much to my surprise, he delivers on a record that is consistent, memorable, and proof positive of D.R.A.M.’s staying power.
There’s not much else to say at this point, except that Big Baby D.R.A.M. is a deceptively simple album that proves he is much more than an acronym with some strong singles under his belt. He’s a fiend on the mic as well, with an infectiously radiant singing voice that is far more human than most pop vocalists out there right now. He directly defies the “mumble rap” stereotypes by coming through loud and clear, full of bombast and energy.
This album is brimming with joy, and it exudes D.R.A.M.’s ability to play around with different musical styles without his album sounding like a confused mess. This record works because of the many styles he successfully tries. It’s a success because D.R.A.M. is confident, self-aware, and damn good at writing hooks and melodies. Whether he’s trading verses with Young Thug or Erykah Badu, D.R.A.M. can do it all, and he does it way better than the average industry plan shmo.
So, there’s a chance you’ve heard of ultra-mega-underground musical artist Anderson .Paak. If you haven’t, that’s fine, but there’s a small chance that you have. And, if you’ve heard of him, you know he dropped his highly praised studio album Malibu at the beginning of 2016 to much acclaim. Well, I enjoyed that record quite a bit, just not enough to appear on this list. Sorry!
What I did enjoy even more, however, is the less-loved collaborative record Paak put out with Knxwledge, who Beezy from Dead End Hip Hop called “the James Brown of Bandcamp beat tapes.” Throw those two dudes into Stones Throw Records’ legendary vault of samples, and what you end up with is NxWorries and their fantastic debut, Yes Lawd!, which is titled after Paak’s now-famous ad lib.
Across about 20 songs at about 40 minutes in length, Paak steps into his pimp role, penning songs about sex, romance, and decidedly unromantic sex. This thing is raunchy, catchy, and hilarious, and it nicely highlights Paak’s vocal versatility.
Meanwhile, the glue holding it all together is Knxwledge, who comes through with his typically spacey, old school production. It’s like if Madlib channeled the ghost of J Dilla to help him produce beats for an experimental-R&B album. It’s rooted in alternative hip-hop and cemented by Paak’s buttery vocals and seductive lyrics. I can see why a lot of people enjoy Malibu more, and I’m completely on board the Anderson .Paak hype train, but for me, Yes Lawd! is where it’s at.
And mega props to Knxwledge for that choice “Rick and Morty” sample.
Key tracks: “Lyk Dis,” “Link Up,” “H.A.N.”
59. ScHoolboy Q – Blank Face LP (Top Dawg Entertainment/Interscope)
ScHoolboy Q is definitely the second most successful rapper on the Top Dawg Entertainment roster, behind Kendrick Lamar of course. He’s already hit us with two masterful records, and now he’s gone and hit us with Blank Face LP, an excellent, messy, unapologetically mad album. From the wall-of-sound banger that is its opening track to the gritty fuck-you of its closing track, Blank Face LP is 2016’s much-needed kick in the teeth.
ScHoolboy goes full Ol’ Dirty Bastard on this album, bringing gangsta rap to a logical extreme I didn’t know was possible. Now, Blank Face LP would be way higher on this list if two or three of its worst songs were removed, but as it stands, this record is super catchy and well-executed. At an intimidating 72 minutes in length, Blank Face LP shits all over pretty much every other TDE album that dropped this year.
All across the board, this album come through in spades. Working with a diverse set of producers (Swizz Beats, Metro Boomin, Tyler, the Creator, The Alchemist, DJ Dahi, Sounwave) and vocal guests (Anderson .Paak, E-40, Vince Staples, Jadakiss, SZA, Miguel), ScHoolboy crafts a hip-hop masterpiece that you won’t hear from anyone else. The bars will gut you, the vocals will choke you, the beats will leave you to rot away in a back-alley in Nowhere, California, and you will LOVE it.
Key tracks: “TorcH,” “Dope Dealer,” “JoHn Muir”
58. Mannequin Pussy – Romantic (Tiny Engines)
I was thrilled when I discovered this album last month, with its 17 glorious minutes of hardcore punk, indie rock, pop-punk, and all the other genres Philadelphia’s Mannequin Pussy (great fucking name) manages to fit on Romantic. This album is a diverse set of punk songs that are all catchy, impressive, and indicative of the band’s ability to do pretty much anything in the realm of both loud and soft rock music.
This group can do in two minutes what it takes many rock bands four or five minutes to do, and even then Mannequin Pussy does it with an immense level of hooky, raucous success. Whether they’re unleashing mosh-worthy mayhem or shoegaze-esque indie rock, this band finds beauty in miniature moments. They manage to absorb all the best qualities of groups like White Lung, At the Drive-In, and Bikini Kill and they distill them into a lightning speed voyage through the spectrum of human emotion.
I’m extremely glad I listened to this album, because it is truly brilliant. Mannequin Pussy does in less than 20 minutes what a lot of their contemporaries fail to do, and that’s produce an album that is as catchy as it is an emotional fucking wreck. The band leaps from kick-ass post-hardcore to jazzy dreamscapes to garage rock crescendos in the amount of time it takes the average person to brush their teeth. You won’t hear a punk album quite like this, and it’s shorter than an episode of “Bob’s Burgers,” so even if you don’t like it, hardly any time has been wasted.
57. John Congleton and the Nighty Nite – Until the Horror Goes (Fat Possum)
When he isn’t busy producing albums for groups like Swans, AJJ, Explosions in the Sky, St. Vincent, Angel Olsen, and Xiu Xiu, Grammy-winner John Congleton occasionally makes music of his own. He used to front a fantastic experimental rock band called The Paper Chase, but that band called it quits several years ago. Thankfully, Congleton has put together this amazing solo project that picks up right where that band left off.
Fusing the weirdo alt-rock of artists like They Might Be Giants and The Mountain Goats with electronically synthesized noise and grotesque, sometimes downright perverted lyrics, John Congleton and the Nighty Nite are here to bring you sweet nightmares. I mean, who else can turn the lyric “I will love you like a lion loves its kill/I will touch you like a doctor, just lay still/Let the implements molest you, make you see you belong to me/You’ll be mine, all mine/We’ve got you surrounded” into a straight-up pop hook?
The 10 songs on this album are catchy, creative, and they present a slightly more accessible interpretation of the gritty, terrifying music of his previous band. Until the Horror Goes is another case of an album that is frightening and dark in subject matter, but strangely fun to listen to. It’s the ultimate irony, which I’m sure is the point. I mean, just look at that album art. This record is like a haunted public access children’s show that teaches you the history of human cruelty without necessarily chastising that very cruelty.
I believe this to be one of the year’s most underrated records, and I hope to be able to catch John Congleton on tour next year if he brings this sick, demented album’s live performance to my neck of the woods. He turns songs about corpses, torture, and nihilism into bona fide alt-rock bangers, and it’s a damn shame this record didn’t get as much press as it deserves. But, that’s what I’m here for, and hopefully I convince a handful of people to check out this record before year’s end.
Key tracks: “Just Lay Still,” “Canaries in the Coal Mine,” “Put Your Teeth In”
56. Babyfather – “BBF” Hosted by DJ Escrow (Hyperdub)
English underground musician Dean Blunt is not known for making music that’s easy on the ears. This isn’t to say he’s some harsh noise sadist, but his calm, obtuse songs can be frustratingly repetitive, or perhaps not repetitive enough. Such is the case on the debut album from his latest musical endeavor, Babyfather.
“BBF” is a strange beast, because while the experience Blunt and his mysterious cohorts managed to craft is undeniably masterful, the music itself can be very difficult to listen to. Whether he’s hitting you with static noise blasts, the bizarre rants of fictional(?) pirate radio host DJ Escrow, or five straight minutes of Craig David saying “This makes me proud to be British,” Blunt is giving you something to pay attention to. And, if you pay proper attention, you will easily start to pick out the social and political points this album is making about gentrification, capitalism, racism, and the oblivious divide between the upper-crust political social elite and London’s impoverished proletariat.
In a time of political strife in England as well as in other contemporary liberal democracies, “BBF” is a fucking revelation of an album. It’s subtle, experimental, and just as critical of hip-hop and grime sell-outs as it is of the establishment to which culture vultures sell out in the first place. Again, this album is not catchy, it’s not easy to listen to, and it could very well be Dean Blunt’s least accessible project to date (which is definitely saying something). However, it so brilliantly captures the political turbulence we are seeing all over the Global North, that its mission statement alone usurps any moments of musical agony. And, once you let the album’s atmosphere wash over you, you start to really enjoy the musical choices that were made on this album, from Dean Blunt’s hazy, lazy gangsta rapping to the dissonant atonality at the heart of its semantically satiated mantra.
This album will make you question everything you think you know about identity and how it can be derived from nationality and country of origin. If the corporatized, expensive 2012 Olympics make Mr. David proud to be British, then what is there about being British for the exploited working class to be proud of? The album’s message is a universal one, and its music is truly excellent once you let it penetrate your soft mind.
Key tracks: “Meditation,” “Motivation,” “Deep”
55. Denzel Curry – Imperial (PH/Loma Vista)
I was hesitant to hop on board the Denzel Curry hype train around the time he was first blowing up. I found projects like Nostalgia 64 and 32 Zel/Planet Shrooms to be a bit derivative, and it was obvious Denzel Curry was still trying to crawl out of the shadow of fellow Floridian (and current hip-hop has-been) SpaceGhostPurrp.
Imperial, though? Ooof. Step aside, Varg Vikernes, there’s a new black metal terrorist in town and his name is Denzel Curry. Whether you listen to the original SoundCloud version of this album or the deluxe version he put on Spotify a couple months back, you’re in for an intense, dark hip-hop experience. Denzel raps about the harmful medical and social effects of drug use, even saying he doesn’t drink lean because that’s what ultimately resulted in the untimely death of A$AP Yams.
The production on this album is amazing, Denzel’s rapping is pure fucking spitfire, and the project comes together nicely with its sub-40-minute runtime. He very nicely takes the energy of trap rappers like Waka Flocka Flame and fuses them with the heady, solemn awareness of Joey Bada$$, resulting in a record that is full of energy and substantial in content.
Of all the XXL freshmen, Denzel Curry is the one I’m banking hardest for. He’s a very gifted rapper, his ear for production has proved impeccable, and he came through with one of the year’s most underrated hip-hop mixtapes. Imperialism may be a harmful ideology, but Imperial is a record that is scientifically proven to be good for your health. Seriously, throw on the first track of this album and tell me you don’t feel like getting up and hitting the gym. This shit is set-your-enemies-on-fire type of music. It’ll chew you up, spit you out, and leave you feeling all the better for it.
Key tracks: “ULT,” “Knotty Head,” “Zenith”
54. Neurosis – Fires Within Fires (Neurot)
Sludge metal band Neurosis has been around for 30 years now, and it seems like they only get better with age. Fires Within Fires, which was entirely produced by loud rock legend Steve Albini, is a victory lap for a band who only seems to get better. With five songs that stretch out to a compact 40 minutes (trust me, that’s short for a Neurosis album), the band manages to stitch together the best aspects of the genre they’re credited with inventing. Once again, Neurosis proves that there really is no one out there doing it better than them, and they totally redeemed themselves from 2012’s less memorable Honor Found in Decay.
The winding song structures feature a nice mix between sludgy, heavy guitars, nicely sequenced synth passages, and the guttural vocal stylings of Scott Kelly. Neurosis’ style is easily described but truly inimitable, and Fires Within Fires is an album that manages to succeed way more than it probably should.
This is a metal album to space out to. It’s slow, but the band keeps it captivating for the album’s runtime. There’s hardly a dull moment on Fires Within Fires, and it’s nice to hear a legacy act rediscover its passion for making atmospheric, ugly metal music. If the term “post-metal” could ever be used accurately for any one band, Neurosis would be that band. They’re one of the few older acts that is pushing the limits and sonic boundaries of sludge metal, and the few moments of true beauty the band manages to grind together are nicely supplemented by the harsh fury of classic Neurosis.
Omaha-based singer/songwriter Conor Oberst is a man of many musical styles. There’s the dense, emotional wreck that is his Bright Eyes project (which has been defunct since 2011), the poppy post-hardcore of his hugely underrated band Desaparecidos, and then the instrumentally bountiful music of his mixed solo career. Oberst’s post-Bright Eyes material has been fairly forgettable, besides Desaparecidos’ 2015 reunion album, Payola, so I almost didn’t even bother giving Ruminations a spin.
But, I am really, really glad I gave this album a chance. Ditching the superfluous instrumentation that tends to water down and weaken his music, Oberst put out an album that is truly a solo album. Voice, piano, acoustic guitar, and a little bit of harmonica. This is a folk album in the spirit of the best revolutionary folk artists of the 1960s and 1970s. With his unmistakable voice, firebrand leftist lyricism, and simplistic songwriting, Conor Oberst strips down his style and makes his most remarkable album since 2005’s I’m Wide Awake, It’s Morning.
Across this album there will be moments that make you laugh, like his balanced, poetic commentary on Ronald Reagan, and moments that make you cry, like when he sings about the self-pity he felt when recently dealing with a serious medical issue. This record is brief, but it is not forgettable or emotionless. It’s simple, but the feelings it conveys are certainly not.
Personally, I believe Conor Oberst will go down in history as one of the greats, especially if he continues putting out material like this. He’s an excellent songwriter and lyricist, and his shaky, fragile voice puts what could’ve been another unremarkable album into the echelon of one of the year’s greatest acoustic folk recordings. Conor Oberst could’ve stopped making music ten years ago and he would still have secured his spot as one of the best contemporary indie folk artists, and people who enjoy the personal, beautiful music of someone like Elliott Smith will certainly enjoy Conor’s ruminations on his life, the country, and the universe at large.
Key tracks: “A Little Uncanny,” “Gossamer Thin,” “Barbary Coast (Later)”
52. Pop. 1280 – Paradise (Sacred Bones)
And the award for least apt album title of the year goes to this fourth record from industrial/noise quartet Pop. 1280, because there is absolutely no paradise to be found here. That is, unless your idea of paradise is being intimidated by pounding drums, squelching synthesizers, and vocals that would give Marilyn Manson a run for his money. From the visceral opening cut, “Pyramids on Mars,” all the way to the bitter end, this album is a punishing experience.
I also feel like this is a style of music that can be done correctly and incorrectly. Pop. 1280 seems to take a lot of influence from late ‘80s through mid ‘90s industrial metal/rock groups like Ministry and Nine Inch Nails, and they also don’t fail to ignore the stylistic predecessors to those groups, like Throbbing Gristle and Whitehouse.
If you’re looking for a terrifying musical experience that isn’t afraid to (sometimes) have a bit of fun with the genres it pulls from, look no further than Paradise. You know what, now that I think about it, maybe the album’s title is apt after all.
Key tracks: “Pyramids on Mars,” “USS ISS,” “In Silico”
51. Show Me The Body – Body War (Loma Vista)
One of my favorite debut albums to drop this year is Body War, a 10-track noise punk affair from New York trio Show Me The Body, who you might remember from my list of my favorite live acts of the year. Well, it’s really hard to be a great live band without having some great music to perform first, and Body War is some great fucking music.
With the unorthodox combination of drums, bass, banjo, and sampler, Body War packs years of urban frustration into 30 minutes of sheer intensity. Borrowing from the city’s history of gritty, harsh music, in a similar vein as friends and occasional tourmates Ratking, SMTB provides a mission statement that never lets up. Lead vocalist Julian Cashwan Pratt sings sardonically about police brutality, urban development, and violence, bashing the audience over the head with some of the most confrontational post-punk you’ll hear all year.
I love virtually everything about this record, from its cryptic lyrics, pained and unique vocals, and the virtuosic, heavy bass playing. Show Me The Body is a truly original group, and they bring a certain atmosphere to their music that scares me as much as it invigorates me. Show Me The Body works in a similar vein as legendary revolutionary punk acts like Black Flag and Fugazi, and if the group continues to improve on this sound, they will go down as one of the best punk acts out right now.
Canadian post-punk group Preoccupations are unfortunately more associated with their highly publicized name change than they are associated with releasing two completely brilliant records in two back-to-back years. When they were known as Viet Cong, they released a great self-titled record that landed on my Best of 2015 list. And now, as Preoccupations (which is a much better name, in my opinion), they’re back with an equally great self-titled album.
They’ve toned down the experimental noise that graced their debut in favor of a slightly more classic post-punk sound, with some definite Joy Division influence coming through on the vocals. Bassist/vocalist Matt Flegel takes a gritty, gruff tone with his voice that is as haunting as it is captivating. This record is psychedelic, strange, and indicative of the band’s ability to make post-punk music that captures the spirit of the late ‘70s through mid ‘80s goth shit like Bauhaus and Christian Death.
The lyrics are also particularly pained, and the buzzing, drone-y atmosphere fits the anxiety- and depression-laden verses like a pair of clean, warm boxer briefs. I mean, the first track on this record begins with the line “With a sense of urgency and unease/Second guessing just about everything/Recollections of a nightmare/So cryptic and incomprehensible/Encompassing anxiety,” and it’s actually kind of fucking catchy.
I love this album because it’s not just a great post-punk record on its own, but it serves as a progressive follow-up to its predecessor. I love the vicious drone on 11-minute track “Memory,” and even the bizarre half-song “Forbidden” makes its case in the tracklisting. I didn’t expect to be as blown away with this project as I was, and I hope Preoccupations continue to make dark, depressive experimental rock music for years to come, even if they find themselves needing to change their name once again.
Key tracks: “Anxiety,” “Memory,” “Zodiac”
49. Parquet Courts – Human Performance (Rough Trade)
It’s no secret that I’ve been a Parquet Courts fan for many years. Their previous album, Sunbathing Animal, topped my year-end list in 2014, and the Content Nausea record they put out that same year was also brilliant. Cleaning up their sound a bit, Parquet Courts are making the most pleasant music of their career, even when they’re singing about descents into depression-based loneliness and trying not to feel lost in the fast-paced and heavily gentrified cities they’ve grown up in. Human Performance is a sad album that presents some of the band’s best hooks, melodies, and songwriting yet.
And this bait-and-switch is something the band consistently pulls off really well, whether it’s on the short, sweet “Outside” or the mid-paced eponymous track. Depressing-ass lyrics frequently accompany catchy-ass choruses and brilliantly strange chord progressions. As Parquet Courts goes further inward, they somehow manage to become more weird and more accessible simultaneously. I love the off-kilter post-punk of the track “I Was Just Here,” which captures this genius duality very well.
I think that Parquet Courts are a vital addition to the current indie rock scene, and the dual-songwriting prowess of Andrew Savage and Austin Brown makes for one of the most provocative, remarkable listening experiences of the year every time the band puts something out. They even manage to write a song about something as simple as dust and have it go over well.
Go ahead and kiss those Pavement comparisons goodbye, because Human Performance sees the band truly come into its own as one of the most recognizably intriguing rock acts out there right now, lyrically and sonically. I mean, how do you even beat a song like “Berlin Got Blurry,” one of the year’s most unexpectedly heartfelt? This record can seem a bit obtuse and difficult to process at first, but it warrants, deserves, and rewards listeners with repeated listens.
48. The I.L.Y’s – Scum With Boundaries (Third Worlds)
This Death Grips side-project appeared out of nowhere in summer 2015 with the release of its debut album, I’ve Always Been Good at True Love. While that record was an interesting bit of noisy, psychedelic rock from Zach Hill and Andy Morin, it was truly surpassed by the all-out skronk-fest that is Scum With Boundaries. This record is more memorable, interesting, and hilarious, with song titles like “I’m Gonna Have Sex” and “Stop Yelling In the Museum,” both of which are excellent, intense songs.
For a project that at first seem like a total garage rock throwaway with some interesting material, The I.L.Y’s is proving to be a side-project that is totally worth listening to. If we can start looking forward to a brilliant new piece of weirdo-rock from Zach and Andy every summer, then consider me stoked for whatever they cook up in 2017, beyond a possible Death Grips record (which I certainly hope will happen).
I love the bizarre mix of noise rock, garage rock, and synthesized electronics on this record, and the eponymous song sounds like a jingle for some fucked-up commercial that would air at 3 a.m. in 1994. This is an unusual album that injects humor into rock music in ways that Death Grips decidedly does not. It serves as a nice foil to that band, and I hope the Third Worlds label continues to churn out killer experimental music that turns heads and knocks skulls.
Overall, this is another bright spot in Zach Hill’s varied, immense discography. It’s catchy, hilarious, and sexualized to the point of confusion. “Why does it suck on me/Your pussy is my hoodie” sounds like some shit Danny Brown would say in 2010, but it ends up being the set-up to a brilliant punchline on this record, proving that these two are capable of making music that really does make them seem like soap-scum with some boundaries.
47. Swain – The Long Dark Blue (End Hits)
I first came across Dutch post-hardcore band Swain back when they were called This Routine Is Hell and they were making the sort of ferocious metalcore that won them the praise (and production) of Converge axeman Kurt Ballou. Then, they decided to undergo a name and genre change. As Swain, they debuted in early 2015 with the excellent, albeit criminally short, Heavy Dancing EP, one of my favorite EPs of that year. Now, Swain is back with a proper full-length album that makes good on the grungy, heavy promises their previous EP made.
While I wasn’t totally sure about this record at first, it slowly grew on me. Its downer ‘90s rock worship and creative punk-rock totally crept up on me, and when it finally clicked I was in love. This record is brilliant, and Swain very nicely mixes the heavy post-hardcore they are more well known for doing with melodic, slow rock music that shouldn’t work, but totally does. They turn a song about not cleaning your room into a bona fide depression jam that would give a lot of American lo-fi rock groups a run for their paltry savings accounts.
I don’t think I could possibly recommend Swain highly enough, because they’ve been proving their worth for many years at this point. This record is smart, catchy, lyrically brilliant, and a versatile punk-rock thrill ride that has me really hoping these Dutch punks can finance a full US tour next year.
Key tracks: “Never Clean My Room,” “Punk Rock Messed You Up, Kid,” “Kiss Me Hard”
46. PUP – The Dream Is Over (SideOneDummy)
One of my favorite surprises of 2014 was when I discovered Canadian punk band PUP’s self-titled debut album, a record as full of soaring gang vocal hooks as it was full of depressing, witty lyrics. While it didn’t manage to crack my best-of list that year, it certainly had me hyped for whatever the band would do next, and I am really glad I kept up with the group. The Dream Is Over, the band’s sophomore album, improves on everything PUP was doing on their debut.
The album is named for a paraphrased remark from vocalist Stefan Babcock’s doctor after he shredded his vocal cords, and thank fucking goodness the band pressed on despite the injury. Because this record is hilarious, sad, and extremely catchy for its entirety. “If This Tour Doesn’t Kill You, I Will” is one of the year’s best opening albums, and the way it segues so nicely into the following cut, “DVP,” is legendary.
The Dream Is Over doesn’t let up for its 30 minute run time, and the group manages to turn sardonic songs of self-loathing into life-affirming barn-burners, which is especially obvious when you see the band perform live. I hope PUP continues to blow us away with more excellent loud rock music with killer melodies and fantastic musicianship.
This record is truly a blessing in a sea of pop-punk knockoffs that feel content to phone it in continuously. PUP could easily do that if they wanted to and achieve success, but instead they put out mini masterpieces that set them far apart from their contemporaries. That’s the mark of an awesome band, and this is an awesome album.
Key tracks: “Old Wounds,” “Pine Point,” “Sleep in the Heat”
45. Car Seat Headrest – Teens of Denial (Matador)
One of the most hyped albums of the year came from Mr. Will Toledo, an artist whose residence in Seattle is no secret to me. I’ve been conscious of this dude for a couple years now, and his earlier Bandcamp projects are absolutely worth checking out if you haven’t heard them. After signing to Matador Records, he re-recorded some of his favorite songs on his older albums for the Teens of Style compilation, which I definitely recommend.
But Teens of Denial, Car Seat Headrest’s proper debut full-length for Matador, is a fucking revelation in comparison to its predecessor. This 70-minute indie rock opus gives the world everything that was always great about Car Seat in the form of a fuzzed out, lo-fi garage panic attack. This quarter-life-crisis-committed-to-tape became one of the most highly reviewed rock records of the year, and for very good reason. As is usual for Car Seat, what you get here is a brilliant combination of notable hooks, fantastic lyrical content, and musical prowess.
From the groovy opening moments of “Fill in the Blank” to its somber closing track, Teens of Denial proves that Car Seat Headrest is here to stay, and that this music industry rookie is more than just a Bandcamp kid with Garage Band downloaded on his iPhone. He’s a truly gifted artist, and if you’ve been paying any attention to the indie rock hype machine this year, you’re surely aware of this record by now. And if not, what are you doing reading this stupid list? Go listen to Teens of Denial, especially if you’re looking to be affected by a rock an album in the same way that groups like Pavement, Built to Spill, and Guided by Voices have affected you in the past. Well, finish reading this list, share it with your friends, THEN go listen to Teens of Denial.
Key tracks: “Destroyed by Hippie Powers,” “Vincent,” “Not What I Needed”
44. Vektor – Terminal Redux (Earache)
After a five year album hiatus, thrash metal exploders Vektor are back with their best album yet, Terminal Redux. This is a creative-ass space concept album with wretched vocals, incredible riffs, and some of the most fascinating songwriting I’ve heard from a thrash metal band in many years. Complete with a bizarre storyline that rivals some of the best sci-fi of the decade, Terminal Redux is a mindfuck of an album with its elongated song structures, laser fast solos, and moments of beauty.
While this record stretches past an hour in length, it manages to never be boring. I’ve heard some complaints online about the vocal performances, but I personally love the way they chose to do the vocals on this record. This is a harsh, hallucinogenic experience that I enjoy more and more every time I listen to it. It’s difficult to dive right into, especially considering its concept is vital to the overall experience and enjoyment, but it’s a totally worthwhile endeavor for metal fans everywhere.
If you thought that thrash metal died when Metallica started putting out mid-tempo hard rock garbage, worry no more. Vektor has been here for several years as is, and with Terminal Redux they prove themselves to be the preeminent force at the vanguard of progressive thrash metal music. Don’t let this one slip you by if you’re looking for a transcendental experience with a discernible storyline that doesn’t usurp the musical, lyrical, and songwriting quality. Seriously, this shit could be a novel or a hard-sci-fi film. If you want to be transported to where no person has gone before, boldly stream this new Vektor album. You will not be disappointed.
Key tracks: “Charging the Void,” “LCD (Liquid Crystal Disease),” “Pteropticon”
43. Big Ups – Before a Million Universes (Exploding in Sound)
I first caught wind of New York experimental rock group Big Ups when they debuted in 2014 with the excellent Eighteen Hours of Static, an album of brittle, memorable post-hardcore that sticks with me to this day. When they returned earlier this year with Before a Million Universes, I was slightly concerned they wouldn’t be able to re-ignite the lightning-in-a-bottle vibe I got from their debut. Thankfully, I was wrong.
By branching out and experimenting even further, Big Ups returned with an album that is even more strange and creative than its predecessor. Before a Million Universes is a cerebral journey into the world of early post-rock and avant-garde indie rock type music, with a lot of songs akin to the stylings of groups like Shellac, Slint, and Bark Psychosis.
Big Ups nicely toes the line between soft and loud music, with eerie vocal performances, daring guitar riffs, and super-tight drumming. At times veering on frightening, Before a Million Universes is an existential crisis in sonic form, and it harkens back to an age of bizarre experimental post-hardcore music that I would love to hear more of in the 21st century.
Whenever there’s a post-hardcore band I like, I always expect them to eventually run out of juice and release a not-great album. And, after seemingly hitting their peak in 2013 with the fantastic Is Survived By, I was fully anticipating a dud from California band Touché Amoré. Thankfully, the band absolutely did not disappoint with Stage Four, one of the year’s most devastating emotional wrecks. Inspired entirely by the unfortunate 2014 passing of vocalist Jeremy Bolm’s mother to cancer (hence the name), this record will probably make you cry at least once.
While this band has never really left much room in the mix for Bolm’s screamed lyrics to be entirely clear, that is not the case on this album. On Stage Four, you get every single syllable, and it’s all the better for it. With extremely vivid portrayals of heartbreak, depression, and losing faith in a higher power pervading this record, it is truly an experience not to be missed.
Every time I listen to this album, a different moment breaks me. There’s a particular moment on this record where Bolm mentions he still hasn’t found the strength to listen to his mother’s last telephone message to him, which fucked me up. There’s another moment where he says he can no longer listen to songs like Sun Kil Moon’s “I Can’t Live Without My Mother’s Love” and Death Cab for Cutie’s “What Sarah Said,” which totally wrecked me. And, of course, there’s the moment where Bolm feels his mother’s protection when he walks away from a car crash completely unscathed. My eyes are welling up just thinking about it.
I don’t wanna spoil every moment of emotional substance to be found here, because it would probably be a 2000-word essay, so go and check out Stage Four for yourself. It’s probably the most touching screamo album you’ll ever hear, and it contains a surprisingly amount of replay value for an album that is as completely depressing as it is.
41. Sturgill Simpson – A Sailor’s Guide to Earth (Atlantic)
New country superstar Sturgill Simpson turned some heads on his 2014 record, Metamodern Sounds in Country Music, not only for its beautiful When In Rome cover or the immaculate Brent Cobb production, but also because Sturgill Simpson is writing about things that country musicians haven’t properly attempted in what seems like decades. While not quite outlaw country, per se, Sturgill was making music that was edgy, smart, and original. He made a lot of people feel good about country music again, and he’s only improved his formula on his self-produced concept album, A Sailor’s Guide to Earth.
And how does he do this? By experimenting with sounds and styles that country music artists never fucking touch, like proggy synths, soulful horns, and an excellently executed Nirvana cover. Basically, by branching far out from country music’s typical boundaries. And, well, obviously it works extremely fucking well. From the opening seconds, this sub-40-minute message to Sturgill’s newborn son is a thing of pure beauty.
Sturgill Simpson is living proof that the best, most heartfelt country music isn’t coming from the new guard of hollow “pop country” shells. The dude is nearly 40 years old and proving that it takes attention to artistic detail to make beautiful music, and I hope he continues to prove the “everything-but-rap-and-country” crowd wrong. This is the best country music album in a year with a handful of great country music albums, and it accomplishes this by embracing experimentation as a superpower rather than a crutch.
Key tracks: “Welcome to Earth (Pollywog),” “Keep It Between the Lines,” “Call to Arms”
40. Oranssi Pazuzu – Värähtelijä (20 Buck Spin)
I’ve been conscious of the psychedelic kooks of Finnish black metal band Oranssi Pazuzu for a couple years now, and I’ve been patiently waiting for them to really impress me with an album. Thankfully, that time has come with the extreme, incredible Värähtelijä, which I have no idea how to pronounce. For over an hour of experimental brutality, Oranssi Pazuzu punish with music inspired equally by black metal, sludge metal, krautrock, and psychedelic rock.
This can be a difficult album to enjoy, but I found myself coming back to this thing time and time again. The musical interplay on this thing is excellent, and I love the way they combine the spooky atmosphere of Swans’ latest albums with the chaotic disarray of ‘90s Scandinavian black metal. Much like fellow Finnish act Moonsorrow, who you remember from earlier in the list, Oranssi Pazuzu takes a musical style that has been done to death and brings a level of uniqueness to it I haven’t heard from another band all year long.
These guys manage to stretch this record’s seven songs out to 70 minutes of aural insanity, resulting in an album that plays like the soundtrack to a demon possession in space. It’s a frightening experience that packs a lot of raw energy into its duration, and I hope to hear the band only improve their original sound from here.
Tanya Tagaq is an established throat singer from Canada who you may have already heard, either from her highly acclaimed, award-winning solo material or her collaborations with Icelandic avant-songstress Björk over a decade ago. Regardless, she’s back with her scariest album yet, a concept album that deals in themes of indigeneity, environmentalism, and protest.
The aptly titled Retribution is no peaceful beast, with Tagaq’s versatile vocal performance taking center stage amidst heavy drums, ominous ambience, and even a killer rap verse from fellow Canadian artist Shad. Yes, there’s a legit rap song on this album, and it’s fucking great.
While I haven’t really gotten into Tagaq’s previous material a whole bunch, I am enjoying the hell out of Retribution, because it brings me a style I don’t often listen to in a manner that appeals to my masochistic musical sensibilities. And, much like Sturgill Simpson did back in spring, Tanya Tagaq comes through with an amazing new take on a Nirvana classic. She turns the 1993 cut “Rape Me” into a song that fits in with her themes of imperialism and Native sovereignty. In a time where there’s more of a spotlight on Native peoples and their struggle than ever before, this feels like an appropriate jab at governments that feel they can get away with destroying sacred land and continuing to destroy the planet.
38. Crying – Beyond the Fleeting Gales (Run For Cover)
This debut record from New York indie rock/chiptune trio Crying is something I didn’t even know that I wanted. I don’t tend to be into that style of music a whole lot, but the band decided to change it up from their earlier EPs by ditching the Gameboys in favor of ‘80s guitar inflections, prog-rock drums, and actual synthesizers. Borrowing heavily from groups like Rush, Van Halen, and other popular AOR music, Crying creates a record that finds coolness in obscure nerdy shit.
Plus, it’s catchy as hell! Elaiza Santos’ vocals are saccharine-sweet in conjunction with the undeniable riffs on Beyond the Fleeting Gales, and it results in a sensation I don’t think I’ve ever gotten from a current album. This 30-minute masterpiece plays like a voyage through some old-school video game realm where there are bridges, doors, and endless winding roads. It’s a fantasy novel without warlocks and elves, because instead there are realistic personal stories and emotions to connect with.
These guys effortlessly fuse twee pop with the sort of arena rock that has been decidedly out of style since far before Y2K, and they modernize it for an age where young people are way more interested in the exact opposite of that stuff. Santos, for example, also participates as a touring member of Told Slant, who is in turn inextricably tied to NY art collective The Epoch (Frankie Cosmos, Porches, Bellows, Eskimeaux, Florist, etc). And drummer Nick Corbo sings and plays bass for experimental rock quartet LVL UP, who I’ll be getting to later in the list.
This album soars, venturing where very few young artists dare trek. Listening to this is like absorbing some fantastical anime series in a candy-coated, weed-soaked binge-watch session. It’s fun, catchy, poppy, and majestic. It’s experimental music like this that has me looking forward to doing these lists every year, and I hope to see Crying continue to blow up for this super underrated record.
37. King Gizzard & the Lizard Wizard – Nonagon Infinity (Flightless/ATO)
Australian cult favorite King Gizzard & the Lizard Wizard saw an exponential increase in fanbase this year with the release of their eighth album in half as many years, Nonagon Infinity. As you might be able to guess from the title or the countless rave reviews this album got, there are nine songs on this album that not only seamlessly transition into each other, but the last song also transitions seamlessly into the first song. So, you could listen to this album on repeat and this record will lose all perceptions of a beginning and an end, truly becoming a nonagon infinity.
Not only does this record’s gimmick work extremely well, but the songs on this album are all catchy, flawless, and hard-rocking. The musicianship here is brilliant, with time-signature-defying riffs to coalesce with the ridiculous, epic lyrics. This record paints a landscape full of wasps, beats, death rolls, and invisible faces. If ever there was an album in 2016 that was truly a journey, it is this record.
The guitar solos rip, the drum solos maneuver unforeseen tempo shifts, and the nearly robotic vocal performance of Stu Mackenzie. This band manages to pack a punch unrivaled, with a menage of jazz, experimental rock, and garage rock pummeling you at every turn. Think Ty Segall meets Devo meets Jimi Hendrix. The ever-prolific King Gizzard once again proves themselves to be the hardest working band in showbiz right now, and that music can be both high in quantity and high in quality. With five albums planned for release in 2017 (the first of which drops in February), King Gizzard shows no signs of stopping, and all signs are pointing to even more excellence coming soon.
36. Young Thug – JEFFERY (300 Entertainment/Atlantic)
2016 was the year Young Thug went from rap’s best Lil Wayne disciple to a truly unique artist all his own. With the underwhelming I’m Up and very good Slime Season 3 giving us more of the same Thugger, JEFFERY was the turning point. From the opening upward-strummed reggae chords of aptly titled “Wyclef Jean,” I knew I was finally going to be in for something different. The result is the best thing Young Thug has ever put out.
All of the songs on this record are named after his idols, but they aren’t just randomly selected. “Future Swag” sounds like the best song its namesake has never recorded, and “RiRi” balances Thugger’s off-kilter dolphin impression with a winking reference to Rihanna’s hit song “Work.” Need I even mention “Harambe,” the tribute to the late gorilla that sees the rapper go absolutely ape-shit? I mean, who else in Atlanta could impersonate a demon-possessed Louis Armstrong and have it go well?
And that fucking album art? I don’t mean to bombard you with rhetorical questions, I just have absolutely no answers. JEFFERY isn’t just an amazing album, it’s a truly spellbounding hip-hop release. He defies those “mumble rap” labels by coming through as clear as ever. And not only is Thugger coming through clear, but he rides the consistently great production with an immense level of charisma. Additionally, the lyrics are hilarious and memorable throughout.
If you haven’t heard this album by now, and that would be hard to believe since it’s one of the most talked-about releases of the year, then you’re seriously missing out on the most original trap record of 2016. I guess I should’ve known it would take the only ATL rapper calling out the social construction of the gender binary to totally blur the line between masculine and feminine on a successful, catchy rap record. It’s just that good.
I was as excited for this album to be released as I was dreading it. Modern Baseball, the beloved pop-punk quartet from Philly, hit their stride in 2014 with the amazing You’re Gonna Miss It All. But, all good things must end, and I was worried it would only be downhill from that album. I was scared Holy Ghost would be the album where I would outgrow MoBo like I’ve outgrown so many other pop-punk bands once they usurp their former glory with mediocre releases.
Nope!!! Not at all, man. Holy Ghost manages to surpass its predecessor by embracing more mature variations on previously explored themes. This record is split into two sides, representing the two principal songwriters and vocalists, Jake Ewald and Brendan Lukens. Ewald tackles songs about relationships, death, and traveling, whereas Lukens’ side deals more in substance abuse, depression, and self-worth. There’s not a bad song on this album; in fact, every song on this album is fucking incredible.
There are few groups out there who so effortlessly fuse intelligent, witty lyrics with killer melodies and songwriting, especially in the genre of which MoBo belongs. This record barely hits the 30-minute mark, yet it packs as much an emotional punch as your favorite rock band’s latest 50-minute album. Additionally, it’s a grower that worms its way into your brain more and more with each listen. Some of the band’s best songs yet are on this album, and I hope they continue to progress and release excellent material as the years go by. I know all this is temporary and nothing matters, but Modern Baseball’s new album makes me feel like that just might not be the case.
Key tracks: “Mass,” “Just Another Face,” “Hiding”
34. Ty Segall – Emotional Mugger (Drag City)
It was only a matter of time before beloved rock artist Ty Segall blew me away. I’ve been a moderate fan of his since he started achieving nationwide acclaim in 2012, but it wasn’t until he dropped Emotional Mugger after a relatively silent 2015 that he achieved his full potential. This record is weird, nasty, and kooky enough to make you squirm. Tackling themes of addiction and technology through the lens of a fictional, horrifically Oedipal frontman, Segall and his musical collaborators (Mikal Cronin, King Tuff, Emmett Kelly) came through with his most instantly amazing project yet.
If this were on some sort of streaming platform (curse you, Drag City) I would’ve listened to this way more this year, but that doesn’t mean I don’t remember how impressive this thing is. The lyrics are bizarre as hell, the production is multifaceted and intense, and the album itself is consistent in theme and sonic bipolarity. It’s as fucking hilarious as it is filthy and grimy, and that is definitely where Segall thrives as an artist.
It’s a shame I haven’t seen more love for Emotional Mugger this year, because I guess that’s just the risk you take when you put an album out in January, but that’s what I’m here for. I’m here to remind you that Ty Segall put out his best album yet nearly a year ago, and I’m hoping his upcoming self-titled album next month will be similarly brilliant, even if it’s less weird.
33. Xiu Xiu – Plays the Music of Twin Peaks (Polyvinyl)
Most bands should never release covers albums, but Xiu Xiu isn’t most bands. Following their surprisingly excellent and experimental set of Nina Simone covers back in 2013, this noise pop group put out their most ambitious project to date. This is the case because the source material, Angelo Badalamenti’s legendary soundtrack to cult classic TV show “Twin Peaks,” is fucking untouchable. Thankfully, Xiu Xiu brought the same hunger to this covers album that they’ve brought to their best, most uncompromising work.
This album is a thing of beauty, with Jamie Stewart’s pained, theatrical vocals serving as the perfect backing to the psychedelic, shoegazey re-telling of Badalamenti’s original work. While the original soundtrack is ominous, it doesn’t quite hit the apex of frighteningly nightmarish terror like Xiu Xiu’s version does. For over an hour, the band pummels its way through noisy drones, ambient synths, and freakishly sexual diatribes. It brilliantly captures the essence of the television program without being too direct of a covers album.
Plays the Music of Twin Peaks is an uncomfortable experience with multiple jump scares, but it is not without its beautiful moments. The band’s interpretation of the song “Falling” for example, is a thing to behold, as is Stewart’s showstopping version of the “Mares eat oats and does eat oats” diddy at the tail end of the record. From beginning to end, this album just works, and it would be extremely interesting to hear if David Lynch and Mark Frost use any of it for the upcoming “Twin Peaks” reboot.
32. The Dillinger Escape Plan – Dissociation (Party Smasher Inc)
We saw a lot of final albums this year. Some because the artist passed away following the album’s release, and others because that band decided to call it quits. This is a truly unfortunate case of the latter, with New Jersey mathcore band The Dillinger Escape Plan going out on a high note. Following 2013’s fantastic One Of Us Is the Killer, which was one of my favorite albums of that year, Dillinger returns with Dissociation, a fantastic meld of aggressive metalcore, dizzying blastbeats, and swirling electronics.
The opening moments of “Limerent Death” prove that Dillinger is truly interested in hitting an apex with their aggressive, memorable sound, and nearly every track on this project hits those levels of ferocious intensity. It’s a thing to behold, honestly, because very rarely is a band able to go out on their own terms. Vocalist Greg Puciato sounds as rough and rugged as ever, with guitarist Ben Weinman coming through with his heaviest, craziest riffs to date. These dudes very nicely balance melody and mayhem, even moreso on Dissociation than they did on One Of Us Is the Killer.
Every second of this album’s 50-minute duration is filled to the brim with creative energy and fast-paced metallic noise, and it can’t be overstated how truly fantastic these guys are at crafting time-warping musical moments. They could easily coast, like many similar bands do, but that’s not how these guys roll. I’m sad to hear them go, but I’m so happy that they went out with what might be the band’s finest release since their beloved late ‘90s debut. This thing is a frustrated, teeth-gnashing, rabid beast of an album that ends up being one of my favorite metal projects not just in 2016, but this decade.
Key tracks: “Limerent Death,” “Surrogate,” “Apologies Not Included”
31. Noname – Telefone (Independent release)
I’ve been waiting for this project since Chicago rapper Noname started making waves on pre-fame projects by fellow Chicagoans Chance the Rapper and Mick Jenkins. And now Noname is outshining her peers by a long mile by taking her time and scaling down. Telefone, Noname’s debut mixtape, shines all over, indicating her history of spoken-word poetry. Her flows are effortless and chock-full of memorable soundbites and important life lessons.
Smart beyond her years, Noname is fulfilling the musical prophecy she wrote for herself those many years ago when she started popping up on other people’s shit. This tape is full of catchy choruses, depressing moments, and incredible production. It’s the textbook definition of a chill rap record that is far more engaging than some of the stuff her contemporaries are doing. Jazz rap? Yeah, I guess, but this goes far beyond clever trumpets and live drums. This is revolution rap without taking on the establishment. It’s a moment of musical and artistic simplicity that packs far more of a punch the tenth time than it does the first time.
I sincerely hope to hear more from Noname, and her sold out solo tour will surely inspire her to keep writing and producing more music. The music she creates on this project sounds effortless with how cool and catchy it is, and the fact that it’s so compact only serves my hypothesis that Noname will go down as one of the best hip-hop artists of this current age of hip-hop. She’s lyrical, she’s funny, she’s sad, and she has a lot to say, without wearing down the listener too much with extremely obvious and repetitive hooks and bars.
New York rock quartet LVL UP came out with a fairly decent record a couple years back called Hoodwink’d, which didn’t have much of an impression on me and didn’t leave me hungry for their future output. Well, that’s all changed, because they’ve turned their very obvious love for ‘90s alternative and indie rock music into one of the most exciting, memorable rock releases of the year. Return to Love, the band’s first record for Sub Pop, decides to bypass the grunge revival entirely and take a left turn down Indie Folk Boulevard. All over this record you’ll hear winking musical tributes to Neutral Milk Hotel, The Microphones, Daniel Johnston, and Dinosaur Jr., among many others. And, even better, LVL UP manages to do so without being extremely fucking boring about it.
This 40-minute album goes from catchy, acoustic-driven rock songs about spirituality and love to groovy pop-rock songs about depression and death. It all comes together for the epic 7-minute drone-folk anthem, “Naked in the River with the Creator,” one of the most beautiful musical experiences of the year. I love the epic drums and heavy guitar playing on this track, as well as the evocative, picturesque lyrics. I swear, if you go out into the desert and play this track on a speaker you’ll summon some sort of spiritual deity, it’s that good.
Lyrically, musically, and melodically, Return to Love far outshines its predecessor, and I really look forward to the day I catch LVL UP play these songs live. Some of my favorite indie rock songs of 2016 are on this thing, and I think what the band does here with ‘90s nostalgia is really interesting and unique. The band took the members’ distinct styles and honed them into an album that is cohesively brilliant and a truly cerebral, almost religious experience. I love this album, and I hope LVL UP takes this style and runs with it on their next LP.
Key tracks: “Spirit Was,” “Five Men on the Ridge,” “Naked in the River with the Creator”
29. Injury Reserve – Floss (Las Fuegas)
This rap trio first caught my attention on their fantastic and underappreciated 2015 debut mixtape, Live from the Dentist Office. Hailing from Arizona, Injury Reserve excellently combines ‘90s jazz rap with contemporary rap production and hooks, turning maligned facets of the genre into the most exciting rising group in hip-hop since The Cool Kids. Rappers Ritchie With a T and Stepa J. Groggs exchange humorous, pop-culture-referencing, and occasionally sad bars through mind-blowingly good hooks over Parker Corey’s terrific production.
It’s a shame that Floss, the next step up for Injury Reserve, has gotten pretty much zero appreciation from rap fans and rap blogs, because it’s one of the best projects this year. It doesn’t help that the dudes chose to drop it within the last two weeks of an already stacked musical year, but that doesn’t matter to independent music media like Rainy Dawg. We give all music equal opportunity, even if it drops after Rolling Stone, Stereogum, and Pitchfork drop their lists.
Kicking off with the amazingly catchy and humorous “All This Money,” Injury Reserve circle around the styles they do best, which amounts to virtually all possible forms of hip-hop. Between incredible features from Cakes da Killa and Vic Mensa, it causes me physical pain that Injury Reserve is receiving virtually no press. There’s not a bad verse or hook on this project, and they’re not afraid to address issues of social commentary as well, which is especially the case on the lighthearted “2016 Interlude.” I love this thing, and I can’t wait to hear Injury Reserve continue to progress and bring us another diverse collection of unforgettable hip-hop.
Key tracks: “Oh Shit!!!,” “What’s Goodie,” “Keep on Slippin’”
28. Solange – A Seat at the Table (Columbia)
There are many critics who named Solange Knowles’ latest album A Seat at the Table the best album of the year, and I would be there right along with them if it weren’t for one fatal error: the interludes. Don’t get me wrong, I totally understand the purpose of the album’s many interludes, but of the 21 songs on this project, a whopping 9 of them aren’t actually songs. That’s 13% of this album’s runtime that isn’t actually music, and it tends to distract from this record’s overall flow.
Thankfully, the 87% of this album that is music is freaking amazing, with Solange coming with some personal, provocative lyrics about racism, paranoia, and self-care. It’s a bombastically confident album from a person whose entire life has been spent living in the shadows of her far more famous sister, who also came through with an amazing release this year.
If A Seat at the Table was just its core 12 songs, though, it would be far higher on this list, because each track here is well-composed, well-written, and totally effective in their goals. It’s a political pop album that achieves its ends through heavily soul- and R&B-inspired means, and every listen rewards with more insight into Solange’s life. I’m sure I don’t need to tell you that this heavily popular and hyped album is amazing, but here I am reassuring you once again that Solange’s latest record is not only her best project yet, but one of the best R&B albums this year by a longshot, whether it has 9 interludes or none.
Key tracks: “Weary,” “Don’t Touch My Hair,” “Borderline: An Ode to Self-Care”
27. Xenia Rubinos – Black Terry Cat (Anti)
Another excruciatingly underrated album, this time coming from experimental New York artist Xenia Rubinos. It’s not easy to make off-kilter math-rock/indie-soul music that has a lot of pop sensibility and swagger to it, yet Rubinos does just that on her bass-heavy new album. Black Terry Cat is a fiercely listenable record that never lets up on the great choruses, thoughtful lyricism, and insanely versatile vocal performances.
With her trusty band in tow, Rubinos comes through with a handful of amazing songs about Latinx identity, police brutality, and consumerism over kooky synths and calculably tight drumming. This thing is unstoppably groovy and catchy, and Rubinos’ vocals are consistently gorgeous.
With inspiration from math-rock, jazz, soul, R&B, and a myriad of undeniably Black genres and music, Xenia Rubinos creates one of the most spacey, heady musical experiences of the year. Strange, yowling vocals, killer bass guitar riffs, and some of the best drumming I’ve heard on any project this year. I love her commentary on America’s history of denying rights to the very people who’ve been so instrumental to our Melting Pot culture, and overall I’m just endlessly floored with how awesome this thing is. Xenia, next time you come to Seattle, please play an all-ages venue. That’s all I’ve got to say.
26. Nails – You Will Never Be One Of Us (Nuclear Blast)
Fuck what people are saying about California powerviolence trio Nails and their goddamn amazing new album, because this thing is 20 minutes of pure metallic filth. In a year of surprisingly minimal political outspokenness, Nails come through with the easiest political statement one could possibly make, which is “FUCK YOU.” This thing is not only a catchy metal record, but it’s also punk-as-fuck, and vocalist Todd Jones comes through guns blazing with amazing riffs, ear-grabbing lyrics, and guitar solos that rival Slayer’s noisiest and most brutal.
You Will Never Be One Of Us is truly Nails’ best record, because it takes the catchiness and heaviness of the band’s previous two and takes them up to the next level in terms of ambition and experimentation. 8-minute closer “They Come Crawling Back,” which is about ⅓ of this album’s duration, is the heaviest, sludgiest track Nails has ever written, and it proves that there is a way forward for a band that many have already counted out as having either broken up (they haven’t) or worn out their welcome in the scene (they definitely haven’t).
If anything, this record is proof that Nails is here to say and continue blowing minds with their excellently noisy music. As their albums get longer and they branch further away from the hardcore powerviolence/grindcore sound, Nails only continues to improve. This album makes me feel like a person who doesn’t take shit from anyone, and as the world seems to get worse and worse, I can feel myself turning into the person whose perspective is Nails’ perspective. This is nihilistic, hateful, yet somehow uplifting music that puts a smile on my face every time I hear it.
Key tracks: “You Will Never Be One Of Us,” “Friend to All,” “Life is a Death Sentence”
25. YG – Still Brazy (Def Jam)
I found myself to be bored and underwhelmed by YG’s 2014 debut album, My Krazy Life, which featured some major hits and a heap of decent production from DJ Mustard. Since falling out with Mustard, though, YG has started making his greatest music yet, specifically on his amazing Still Brazy. He does an amazing job about writing with specificity and purpose, with less of a focus on writing hits. YG also comes through with the only anti-Trump song that needed to happen, while also closing his record out with songs about Latinx solidarity and how the police get away with murder.
This is a catchy G-funk album that could only have come from the mean streets of California’s harshest districts. Whether YG is twisting his fingers or he’s wondering who would dare fire their weapon into his hip, nearly threatening his ability to finish recording the music that would end up on Still Brazy, YG comes through with prescient, personal bars and hooks.
Still Brazy is an album with songs that are hilarious (“Gimmie Got Shot,” “She Wish She Was”) and songs that are decidedly not hilarious (“Who Shot Me?,” “Police Get Away with Murder”), and YG’s ability to balance these two sides of his musical ability are admirable, especially when I doubt anyone expected him to release something so incredible. With production from Terrace Martin, Hit-Boy, and Ty Dolla $ign on this record, this thing is a consistently fiery, emotionally-packed hip-hop album that has me highly anticipating YG’s next move, so long as no one shoots him this time.
Key tracks: “Gimmie Got Shot,” “Bool, Balm, and Bollective,” “I Got a Question”
When Weezer returned after a brief recording hiatus in 2014 with the surprisingly great Everything Will Be Alright in the End, I was so happy to finally have the Old Weezer back. The Weezer that wrote honest, funny material that was catchy, cutesy, and enjoyable was back in action with the best thing they’d put out since Pinkerton. But would everything actually be alright in the end? Could they put out another good album, or would it all come crashing down due to hubris?
Well, what do you think? Because you know what I think. Weezer’s fourth self-titled album is a beautifully written and pleasantly produced surprised with the band’s best pop-rock moments since they fuckin’ formed. Every moment on this album includes a great riff, interesting chord progression, or amazing set of lyrics from frontman Rivers Cuomo, who remains one of the most interesting figureheads in alt-rock history.
This is sentimental candy, and it doesn’t let up on the shiny Cali-pop hooks from its first second to its last. If Weezer broke up today, they would’ve gone out completely making up for the swath of not-so-good albums they put out throughout the 2000s by cementing their legacy with the best White Album to be released this century. I know it’s not cool to like Weezer, but don’t count them out because of their embarrassing radio singles. This shit bangs, and I’m unashamed of my love for this amazing band and this amazing album. The year was 2016, and Weezer released a near-perfect rock album, and peace was wrought unto this world for a brief, glorious moment.
23. Beyoncé – Lemonade (Parkwood/Columbia)
As the year ends, I’ve noticed that it’s becoming a cool thing on the Internet to pretend that Lemonade isn’t nearly as good as it is. While I disagree with any critic naming it AOTY, I can certainly understand why. This is Beyoncé’s most diverse set of songs in her nearly two decades of being an inescapable popstar, with songs that could be described as rock, hip-hop, country, and alt-R&B taking centerstage on this beautiful concept album.
Now, I don’t really subscribe to the belief that this album is about Jay-Z, because Bey has had relationships other than the one she’s currently in, and I think it’s a little precocious to assume that two people who seem to have the healthiest relationship in popular culture would ever suffer from infidelity. Instead, I think Bey draws from pre-Jay experience, using infidelity as a metaphor for racial history in the United States.
People of color have fought, died, and been enslaved for this country, whether it’s in private prisons or on plantations, yet our politicians have the audacity to call this a land of opportunity, where all are welcome and all are equal. The relationship between the state and minority groups in this country is not dissimilar to the relationship one might have with a person that keeps doing them wrong, expecting them to just come back. It’s state-sanctioned, institutionalized Stockholm Syndrome, except sometimes you don’t get to choose to sympathize with your abuser. Sometimes, it’s what you have to do to survive.
Lemonade is an album about surviving, about taking the history of horrible shit that has been and continues to be inflicted upon minority groups foreign and domestic in America, and finding the small drops of lemonade among the bitter, sour lemons anyway. Because, what else can you do? As class struggles and income inequality continue to divide us, who really has the privilege to say “Fuck this, I’m done”? Sure, Beyoncé is rich and she could up-and-leave and be just fine, but this album isn’t about Beyoncé, it’s about the plight of the African-American woman, trying to find reasons to stay when you don’t have a choice.
Experimental electronic duo Matmos has always made its goals clear: Sample bizarre objects and create beautiful music. Whether they’re sampling insect noises, medical procedures, or in the case of Ultimate Care II, a washing machine, Matmos is always doing something interesting and producing worthwhile music. This record runs as a continuous, 38-minute song that ostensibly seems like a clever gimmick, but works in practice as a solid, gorgeous piece of music.
With bleeps, bloops, and bits of high- and low-energy, Matmos turn the many strange sounds of the average washing machine, in this case the album’s namesake, into an album that sounds like the ambient-IDM of someone like Aphex Twin at certain times and the glitchy, percussive music of an Animal Collective record at other times. Strangely, Drew and M.C. are able to evoke some seriously emotional shit out of this damn washing machine, with climaxes and valleys galore.
Unlock the secrets of Ultimate Care II, and play my new favorite game where you throw this song on at your next kickback and see if anyone recognizes these sounds from their local laundromat. Chances are they won’t, because Matmos manages to take all these sounds and repurpose them into something much more beautiful and exciting than washing clothes.
Key tracks: “Excerpt 5,” “Excerpt 2,” “Excerpt 9”
21. Street Sects – End Position (The Flenser)
I thought I knew what it felt like to be blind-sided in a violent assault by an album, but that was before I listened to Austin, TX duo Street Sects, whose debut album End Position is the most ugly, sadistically violent, hatefully sad album of the year without a doubt. The machinelike drum sounds combined with the creative sampling and pained screams that fill this album result in a hellish combo, one that I find myself coming back to time and time again.
With songs about income insecurity, poverty, and mental illness, this record takes the political and makes it unflinchingly, uncomfortably personal. Street Sects combines elements of noise music, industrial, and black metal for one of the most blissfully anti-everything record to drop this year. It’s obvious that these two guys have been honing this sound carefully for a period of years, and they bring that level of horror film-esque terror that one can expect from an album released on The Flenser.
These guys win the award for my favorite new band of the year with this thing, because this is a confidently ferocious record. It’s desperate with its pain, and it operates in a world of disease, death, and famine. There is nothing happy about this album, except for how happy I am to be fully disturbed by its contents, and fans of terrifying noise music will find a lot of love in their black hearts for this hate-fueled festival of turbulent night terrors. When Thom Yorke sang about a low-flying panic attack on the new Radiohead album, I think he was talking about this album, because that’s what it sounds like to me.
Key tracks: “And I Turned Into Ribbons,” “Our Lesions,” “Victims of Nostalgia”
20. ANOHNI – HOPELESSNESS (Secretly Canadian)
I love when a supergroup comes together well. Featuring fantastic, outspoken vocalist Antony Hegarty and the dual electronic conjurings of Oneohtrix Point Never and Hudson Mohawke, ANOHNI has come through with the year’s best politically charged record. HOPELESSNESS is one of the few albums this year to directly take on the political establishment’s penchant for war and destruction, with biting songs about drone warfare, climate change, and the multitude of negative effects of neoliberal capitalism on the world at large.
Not only that, but Antony takes her politically charged lyrics and delivers them through pop-centric melodies, with lines like “Drone bomb me/Blow my head off” and “I wanna see the fish go belly-up in the sea” becoming sonic earworms that will remain in your head long after you first hear them. Repetitive? Sure, it’s a little bit of that, and the lyrics are definitely on the nose, but when you’re taking on an entire worldwide system of corruption and death, how vague are you supposed to be?
Key tracks: “Drone Bomb Me,” “Obama,” “Watch Me”
19. Aesop Rock – The Impossible Kid (Rhymesayers)
Underground rap vet Aesop Rock has been putting out great material for a long time, but his lyrics have often been too puzzling and strange for me to fully grasp what he’s going for. He recognizes this, and decided to put out his most inward, reflective album yet. The Impossible Kid is not only a victory lap for Aes’ two decades of work in the field, but it also includes some of his most clear, accessible storytelling.
Produced entirely by Aes and with zero guest features, this is a head-turning experience that is as much a confessional therapy session as his uncomfortable, aggressive actual therapy sessions, which he explores on songs like “Shrunk” and “Kirby.” Lyrically, this thing is immaculate, with his usual brand of slightly-off storytelling resulting in some of his most emotionally affective work.
The production, too, is excellent, with heavy synths, guitar riffs, rickety drums, and some epic DJ scratching pervading this album’s consistently inconsistent sound. You could sit and dissect every syllable on this album, and his delivery is truly perfect on this thing. It’s a puzzle that he puts together for you, unlike his previous albums where he gives the listener a lot more legwork. With great hooks and verses, Aesop Rock once again proves himself to be one of the best MCs alive, and he spits in the face of all his detractors who say his music is too confusing and obtuse. The Impossible Kid is direct evidence that Aesop Rock can ditch the confusing shtick and still rap circles around pretty much everyone else in the game right now.
Another of the year’s many extremely popular hyped releases is the latest from English band Radiohead, who released what many found to be their most underwhelming album yet in 2011 with The King of Limbs. Thankfully, Radiohead exceeded expectations for the follow-up, a mild-mannered, subtle compilation of songs, some of which date back to the mid-90s like somber closing track (and fitting tribute to Thom Yorke’s recently passed ex-partner of 20 years) “True Love Waits.”
While still not quite living up to Radiohead’s three perfect albums, it serves as a serious contender for one of the best the band has ever put out. In many ways, it is the essential Radiohead album. It’s not overly complex or kooky, and the lyrics are often plain and plaintive. Jonny Greenwood comes through hardcore on this thing, especially with some of the gorgeous string arrangements.
A Moon Shaped Pool may not be Radiohead at its most forward-thinking, but it is Radiohead at its most human. As always, the band takes on political fascism as well as emotional fascism, otherwise known as depression. This album’s intricacies don’t make themselves clear at first, but it’s such a rewarding release that I find myself loving it more and more each and every time I get around to listening to it. Guys, you blew me away with this one, and if it ends up being the final Radiohead album, I can at least say it’s outshined Thom Yorke’s recent solo output by a long, long stretch.
Key tracks: “Desert Island Disk,” “True Love Waits,” “Ful Stop”
17. A Tribe Called Quest – We got it from here… Thank You 4 Your service (Epic)
In a year of many comebacks and sensations of finality, legendary rap group A Tribe Called Quest had no business releasing such a fantastic record. And yet, that’s what this is. Taking their timeless jazz rap sound to the next level, Jarobi, Q-Tip, Ali Shaheed Muhammad, and the late, great Phife Dawg all come through with some prescient, relevant bars and production all across this fantastic album. And with the help of frequent collaborators like Consequence and Busta Rhymes in addition to MCs that ATCQ undoubtedly inspired, like Andre 3000, Kendrick Lamar, and Anderson .Paak, We got it from here becomes the stuff of legend.
In terms of rap albums in 2016, it’s hard to find something that sounds so effortless, which is especially impressive since Tribe haven’t put out an album in nearly 20 years. Yet, Tip, Jarobi, and Phife (RIP) all exchange incredible bars about the same things the group have always tackled, namely racial discrimination and other social issues. Atop modernized jazz rap production and with additionally assistance from Jack White, Tribe soars and succeeds where other older MCs tend to crash and burn.
I probably don’t need to go into more detail about how good this album is, because of its high profile nature, but seriously, don’t doubt Tribe just because of how long they were absent for. These guys are the reason that many lament the days of old-school “golden age” rap, and the fact that they’ve revitalized it for the present day is a testament to how important they are and always were. Everything that was great about classic albums like Midnight Marauders and The Low End Theory crops up on here, just with a bit more experience, contemporary production, and the wisdom of old age.
This English trio caught my ear a couple years back on a mixtape they dropped, but I don’t think Kero Kero Bonito truly came into their own until the release of their proper debut, Bonito Generation. Holding fast to the explosive anti-pop of PC Music signee Kane West, half of KKB’s production duo, these guys come through with some of the most colorful, out-there pop music this year.
With vocalist Sarah Perry singing in both English and Japanese, this trio flawlessly combines J-pop, hip-hop, quirky electronic music, and even dream pop with an album I will happily come back to any time of the day. There’s not a bad moment on this album, and it’s impossible to listen to Bonito Generation without cracking a smile.
Sure, the song’s topics are simple. I understand not everyone wants to hear tracks about trampolines, taking photographs, and waking up in the morning, but the personable nature of this album makes it feel approachable. It’s like a friend that’s always there for you, with its squelching synth leads, intricately placed drum samples, and Perry’s voice, which sounds like a mix between Siri (on “English accent” setting) and Rachel Goswell of Slowdive. It’s accessible, but not at all derivative, and if you don’t have a shit-ton of fun listening to this album, I will seriously begin to think that something’s horribly wrong with you.
15. Open Mike Eagle and Paul White – Hella Personal Film Festival (Mello Music Group)
Perhaps the most relevant lyric of 2016 is “I looked up what Lena Dunham said/And I shouldn’t haaaaave,” one of the many #thoughtful bars that Chicago native Open Mike Eagle spits on this fantastically produced album, Hella Personal Film Festival. This record, which is a collaboration with extremely underrated English producer Paul White (he frequently works with Danny Brown), is one of the best pieces of work Mike has put out, turning raps about checking your phone and being a dad into some of the most relatable verses ever recorded in the booth.
This album is also consistently hilarious, as Mike continues to perfect his lyrical voice and make the transition from rapper to stand-up comedian. Each track seems to focus on a different real-life or metaphorical concept, enhancing the album’s title by making each track really seem like its own hella personal short film. No one raps about social anxiety and awkwardness quite like Open Mike does, and each song here is catchy and relevant.
Key tracks: “I Went Outside Today,” “Insecurity,” “Protectors of the Heat”
14. Skepta – Konnichiwa (Boy Better Know)
Well, let me just say it was about fucking time that grime saw some play in the United States. The overtly British sub-genre of hip-hop and electronic music that has been making waves across the United Kingdom since the late ‘90s saw its first expansion in the early 2000s with artists like Dizzee Rascal and The Streets getting significant critical acclaim in US music media outlets. And while it never dissipated or went away in its home country, it has its phases of mild popularity and relative obscurity on this side of the pond.
And with Skepta’s brilliant comeback album, Konnichiwa, his first in five years, it is clear that he is the man who will take his independent brand of funny, angry grime music worldwide. This album does what few grime albums tend to do for me, which is provide a consistent listening experience. Skepta doesn’t care about pop sensibilities, nor does he need to have cleanly sung hooks and dramatic, personal stories. What he does with the genre isn’t dissimilar to what NY rappers like Nas and Wu-Tang Clan were doing in their heyday, which is bringing memorable, yet rough hooks to songs that are nonstop bars with amazing production.
Sure, I can see people looking at songs like “Ladies’ Hit Squad,” “Numbers” with Pharrell Williams, and “Text Me Back” as examples of somewhat kitschy, cheesy grime, but make not mistake, even on these tracks Skepta is out for blood. This record is a reclaiming of a space that the average music-loving American probably won’t even know Skepta’s been occupying for over a decade now. He’s a legend back home, but with the fantastic and almost entirely self-produced Konnichiwa, Skepta is on his way to achieving legendary status here in the U.S.
I fucking love this album, and it’s probably the only recent grime record I can put on and listen to front-to-back without feeling like any of it is skippable. The braggadocio and self-assurance is tantamount to the very best American rappers, and Skepta can spit toe-to-toe with all of them. These songs are so good, that even old tracks like “That’s Not Me” and “Shutdown,” the former of which came out a full two years before Konnichiwa was released, sound fresh and new, brimming with brilliant energy. If there was ever an album that I’d call the “grime starter pack,” it’s Konnichiwa, and it lives up to the standard of the early 2000s classics that have captured the attention of so many.
Key tracks: “It Ain’t Safe,” “Corn on the Curb,” “Man”
13. Will Wood and the Tapeworms – Self-Ish (Independent release)
The award for my favorite indie discovery of 2016 goes to New Jersey-based experimental rock troupe Will Wood and the Tapeworms. These guys run the gamut of all the weird shit in the ‘90s that somehow managed to make it big, with some obvious influences from artists like Primus, Ben Folds Five, and Squirrel Nut Zippers, in addition to the lesser known weirdos who inspired those acts. Vocalist Will Wood can manipulate his voice in amazing ways, sometimes sounding like a tipsy Tom Waits on a pirate ship and other times sounding like punk-rock “Weird” Al Yankovic.
And the voice is just the tip of the proverbial iceberg. This 30-minute beast is a concept album that tackles the Buddhist perspective of self in connection to the universe, and the band does this by taking these concepts and making them personal. With epic horns, intricate drumming, and the most killer songwriting and instrumentation I’ve heard this year, this is a blast from the past that stands up to scrutiny.
If you’re looking for a unique musical experience from an exciting young band on the cusp of blowing up, it doesn’t get much better than the Tapeworms’ sophomore record, Self-Ish. It’s extremely catchy, to the point where listening to it ten times a day isn’t even enough to satisfy. It’s a theatrical performance that’s shorter and far more interesting than the best episode of “Lost.” Self-Ish is a nihilistic existential crisis concocted from the mind of my favorite new songwriter of the year and his extremely gifted band of tight, telepathically-connected musicians.
Key tracks: “2012,” “Hand Me My Shovel, I’m Going In!,” “The Song With Five Names”
Neil Cicierega has been making goofy shit on the Internet since I was in middle school, with silly songs like “Ultimate Showdown of Ultimate Destiny” and the beloved Potter Puppet Pals sketches. His popularity saw an Internet resurgence in the summer of 2014 when he dropped two hellishly hilarious mashup albums, Mouth Sounds and Mouth Silence, which effectively ruined famous pop songs by putting them together in ways that worked too well.
When he’s making (slightly) more serious music, though, he puts it out under the Lemon Demon alias, and he’s been dropping albums under this name fairly consistently for several years. So, when I found out he’d put out an album early in the year under this name, I had to check it out, and holy shit am I glad. Spirit Phone is a sonic voyage through the synth-y new wave sound of the ‘80s and ‘90s, with an extra emphasis on nerdier artists like The Feelies, They Might Be Giants, and Talking Heads.
The result is an album of songs that are all extremely catchy and lyrically disturbing. “Sweet Bod” is a charming track about cannibalism, and “Cabinet Man” tackles the ever-pressing issue of people who get magically sucked into arcade games and become some miserable, sentient cyborg. Nearly every track on this record is a horror story that could be a season of “Stranger Things,” or perhaps the next film from whoever directed “It Follows.”
There are few records that make me smile as instantly as this one does, with its punchy drums, intense and intricately produced keyboards and guitars, and the brilliantly bizarre lyrics Cicierega brings to the fold. He even turns a song about the disastrous policies of Ronald Reagan into a fun pop tune that sounds like it could’ve been Loverboy’s post-”Working for the Weekend” chart-topping single. Spirit Phone is an excellent and supremely underappreciated album that should have ‘80s pop nerds going crazy, and I will definitely be spinning this long into the new year.
Key tracks: “Touch Tone Telephone,” “Reaganomics,” “Eighth Wonder”
11. Ka – Honor Killed the Samurai (Iron Works)
When I first listened to underground New York MC Ka back in 2013, I didn’t know what to think. His lyrics were dense, his production slow, and his voice was an aching monotone. I didn’t quite get it then, but after a while it started to hit me what made Ka such an important rapper. Now, with the release of Honor Killed the Samurai following last year’s somewhat underwhelming Dr. Yen Lo record, I’m proud to say that I finally understand why Ka is so beloved and has achieved such a cult status.
When he isn’t busy at his day job, which is a chief with FDNY, Ka is putting out the most lyrically dense and sonically experimental rap coming out of New York right now. When Ka raps about money, it’s not so he can buy fancy cars and jewelry, it’s so he can take care of his friends and family, many of whom are still suffering in the poverty-stricken areas of Brownsville and other less populous neighborhoods in New York City. When he raps about street life, he does it from the standpoint of an obligated samurai (hence the title and concept), not from the standpoint of someone who seeks violence or strikes first.
With production that is largely without percussion, Ka carefully delivers bars that are equally reliant on clever wordplay and the concept that street life isn’t about glory or fame, it’s about making do with your situation to take care of your own. This is a smart hip-hop record that is as captivating and attention grabbing as something more bombastic and loud like Blank Face LP or Still Brazy, without being too gaudy. And yet, it packs an even bigger emotional punch than those albums, especially in the few moments where Ka lets some emotional grit color his delivery.
This won’t be for everyone, but I do think it is Ka’s best release to date. He samples audiobooks about samurai, indicating the actual research he put into this thing. With the cultural dedication of GZA and the blink-and-you-miss-it wordplay of DOOM, Ka put out one of the best hip-hop albums of the year, and I sincerely hope he continues pushing boundaries and making the audience do the thinking.
Key tracks: “Mourn at Night,” “Just,” “$”
10. Swans – The Glowing Man (Young God)
The experimental rock group Swans have achieved the unthinkable when it comes to older bands. Even though they formed in the early ‘80s and initially broke up in the late ‘90s, the reunited incarnation of Swans has perhaps achieved more critical acclaim and relevancy in their latter years than they ever did in their (still sharp and ambitious) earlier years. Having made the transition from noisy no-wave to neofolk to post-rock to whatever the hell you’d call their genre now, the band has put out one of the finest musical album trilogies of the millennium, beginning in 2012 with The Seer.
Now, closing out that trilogy of 2-hour-long epic opuses is The Glowing Man, which brings similar levels of musical intensity as its predecessors without hitting you over the head with monstrous riffs and scary vocal performances. Don’t get me wrong, this thing still comes through with great instrumentation, and bandleader Michael Gira can still sound scary on this record, but it’s much less of a punch-in-the-gut as The Seer and its 2014 follow-up, To Be Kind.
Across its eight songs, The Glowing Man comes through with songs about spirituality and the human condition, power and abuse. Typical territory for Swans, sure, and people familiar with the group probably won’t be too surprised by the album’s sounds, but goddamn is The Glowing Man just a great fucking experience. The moments of ambient quiet and eerie drones suit the band nicely, and they set themselves up for success by supplementing those moments with epic rock freakouts.
Additionally, they balance these intense 20-minute songs with a handful of melodic, dare-I-say catchy shorter songs, like the paganistic closing track, or the song “When Will I Return?” which is sung my Gira’s wife Jennifer, wherein she details a past experience of sexual assault in grim detail. If Swans continues after this, hopefully their next iteration is making albums that are just as essential as ones like The Glowing Man.
Key tracks: “Frankie M.,” “The Glowing Man,” “Cloud of Forgetting”
9. Childish Gambino – Awaken, My Love! (Glassnote)
For a year full of such great music, my jaw didn’t literally drop that much. I mean, let’s face it, it’s an extreme reaction that it would take some sort of serious shock to induce. And the one who provided that shock for me was Childish Gambino, who, last I heard, was making summery hip-hop and R&B on 2014’s decent but underwhelming STN MTN/Kauai release. Since then, he’s been busy acting and working on his highly acclaimed TV series “Atlanta” (perhaps you’ve heard of it?), as well as working on a musical comeback.
Now, I’ve been a fan of Donald Glover’s rapping since he dropped CAMP in 2011, an album that saw bad reviews in the musical press. But, I was in high school when it came out, and it spoke to my teen angst on a personal level, and goddamn it I still think CAMP is underrated. Then when he put out Because the Internet in 2013, I thought we’d reached peak Gambino. That record is catchy, interesting, and actually kind of #deep.
And then he dropped the first single from his latest record, the intense, soulful “Me and Your Mama,” a 6-minute psych-rock freakout track that is unlike anything Childish Gambino has ever released. Not only that, but he was doing things with his voice on his song that no one knew he could do. I knew the man could sing and that was talented, but holy fuck, how does he sound like that?
And the rest of the album certainly doesn’t disappoint, with Gambino putting on all sorts of affectations on his voice to inject some strangeness into this bizarre, beautiful masterpiece. I sense a lot of inspiration (and many critics have pointed this out) from artists like George Clinton, Bootsy Collins, and Sly and the Family Stone. Gambino pulls from that funk and soul sound and infuses some contemporary sonic play into it, whether he goes full Ween — like on the lesser beloved song “California” — or he’s including synthetically manipulated synth sounds.
I love this album and the message it carries, which is a message of strength in the face of an unkind world to his newborn son. This is a feel-good album that will be nostalgic to some and an entirely new experience to others. In the spirit of recent R&B figureheads D’Angelo and Erykah Badu, Childish Gambino takes older sounds and pushes them in a new direction, even as he’s straight-borrowing from the playbook. Some might call it derivative, I’m too impressed with the accuracy and amazing songwriting to care. Awaken, My Love! is the best thing Gambino has put out to date, and I’d love to hear him continue to push boundaries and progress, perhaps with something a bit more ambitious next time.
Key tracks: “Boogieman,” “Me and Your Mama,” “Stand Tall”
8. Jeff Rosenstock – WORRY. (SideOneDummy/Quote Unquote)
Last year, New York veteran Jeff Rosenstock blew my mind with his depressing and catchy We Cool?, an album that seemed to take the musical world by storm in the small pockets of the Internet it affected. While that album plays like a compilation of awesome songs, it doesn’t bear the sense of cohesion and transition that can be found on its just-as-good followup, WORRY.
This is an album about love that modernizes its context, making some of the most poignant political commentary of the year. Jeff is the master of writing hooks and melodies so catchy you almost forget you’re listening to lyrics about homelessness, depression, and income-influenced anxiety. He kicks the album off with a piano ballad that turns into an explosion of gang-vocal mayhem, and the first half of the record continues with some reliably fantastic pop-punk songs, like “Festival Song” and “Wave Goodnight to Me.”
Then, he kicks things into 8th gear, with a series of short songs that sequence directly into each other seamlessly. It sounds like they were recorded back-to-back with no breaks, giving the impression that these songs are just one long song, not unlike NOFX’s “The Decline.” He speeds through genres he hasn’t touched in years, like the legit-ska song “Rainbow” or the classic hardcore anthem “Planet Luxury.”
Jeff, if for some reason you’re reading this dumb thing, please keep doing what you’re doing, man. This sort of experimental, ambitious pop-punk with a message is what the world needs, and WORRY. is affirmative proof that you can make a comment on police brutality without preaching to the choir. You can be politically savvy and worried while also writing songs that affirm the positive aspects of humanity, and this album does just that.
Key tracks: “Festival Song,” “Pash Rash,” “To Be a Ghost…”
7. clipping. – Splendor & Misery (Sub Pop)
I’ve been a huge fan of experimental hip-hop trio clipping. since they debuted in 2013 with the harsh noise/rap mixtape that was Midcity. Rapper Daveed Diggs (who would later go on to co-star in a little musical called “Hamilton”) brought some intense and intelligently written rhymes to the Merzbow-worship production of Jonathan Snipes and William Hutson. They signed to Sub Pop and tweaked their sound, even bringing some ground rules into the fold. Rule #1: Only use sounds that they sample from everyday objects, like alarm clocks and metal thermoses. Rule #2: Daveed isn’t allowed to rap in first person or use the word “I” at all.
The self-titled album that followed was fantastic and hugely underrated, but it’s not as fascinating to me as the group’s latest studio effort, an Afrofuturist sci-fi concept album about a lone fugitive slave who befriends the space ship holding him captive. With rhymes from the perspective of both the ship and the slave, clipping. excellently produces sounds that seem like they would happen on and within the electrical workings of a space ship.
Splendor & Misery is a fantastic album with a great narrative, awesome production, and the typically lightning-speed bars that Diggs supplies. As clipping. continues to progress and change their sound, they are bringing and executing musical ideas that no rap artist would dare touch. This is an intense, tightly woven story with great segues between tracks and it interestingly parallels America’s history of chattel slavery by borrowing heavily from actual slave songs from the 19th century.
As the protagonist pilots his sentient ship into the random void of space, hoping to find a better place to be somebody else, the album leaves the listener with a sense of openness as well as completion. The story’s arc is done in less than 40 minutes, making it one of the briefest concept albums out there, and it even has some cryptic, hidden ties to some of the songs in their previous records (clipping. fans should definitely look into the “Amy Clark” theories out there on the Internet). I’m as floored with this album as I’ve ever been with a clipping. album, and I can’t wait to hear what the group has for us next.
Key tracks: “A Better Place,” “Break the Glass,” “All Black”
6. Frank Ocean – Blonde (Boys Don’t Cry)
It took four goddamn years, but Frank Ocean finally blessed us with his nearly immaculate second studio album, Blonde, an ambient, experimental R&B experience with some of my favorite lyrics of the year. Once again, Frank blows the world away with beautiful, at times cryptic lyrics that delve further into his bisexuality and personal life while also keeping the audience at a respectable distance.
Not only that, but he ups the ambition on this thing, big time. He veers away from the glossy synths and modern production on his previous album, Channel Orange, in favor of something far more subtle and strange. In many ways, it reminds me of Radiohead’s A Moon Shaped Pool, except more abrasive. Those screams at the end of “Ivy”? The glitchy home recording that closes out the album? Whatever the hell is going on with “Pretty Sweet”? There are plenty of loud, raucous moments that depict a man who is frustrated, confused, and trying to find himself in a world where people won’t stop asking “Hey man, where’s the album?”
Thankfully, Blonde manages to be even better than Channel Orange. Frank samples Gang of Four, interpolates Elliott Smith, and gets Beyoncé to sing some extremely soft background vocals. He embraces the noise of Kanye West’s recent music while he impersonates Justin Vernon (to the point where I actually thought Justin was singing on this album), and he brings his buddy James Blake along to co-produce a track that features one of Andre 3000’s best rap verses in years.
But, it all circles back to Frank, who is very much the mastermind and center of Blonde. This is an album of duality, toying with the socially constructed line people draw between masculinity and femininity. Blonde embraces the crazy, radical notion that perhaps someone can be both masculine and feminine, rather than just one or the other. And, of course, he has no problem calling out religious hypocrisy, mentioning reverends and ministers who preach “self-made millionaire status/When we could only eat at Shoney’s on occasion.” Through and through, this album is fucking fantastic, and it will never fail to give me goosebumps. If it takes four years to make something this good, I don’t mind waiting until 2020 for the next one, Frank. You take your time, bro.
5. The Drones – Feelin Kinda Free (Tropical Fuck Storm)
Underground Australian rock band The Drones has been at it for years, most notably with 2013’s acclaimed (but still underappreciated outside of Aus) I See Seaweed, which quickly converted me into a fan. I immediately grasped onto Gareth Liddiard’s politically charged lyrics and unmistakable voice, and when I found out they had put out another album earlier this year, I couldn’t wait to get my ears on it.
Feelin Kinda Free winds up being even better than I See Seaweed, with more sonic experimentation and firebrand politics working their way into The Drones’ ever-changing formula. The band writes songs that are catchy and bouncy, but that also carry an important message about immigration and racism that you won’t hardly find anywhere else. The musical passages of ambient guitars and glitchy synthesizers nicely complement Liddiard’s top-notch vocal performance.
I also love how the band has started incorporating bassist Fiona Kitschin into the vocal fold, with her voice on songs like “Then They Came For Me” and “Boredom” serving as an excellent foil to Liddiard’s voice. This is an angry album and one that I’m sure will convert many people into fans of The Drones, if only the music media actually took the time to expose lesser known, but established artists.
Oh well, enough of my complaining. This album is absolutely amazing, and it’s my fifth favorite of 2016. The Drones crack the Top 5 because they are a hardworking band who deserve it. Each record sees them progress further into the void of bitter disillusionment, and if I’m the only one in the venue when they eventually make their way to the United States for a tour, so be it. I don’t mind being the only one who’s right.
Key tracks: “Shut Down SETI,” “Taman Shud,” “Private Execution”
4. Nick Cave & the Bad Seeds – Skeleton Tree (Bad Seed Ltd)
Fourth on the list is another Australian rock act who’ve been at it for ages. Nick Cave & the Bad Seeds brought us Skeleton Tree in the fall, and my year hasn’t been the same since. This album will never be able to be stripped from its extremely unfortunate context, as Cave’s teenage son, Arthur, passed away during the album’s writing and recording. Naturally, all the pained, intense performances on this album are informed by that experience, even though most of it was composed and some of it recorded before the event in question.
What we end up with is a dreary, sad record. The instrumentation is present, but soft, seeming to take a lot of inspiration from ambient and drone music. There’s very little in the way of percussion and climax on Skeleton Tree like there was on 2013’s Push the Sky Away, and it leaves room for Cave’s poetically sad lyrics to ring through like a fucking bell. Not to mention his vocal performance, which is as unhinged as it is in control of itself.
If you’re in a good mood, Skeleton Tree will take it away, because that’s what life does. Only in its final moments does it present a hint of positivity, a way forward past the experiencing of utmost tragedy. But by then, the abject beauty of “Distant Sky” will move you to such uncontrollable tears you won’t be able to appreciate the positive message within. Skeleton Tree will ruin you, but once the shock of the emotional performances here have worn off, you can revisit it and truly appreciate the beauty, ambition, and experimentation that went into this glacially slow-paced masterpiece of modern experimental music.
Key tracks: “Girl in Amber,” “I Need You,” “Magneto”
3. Danny Brown – Atrocity Exhibition (Warp)
Detroit’s Danny Brown is one of the best rappers doing it right now, and this was clear when he blew up in 2011 with his modern classic concept album, XXX. He followed that up with the similarly two-sided Old, but I think even Danny Brown will admit that that record leaned too heavily toward the festival-crowd-EDM-rap than he might have liked.
So, he decided to go complete 180 and put out Atrocity Exhibition, an album completely devoid of “bangers.” The record kicks off with “Downward Spiral,” which sounds like it was produced in the same recording sessions as Nick Cave’s Skeleton Tree. And each of the songs that follow sound completely different from the previous one. In this case, that’s a great thing.
Danny Brown could rap over a recording of diarrhea fart sounds and it’d be incredible, but what he does here is even more impressive. The abrasive, quirky “Ain’t It Funny” is an intense, psychedelic experience, as are songs like “Dance in the Water” and “When It Rain.” He delivers his most passionate vocal performances ever over the best production on any rap album this year, even going so far as to sample the Joy Division song the album’s named for.
Whether he is unleashing a brutal posse cut, collaborating with a famous weed rapper, or promising his haters hell for doubting him, Danny Brown has put out his true masterpiece. This album is mature, depraved, and depressing, and it’s a shame that he has to cling to that festival crowd to sell tickets to his live shows. When I saw him, he only played 3 or 4 songs from this album, all of them tacked on to the end of his set, and they didn’t really get much attention from the audience. Danny has proven once again that he is far, far ahead of the curve when it comes to experimental hip-hop, and I hope he continues with this trend for years to come.
Key tracks: “Really Doe,” “Pneumonia,” “Ain’t It Funny”
2. David Bowie – Blackstar (ISO/Columbia)
Oh, man. What a fucking trip. Two days before leaving our shitty planet for the sweet, sweet embrace of eternal unconsciousness, David Bowie dropped his best album in decades. Blackstar is a jazzy, glammy freakout that serves as an excellent reminder that David Bowie was about experimenting all the way to the bitter end. Naturally, a lot of these songs express themes of death and finality, with eerie saxophones and immaculate drum work pervading the sonic gift that is this record.
I love listening to Blackstar. It fills me with a sense of knowing dread. It almost seems prophetic, not just about Bowie’s death but about the world at large. It’s an angry beast that features some of Bowie’s most animated vocal performances since he was Ziggy Stardust, and the fact that he specifically named Kendrick Lamar and Death Grips as two influences on this sound make it all the more exciting. This is a very contemporary record, even if it was written by a man in his 60s and was largely jazzy. This is the most accessible version of the avant-garde imaginable, and if anyone this year went out with a celestial bang, it’s none other than David Bowie.
1. Death Grips – Bottomless Pit (Third Worlds/Harvest)
And finally, my album of the year, which should come as a surprise to absolutely no one who knows me. I’ve made it no secret that Death Grips has been my favorite band ever since I discovered them in early 2012. Last year, their highly anticipated “reunion” album The Powers That B topped my list, and this time it’s their noisy, abrasive, catchy victory lap album, Bottomless Pit.
This record has it all: The vocal prowess Stefan “MC Ride” Burnett displayed on Exmilitary; the pop-esque song structures of The Money Store; the industrial, bone-chilling synths of No Love Deep Web; the ferocious electronics and drumming of Government Plates; and of course the guitar-laden punk-rock speed-metal energy of The Powers That B. On this record, Death Grips take on the music industry, the housing crisis, and even their own fans. Death Grips is the true “fuck you” band, putting out music at a crazily prolific speed with zero explanation.
With black metal-inspired walls of blastbeat sound, electro-pop synth grooves, and Ride composing some of his most melodic hooks yet, Death Grips continue to excel where a lot of punk bands crash and burn. In 40 minutes, the band puts out the most thrilling, epic, intense music of their career, with Ride’s lyrics continuing to improve and terrify.
I don’t say this just because I’m a major Death Grips fanboy, I just legitimately believe that this band is extremely underrated by the musical press. Maybe that’s because Death Grips so openly despises everything about the music journalists that some would say made them popular in the first place. They’re releasing their best music to date, yet it doesn’t seem like anyone’s paying attention. No matter, because the people who are paying attention are being rewarded for their patience. Zach Hill’s drumming is as tightly wound as ever on here, and Andy “Flatlander” Morin continues to blow my mind with his complex, forward-thinking production. I can’t say enough good things about Bottomless Pit, so I’ll just leave it at that. My album of the year for 2016 is this new Death Grips album, which means they win the award two years in a row. As they continue scheduling tour dates through 2017, I can only hope that they give us another fantastic change-of-pace to continue cementing their place as the best band of this current era of music, and certainly the punkest shit out there. Fuck if they’ll ever let a bitch get used to them, after all, as these guys always have new production and songwriting tricks up their sleeves. Death Grips, thank you for continuing to put out high quality music for the people who bother to take the time to dissect it, and thank you, people of Earth, for bothering to read this extremely long thinkpiece on music in 2016.
Key tracks: “Hot Head,” “Warping,” “Three Bedrooms in a Good Neighborhood”
Jakob Ross is the 2016-2017 Music Director for Rainy Dawg. You can find him on Twitter @jakobsross.
Author’s note: This list was finalized weeks before Run the Jewels 3 dropped, so it will be in the running for my Best of 2017 list a year for now.
Enjoy the rest of your winter break, and happy new year!
Every year, I make sure to spend a decent chunk of my hard-earned income on supporting the amazing bands I love so much. It’s not like you make much money from streaming royalties unless you’re, like, The Weeknd or something, so most independent and lesser-known bands make their money from ticket sales and merch sales. It’s for this reason, and many others, that I make it a goal to see as many bands as I can, especially in low-cost, intimate local venues.
Listed here are my ten favorite live acts of the year, which I found to be an extremely difficult thing to measure. One must consider both the effort and performance of the artist as well as the overall subjective experience. It’s this mish-mash of objectivity and subjectivity that has helped me perfect this list, and understand that this is not meant to say that one act is better or makes better music than the other. All these artists are fantastic and deserve their spot on this list for their efforts and the success of those efforts in my personal experience.
10. Show Me The Body (The Vera Project, September 2016)
New York noise rock group Show Me The Body has been carelessly melding post-hardcore, hip-hop, and experimental rock music to craft the ultimate NY experience. Think of the gritty, grimy nature of groups like Beastie Boys, Public Enemy, Anthrax, and Ratking distilled into one, transcendentally aggressive experience. This is SMTB in a nutshell.
I learned a lot about the trio when I saw them perform in the gallery space in The Vera Project, an all-ages venue located in the Seattle Center. Namely, I learned that lead vocalist Julian Cashwan Pratt plays the banjo, not an effects-laden guitar as I initially assumed when I first dug into their 2016 debut album, Body War.
I also learned that SMTB are some intimidating, hardcore motherfuckers. Despite being only a couple years older than me, the group’s aura was one of experience, cynicism, and rage. Despite being a NY native, Pratt showed solidarity with Seattle’s disenfranchised by revealing a crudely made “Fuck South Lake Union” shirt. Genius.
They only played for like 30 minutes, and things took an uncertain turn when some drug-addled misfits started a legit fight in the mosh pit. As tensions mounted in the crowd, Pratt tackled and effectively forced out the offenders, making it really clear that not one bit of that shit will be tolerated at a SMTB concert. It was awesome, and made me enjoy the show that much more, especially with the threat of being tackled by a cokehead effectively removed.
Overall, this band is an absolute riot when performing live. It seems like they opt to go for the “house show” appeal, setting their instruments up on the floor, level with the crowd. Seeing this band live is a personal experience, especially if you’re right up front where you can be grabbed and have your faced screamed into by Pratt. Additionally, the band’s bassist and drummer make for an extremely tight rhythm section, especially as the bass parts get more and more complicated.
Band’s performance: 9/10
Personal experience: 7/10
Avg score: 8/10
9. Godspeed You! Black Emperor (Neumos, January 2016)
Godspeed You! Black Emperor has been on my must-see list since their brilliant first comeback record back in 2012, ‘Allelujah! Don’t Bend! Ascend! I unfortunately missed them at Primavera Sound Festival in 2014 (I saw Kendrick Lamar instead, which I don’t regret). Thankfully, they put out another post-reunion album, 2015’s somewhat underwhelming Asunder, Sweet and Other Distress, which was basically a recording of the group’s 40-minute song “Behemoth,” which they’d been playing live for years.
And, as you can guess, this track made up about 50% of the band’s set at Neumos, when 2016 was but a young cub. The eight-piece Canadian post-rock collective set up a semicircle of chairs and instruments onstage, projector and anarchist literature in tow, and set that fucking stage on fire (not literally).
Performing for over 90 minutes, GY!BE proved why they’re still one of the most vital live acts in music today. The sold out crowd of middle-aged folk and young hipsters alike would probably agree with me. I got to hear a revitalized edition of the aforementioned Asunder, Sweet and Other Distress in addition to the passionate, tight playing of some of the band’s classic material.
While not the life-changing experience I had hoped it would be, I was still beyond floored with the group’s performance. To hear them play such long songs and know exactly how they’re going to sequence was even more rewarding to me than actually being there and hearing the music performed live. Regardless, GY!BE brought a level of intimacy that is typically absent in post-rock, and I’m extremely happy I was able to cross them off my list.
Canadian pop sensation Carly Rae Jepsen recently appeared on both my Top 23 EPs of 2016 and Top 50 Albums of 2015 list, so naturally my newfound appreciation for her impeccable music would result in money spent on the real thing. As soon as I found out she’d be at one of my favorite venues, The Showbox, I unhesitantly bought a ticket. And it was so fucking worth it.
Playing virtually every song from her 2015 sleeper hit E•MO•TION, as well as her inescapable bop, “Call Me Maybe,” Carly and her band didn’t miss a beat. The musicianship was extremely tight, CRJ really made it seem like the band gave the show a sense of completion.
And, of course, CRJ played the frontwoman role extremely well, whether she was serenading the audience with a performance of her Dev Hynes collaboration, “All That,” or giving us goosebumps with the iconic saxophone lead of “Run Away With Me.” She even, *gasp*, made eye contact with me for a couple seconds during a song. I think I now know what Justin Bieber fans feel when he hits the stage.
I’m not ashamed of how great this concert was, nor am I ashamed of how many words I know to literally every song on E•MO•TION. With her newly released E•MO•TION SIDE B EP, I can only hope she’ll be making her way back to Seattle next year so I can get another chance to see the undisputed Pop Queen of 2016 in the flesh.
Band’s performance: 8.75/10
Personal experience: 9/10
Avg score: 8.9/10
7. The Dillinger Escape Plan (El Corazon, October 2016)
(Source: Metal Injection)
Experimental metalcore band The Dillinger Escape Plan, whom I’ve loved for many years, just released their brilliant and final album, Dissociation, which I’ve been enjoying quite a bit. Additionally, the group has been embarking on a tour to mark the end of the band, making it quite clear that these would be the last chances to catch TDEP at one of their notoriously raucous live events. I obliged.
While El Corazon isn’t my favorite venue in the city, it consistently comes through with amazing metal concerts. And so far, this is definitely my favorite show I’ve seen at the venue. When TDEP finally came on after, like, three opening acts, they lit up that venue the way I didn’t think an artist could.
Vocalist Greg Puciato made all the horrifying sounds he makes on the album, and guitarist Ben Weinman hung from rafters and stood on top of the audience while unleashing impossibly complicated riffs. It’s amazing to me that the band can balance an energetic, frantic performance with an impeccably played song in fuck-if-I-know time signature.
In addition, the concert was made into a truly special event when they invited original vocalist Dimitri Minakakis (who performed on their amazing debut album, Calculating Infinity) to join them for a couple songs. Needless to say, this filled me up with glee.
And, of course, the mosh pits were violent, filthy, sweaty, and hot. So much so that, for the first time in awhile, I actually had to take a break during the band’s set to catch my breath, tie my shoes, and hydrate. It was so awesome.
Band’s performance: 10/10
Personal experience: 8.5/10
Avg score: 9.25/10
6. Jeff Rosenstock (Funhouse, May 2016)
(Source: Brooklyn Vegan)
At this point in the year, I had no idea that Jeff Rosenstock was five short months away from blowing my mind yet again with another amazing solo album. All I knew is that he was 14 months out from first blowing my mind with We Cool?, a pop-punk album that reclaimed Rosenstock’s position as the G.O.A.T.
His headlining set at Funhouse was raucous and passionate, much like the small crowd of people gathered to partake in the merriment. This was a much more spirited performance than what I caught when Rosenstock opened up on the 2015 AJJ/The Smith Street Band tour, due in no small part to the fact that Jeff could be the star of the show. Him and his amazingly talented band blazed through all the remarkable tracks on We Cool?, as well as a couple newer and older songs.
There isn’t much else to say, honestly. Apart from a humorous half-cover of Lenny Kravitz’s “Fly Away,” Rosenstock didn’t stray much from the songs he’s more than used to performing live at this point. When it’s music this good and you’re as passionate a punk rock vocalist as Jeff Rosenstock, it’s hard to play a bad show. Now I just need to catch him live a third time when he brings the more complex, political music of aforementioned new album WORRY. to the stage.
Band’s performance: 9.5/10
Personal experience: 9/10
Avg score: 9.25/10
5. Matmos (The Vera Project, December 2016)
Experimental electronic duo Matmos are way more than two of the creative minds behind Björk’s early 2000s output. They’re also two of the most creative minds to ever put out music under the “electronic” label, with their trademark unique brand of sampling bringing them a cult following.
For their first LP in 3 years, Ultimate Care II, Matmos sampled a washing machine, specifically the washing machine owned by the romantic couple that constitutes Matmos. They processed, sampled, sequenced, rubbed, drummed upon, and made 40 minutes of incredible music entirely from the machine, the namesake of the album. After becoming a critical success, Matmos figured why not bring the trusty Ultimate Care II (by Whirlpool®) on the road and recreate those sound experiments in front of a studio audience.
It sounds audacious, even dangerous, yet they pulled it off in spades. They brought the same catchy, gorgeous intensity they did on the album to the live set, even putting a volunteer’s shirt in the Ultimate Care II, which they promised would merely redistribute the dirt and result in a wet, dirty piece of laundry.
Set to an inspiring and humorous washing machine-centric visual accompaniment, Matmos got a couple people in Seattle’s experimental/noise crowd to actually dance to 40 minutes of laundry music. I’m convinced that that was a once-in-a-lifetime performance in this city, and I’m extremely happy I got to be a part of it.
Band’s performance: 10/10
Personal experience: 8.75/10
Avg score: 9.4/10
4. PUP (The Vera Project, June 2016)
(Photo credit: Jessica Flynn)
I got into Canadian pop-punk group PUP a few months after they dropped their 2014 self-titled debut, an album that hooked me immediately with its off-kilter guitar work, self-deprecating lyrics, and ultra-catchy hooks. If there’s anyone in rock music embodying the spirit of Jeff Rosenstock besides the man himself, it’s PUP, and seeing them live for the first time proved that more than anything could.
There was not a dull moment during the band’s set, and seeing them perform at The Vera Project was one of the most life-affirming crowd experiences of the year for me. I don’t think I’ve seen Vera go harder for a band, before or since, and that’s because PUP writes anthems. Even their most depressing songs go fucking hard, and they ran through all the hits and deep cuts from their debut and their even-better new album, The Dream Is Over.
Go support this band in any way you can, because their music is a hell of a lot of fun and they’re a hell of a lot of fun to see live. As if that wasn’t good enough on its own, they had to steal my heart by encoring with objectively the most fun Weezer song, “El Scorcho.” I don’t think PUP knew that Pinkerton is one of my favorite albums, they just wanted to have some fun with a song that always keeps the party going.
Band’s performance: 9.5/10
Personal experience: 9.5/10
Avg score: 9.5/10
3. Swans (Showbox, September 2016)
(Photo credit: Jens Wassmuth)
Since the beginning of the group’s career, Swans have held notoriously loud live concerts. In its most recent iteration, the band has taken the volume of its ‘80s concerts and fused it with the meditative transcendence of its mid-90s post-rock era, both on record and on the stage. In celebration what could very well be Swans’ final album, which was marred by some unfortunate press on behalf of vocalist and bandleader Michael Gira, the group embarked on a victory lap of a tour.
This was my second time seeing the band perform, and it was just as hypnotic, visceral, and loud this time around as it was back in spring 2013. They kicked things off with a 40-minute unreleased song, which seems to be called “The Knot,” before breaking into a handful of epic, winding songs from their two most recent albums, The Glowing Man and To Be Kind.
A Swans live concert is either something you crave or something you don’t understand. To put things in perspective, Swans stretched out six or seven songs into a 160-minute set. I rather enjoy seeing Michael Gira direct his band of merry noisemakers in creating the loudest wall of sound possible, and that’s exactly the sort of chaos Swans wrought that fine late summer’s eve.
Band’s performance: 10/10
Personal experience: 9.25/10
Avg score: 9.6/10
2. clipping. (Neumos, August 2016)
2016 has been an incredible year for Daveed Diggs, the underground rapper who won some real-ass awards with his acclaimed dual performance in the universally successful “Hamilton” musical. After parting ways with the musical, he’s dropped two projects with his main squeeze, noise-rap trio clipping., who celebrated their big return with a one-off gig at Seattle’s beloved Neumos.
Tickets to the event were cheap, it was changed to an all-ages gig, and clipping. totally came through with a hell of a concert. Production duo Jonathan Snipes and William Hutson dropped their creatively produced beats with considerable aplomb, blasting the audience with harsh noise as Diggs delivered his rapid-fire raps without missing a beat.
The group played a healthy dose of material from their debut mixtape Midcity, Sub Pop debut CLPPNG, and freshly released Wriggle EP. They even debuted tracks from their not-yet-released sophomore album, Splendor & Misery. It was virtually everything I could want from a clipping. concert, and I hope to catch them again in a couple months at The Crocodile.
The first concert I attended this year was the one for which I probably held the lowest expectations. Not that I expected a Ty Segall concert to be bad, per se, it’s just that I had never quite connected with his music the way a lot of people do. But, it was free, so why not? Plus, it turns out the show included a front-to-back performance of his surprisingly fantastic new album, Emotional Mugger, which is probably the most batshit of any album Segall has ever released.
Let’s just say Ty Segall exceeded my expectations exponentially. Within seconds of kicking off the first song of the evening, he pointed his finger right in my face, making uncomfortably prolonged eye contact with yours truly. It felt like I was being chosen, or maybe Ty Segall sensed somehow that I was not yet a bleeding heart believer in his music. If that was the case, he turned that shit around immediately.
With a band that included King Tuff, Mikal Cronin, and Emmett Kelly (The Cairo Gang), Segall played the “crazed, unpredictable frontman” role very well, spitting at the audience and himself, wearing a terrifying baby mask, and making similarly awkward eye contact with other people in the crowd. Even as fans knocked down his mic stand, almost as a childish taunt, he played along like a pro.
This is my favorite live act of the year not just for the shock of enjoying a Ty Segall concert (and album), but also for the originality and humor in all of it. While groups like Animal Collective and Of Montreal take the visual and conceptual game to sometimes garish levels, Ty Segall managed to take a stripped-back approach to that same sense of weirdo-humor with a more successful result.
It sucks that there will probably never be a tour like Ty Segall’s Emotional Mugger tour again, because nothing will beat the euphoric surprise of being challenged by the man himself to try and have a bad time at this concert, only to fail. I had an amazing time at this concert, and Ty Segall and his band of Emotional Muggers were 100% of the reason why that was the case.
Band’s performance: 10/10
Personal experience: 10/10
Avg score: 10/10
Honorable mentions: Danny Brown, Everything Everything, Melt-Banana, SOPHIE, Sleep, Modern Baseball, Joyce Manor, Aesop Rock, Vince Staples
Jakob Ross is Rainy Dawg’s 2016-2017 Music Director. Follow him on Twitter @jakobsross for rambling thoughts on music, politics, and random bullshit!
Each year, in addition to keeping up with the best full-length studio albums, I find it important to keep track of releases that fall on the shorter side of things. Sometimes they’re merely compilations of material deemed not worthy of a just-released album, and other times they’re well-thought-out, intricate pieces of art that are shorter than the average release in that style.
Regardless, EPs are totally worth keeping track of, especially because they offer new, rare material from artists operating in between full-lengths. Below are 23 of my favorite EPs this strange, messed up year had to offer us. The definition of EP is certainly loose and up for interpretation, so if you don’t consider some of the below releases to be EPs, that’s totally fine. We can agree to disagree in that regard, and set aside our differences for the purpose of this extremely subjective list.
Hardcore punk, gangsta rap, black metal, avant-indie pop; this list runs the gamut of worthy short-form musical releases. Enjoy and stay tuned for my Top 69 Albums of the Year!
23. Bones – Useless
California-based rapper Bones is known both for his unique aesthetic — equally inspired by Internet-borne cloud-rap and ‘90s southern rap — and his prolificacy. He’s got over 40 releases to his name, and this Useless EP wasn’t even the only great project he dropped this year (Bones’ highly anticipated full-length PaidProgramming2 is certainly worth a listen). It does, however, serve as an amazingly appropriate introduction to Bones’ musical style, his influences, and the way he warps them into his own thing.
Across the eight songs (and one bonus track) on Useless, you will hear a multitude of vocal deliveries: the plaintive alt-rock moans on the first track, the effortless Bone Thugs-esque flow on personal highlight “GladWeHaveAnUnderstanding,” and the post-hardcore screams he unleashes when his songs get particularly angry.
This tape is slightly gimmicky and a bit of a mess, and most of the songs run a bit too short, but Bones is certainly onto something here. He managed to get my attention with this project, despite its flaws, and his ear for production and melody is undeniable. If Bones can hone his hip-hop style into something a bit more cohesive and fulfilling, he will continue to establish himself and his Team Sesh brand as a force to be reckoned with.
While best known as the side-project of Shabazz Palaces sonic wizard Tendai Maraire, Girlz With Gunz sees Chimurenga Renaissance really come into its own as a noisy amalgamation of hip-hop, Afrobeat, R&B, and experimental production styles. Beats go as quickly as they come, as the EP’s 11 short songs seamlessly transition from one to the next.
Overall, this record can be hard to make sense of. The lyrics are bizarre, delivery fast-paced, and production completely enveloping. Putting Girlz With Gunz on is like getting sucked into a vortex that puts you through the entire history of hip-hop in under 30 minutes.
Girlz With Gunz is rough, unpredictable, and extremely underrated, and if Chimurenga Renaissance can continue delivering funky, sample-based hip-hop with spirited originality, it’ll definitely be a project worth keeping an eye on. This record isn’t just an EP, it’s a goddamn journey.
Key tracks: “She Is the Fairest Of Them All,” “I See You For Who You Are,” “Peace Always Has A Price”
21. Deathspell Omega – The Synarchy of Molten Bones
French black metal stalwart Deathspell Omega has returned for their first release in some four years, The Synarchy of Molten Bones, an intense, experimental 30 minutes of sonic noise terror. While this isn’t as expansive as some of the group’s more well-crafted studio albums, it still serves as a pleasant reminder that there isn’t any group out there like Deathspell Omega, who’ve never performed live and whose members remain anonymous to this day.
From the mind-warping, psychedelic blastbeats on the eponymous first song to the creative, intricate riffs on the stunning closer, The Synarchy of Molten Bones is a record that’ll keep you on the edge of your seat. Not to mention that its title is extremely fucking cool.
Key tracks: “The Synarchy of Molten Bones,” “Famished for Breath,” “Internecine Iatrogenesis”
20. Mr. Yote – The Terrible Tales of Scurvy Jones
Another extremely bizarre bit of rap weirdness, courtesy of Bay Area rapper/producer/mysterion Mr. Yote, who I first came across when he collaborated with Brainfeeder-signee and up-and-coming producer Iglooghost on last year’s Chinese Nü Yr EP.
The Terrible Tales of Scurvy Jones makes good on the promises that were made when I first came across Mr. Yote, as this project is goofy, catchy, and unlike anything else I’ve heard this year. With a slightly pitched-down voice, Mr. Yote delivers a concept EP about… a pirate. And not a PG Disney film pirate either.
I like the way he presents the historically accurate pirate lifestyle as analogous to the sort of bragging a lot of rappers tend to engage in, and he manages to do so without forcing himself into some weird “pirate rap” Internet trend niche. It’s wholly original and difficult to categorize, and it has me anticipating Yote’s future output.
Key tracks: “Bait,” “SS Mud,” “Boiling Bayou”
19. Adult Jazz – Earrings Off!
The general consensus on English musical group Adult Jazz seems to be either “This band is fucking incredible and completely underrated” or “This band is annoying garbage.” I personally lean toward the former, or else they wouldn’t be on this list, especially with this brilliant new EP of theirs.
See for yourself! Earrings Off! sounds like a collaborative album between Matt & Kim and Strawberry Jam-era Animal Collective. It’s noisy, gaudy, and garish, and the EP is all the better for it. It’s passionate, strange, catchy, and a truly undefinable musical experience.
While we await the full-length studio follow-up to the group’s 2014 debut album, Gist Is, this EP here serves as a nice helping of great material that should hold us all over until then.
Key tracks: “Earrings Off!,” “Eggshell,” “Pumped From Above”
18. Oddisee – Alwasta
I first caught wind of D.C. rapper Oddisee last year when I reviewed his latest studio album, The Good Fight, a record I enjoyed far more than I expected to. Thoughtful, catchy, relaxed hip-hop with a poignant political message and effortlessly great production. Ever since, I’ve closely followed Oddisee’s latest exploits, and I’ve been mostly rewarded for paying attention.
Alwasta is a fantastic EP from Oddisee, one that ties together a lot of the more serious themes from The Good Fight with even more openness and clarity. All this is met with the same, time-signature-defying jazz rap instrumentals that graced The Good Fight. This record is full of witty, memorable tracks that set Oddisee far apart from his “Conscious Rap” contemporaries, because he’s a brilliant songwriter, producer, and spokesman for the politically disenfranchised.
2016 saw a sea change in the continuing saga of eternally controversial Atlanta rapper/singer Young Thug. Before telling everyone to call him Jeffery, Thugger was following up late 2015’s first two Slime Season installments with mixtapes that were half as long.
Thug’s first foray into short-form releases was I’m Up, an admittedly underwhelming EP that was almost the highly anticipated third installment in the Slime Season trilogy. Thankfully, it didn’t take him too long to come to his senses.
While it is short like I’m Up is, Slime Season 3 proves itself as one of the finest releases Young Thug has ever put out. Its brevity saves it from the casual disinterest I’ve held for a lot of Thugger’s longer mixtapes, while also featuring some of his most ferocious vocal performances yet. This record definitely features precursors to JEFFERY, the album that took everything we thought we knew about Young Thug and ran it through a fucking shredder, and it’s a totally worthy inclusion in Young Thug’s ever-expanding discography.
Key tracks: “With Them,” “Drippin,” “Digits”
16. G.L.O.S.S. – Trans Day of Revenge
Before amicably splitting up earlier this year, Olympia-based punk group G.L.O.S.S. dropped another fierce EP of protest music. While it doesn’t progress much past the group’s 2015 Demo EP, Trans Day of Revenge sees the songwriting and lyrical content become more prescient and aware, with vocalist Sadie Switchblade tearing down the cisheteropatriarchy one hardcore scream at a time.
This EP is extremely short, but the Girls Living Outside Society’s Shit are no strangers to making poignant political statements in brief moments. It’s a brutal thrillride that just might dismantle everything you think you know about gender, femininity, and hardcore punk.
Considering this album’s pure volatility and anarcho-punk physique, it’s no wonder Epitaph Records offered them $50,000 for a record deal. It’s also no wonder the group crumbled under the newfound attention and called it quits. Regardless, this won’t be the last time punk music is altered by the artists formerly known as G.L.O.S.S.
Key tracks: “Give Violence a Chance,” “Trans Day of Revenge,” “We Live”
15. KEN mode – Nerve
Canadian post-hardcore group KEN mode has been blowing me away for several years now, especially on their 2015 Steve Albini produced LP, Success, which presented quite a change of pace for the band from metallic, progressive hardcore to off-kilter, bristling noise rock. That’s what happens when you bring Albini into the fold, I guess.
Thankfully, the nine brilliant tracks on Success aren’t the only productive outcomes of the recording sessions, with four leftovers and three circa-2012 demos making up the entirety of the EP. You can think of Nerve as an exploration of the two sides of KEN mode: the visceral screams of the demo tracks (all three songs made it onto the band’s 2013 LP, Entrench) and the cerebral nasality of the first four songs.
While not completely mind-blowing or consistent, I quite enjoy Nerve, especially the first half, and I am in high anticipation of whatever the band offers us next. Hopefully more recording sessions with Steve Albini are in the pipeline, because even this EP’s Albini B-sides are noisy, memorable, and triumphantly weird.
Key tracks: “The German Businessman,” “Let’s Get Divorced,” “Absolutely Not”
14. Tony Molina – Confront the Truth
California hardcore vet Tony Molina is back with yet another all-too-short solo release, following 2014’s highly acclaimed “studio album,” (the thing was only 11 minutes long) Dissed and Dismissed.
Now, Tony is back with Confront the Truth, a radical change of pace for the musician. Exchanging ‘90s grunge and pop-punk for the unbridled pop appeal of ‘60s psychedelia, Tony Molina proves himself once again as a songwriter who can pretty much do it all, and in a far shorter duration than most bands in his league.
From the beautiful plaintiveness of “Old Enough to Know,” which comes as close to an Elliott Smith song as any I’ve heard in recent years, to the garage-rock bliss of closing track “Banshee,” Tony Molina comes through with another mic-drop of an indie rock record, and if this EP of his runs as long as the last full-length album he put out, I can only hope that means his next full-length will be much longer. Because if the world needs anything right now, it’s as much Tony Molina music as fucking possible.
Key tracks: “Old Enough to Know,” “No One Told He,” “Banshee”
13. Burial – Young Death/Nightmarket
Perhaps in a demonstration of great self-awareness, English producer Will Bevan has not followed up his 2007 album Untrue (one of the most highly acclaimed and influential electronic music releases of the millennium) with a proper full-length. Instead, under his mysterious Burial moniker, he chooses to drop short, atmospheric EPs in the dead of winter that seem to get more and more ambitious and experimental each time. 2011’s Street Halo, 2012’s Truant and Kindred, and then of course 2013’s Rival Dealer all present Burial’s increasing interest in longer songs and looser song structures.
This comes to a head on Young Death/Nightmarket which is a bit looser and less developed than the previously named EPs but still delivers 13 solid minutes of unmistakable UK garage. The first of the two songs, “Young Death,” bubbles and simmers as a manipulated sample of someone singing “I will be there for you” repeats. Perhaps this is a message to a close friend who’s undergoing the mourning process of some sort of “young death” (miscarriage? death of a child?). Maybe it’s a show of political solidarity not unlike the trans rights affirmation on Rival Dealer. Regardless, Burial is as inward and introspective as ever on this track.
In contrast, “Nightmarket” has a bit of a techno feel to it, with a repeating synth line that builds into something more moody and menacing. Like Burial’s entire discography, these two songs continue to deconstruct dance music, drawing an even bolder line in the sand separating the melodic bass music that Burial was perfecting a decade ago to something more abstract and just as rewarding.
Key tracks: “Young Death,” “Nightmarket” (there’s only two!)
12. Nails & Full of Hell – Split
Split EPs aren’t uncommon in the multitude of heavy music scenes out there. Two or more bands come together for a split release all the time, and noisy east coasters Full of Hell are certainly no stranger to them. In addition to the two powerviolence cacophonies Full of Hell contribute to this EP is a barnburner from controversial California trio Nails, whose new album You Will Never Be One Of Us is one of the catchiest, craziest metal albums of the year.
All totaled, this EP clocks in at like four minutes, making it the shortest one on this list. It’s certainly not the least effective though, as there’s enough bad ass riffing and throat-shredding vocals on this album to last your dad’s favorite metal band through December 2017. Instead, this is business as usual for the two bands, who prefer to operate in smaller scales even when they release full-length albums, which is probably a good thing.
I love the different approaches each band takes to “FAST + LOUD,” as Nails’ more straightforward approach is akin to thrash/death metal headbanging, whereas Full of Hell’s approach is more similar to the breakneck metalcore of acts like Converge and Botch. Destructive, tasteful, and one of the few instances of a split EP cohering in a meaningful way.
Legendary English trip-hop duo Massive Attack has been on-again-off-again for pretty much its entire existence. We haven’t heard a full length album from these guys in almost seven years, but the spooky, seductive Ritual Spirit makes the wait a bit less difficult. The four songs on this record are moody, dark, and firmly in line with Massive Attack’s oeuvre.
With special guests like Roots Manuva, Young Fathers, and Tricky, the group makes excellent use of the 17 minutes of music on this EP. Rap verses are coolly exchanged, synthetic drums bounce, and a rumbling bass booms throughout. Classic Massive Attack making the style of music they essentially willed into existence nearly three decades ago and still killing it.
While not the most groundbreaking release from the group, it indicates a level of progression and modernity that a lot of old school musical acts tend to ignore. Nothing like that to worry about here.
Key tracks: “Dead Editors,” “Voodoo in my Blood,” “Take it There”
10. Drug Apts – Drug Apts
It seems like the core musical duo in Death Grips (drummer Zach Hill and producer Andy Morin) were all over some of the year’s best music (more on that in my upcoming AOTY list), including the production on this thrilling, provocative debut EP from Sacramento-based band Drug Apts, who toy with garage rock, post-punk, and hardcore punk.
Strangely, the record kicks off with what sounds like someone parodying hip-hop ad libs, making “machine gun” sounds with their mouth with such ferocity that it sounds more like a convulsing bird. It’s intense, it’s in-your-face, it’s extremely effective.
While I wasn’t so sure about this EP at first, I’ve grown to really enjoy it. I hope Drug Apts tour and continue to put out music, preferably with the further involvement of Death Grips members, because the group’s aesthetic and sense of humor definitely seems to mirror their Sacto forebearers.
English up-and-comer Clarence Clarity took the Internet by some sort of postmodern lightning storm early last year when he dropped his bloated, candy-coated sugar-pop extravaganza No Now, one of that year’s best. 2016 has been comparatively light in terms of Clarence Clarity releases, but thankfully he’s left us with a nice helping of songs to keep us going until LP2 drops, probably next year.
Now, Vapid Feels Are Vapid/SAME isn’t really an EP, so much as it is the compilation of two great singles he dropped earlier in autumn. The first track, “Vapid Feels Are Vapid,” is an infectious, glitchy track with an explosive series of hooks. It’s like ‘80s synthpop gone awry, with lyrics about going back in time and other sci-fi weirdness.
“SAME,” on the other hand, is a bit more grotesque, especially considering that it was initially dropped as a 5-song EP on SoundCloud that was literally the same song five times in a row (or was it?). Let’s just say Clarence Clarity is no stranger to cryptic, puzzling music. If you’re not yet a card-carrying member of the Clarence Clarity fanclub, these two songs should definitely give you a picture of what this dude’s all about, and as we anxiously anticipate the follow-up to “No Now,” these two amazing avant-pop songs will definitely satiate.
Key tracks: “Vapid Feels Are Vapid,” “SAME” (there’s only two!)
8. Deakin – Sleep Cycle
I know there’s a debate to be had about whether this debut solo release from Animal Collective participant Deakin is a full album or just an EP. I’m judging it as an EP here, obviously, but I think a strong argument could be made in favor of calling this thing an album, especially since a vast majority of the music press seems to classify it as such. The jury’s out on what Deakin thinks of the thing, to my knowledge.
Regardless, I think Sleep Cycle meets the criteria for being an EP, and it’s an amazing one at that. In fact, I’d go so far as to say that Sleep Cycle is my favorite solo release from an AnCo member yet, with its gorgeous field recordings and freak-folk fury. It’s certainly akin to the sort of music Deakin made with AnCo before they went fully electronic on Strawberry Jam. Solemn, sunny vocals, soft-plucked guitar strings, and HELLA-esque free-jazz drum freakouts pervade this record, and I think it’s one of the most accomplished psychedelic folk albums in many years.
At only a half hour long, it’s a little disappointing that seven years of recording and delays resulted in such a short record, but it’s an extremely substantive record that more than makes up for the disappointment. A bulk of the material here is musically tight and aesthetically loose, and it’s exactly what I’d hope for from a solo Deakin project. Leave it to the Forgotten Animal to drop a record that surpasses his main band’s most recent two.
Key tracks: “Golden Chords,” “Just Am,” “Footy”
7. Vince Staples – Prima Donna
My history with Vince Staples’ music has been an interesting journey, and probably not dissimilar from many people’s experiences with him. I vaguely remember him as a fairly common feature on any given Odd Future Wolf Gang Kill Them All project (I was pretty into those dudes in early high school). I also caught him live in mid-2013 as the first opener on Mac Miller’s tour in support of Watching Movies With the Sound Off, which also featured Chance the Rapper (who I was most excited to see live) and The Internet.
I made the mistake of forgetting about Vince, who blew up in 2014 with his incredible Hell Can Wait EP, and then of course in 2015 there was Summertime ‘06. Finally settling into a style and a groove all his own, Vince Staples is one of the best rappers doing it right now, and Prima Donna is simultaneously a conceptually brilliant project and a dope victory lap hip-hop record.
Working with producers like James Blake (who needs to make beats for rappers WAY more often) and DJ Dahi, Vince comes through with a concept EP told in reverse. “A rapper becomes famous and can’t handle the pressure” is the general premise, and Vince tells it almost as if it’s his life (hmmm…). The production is phenomenal, Vince’s flow is more diverse and impeccable than ever, and Prima Donna is further proof that Vince isn’t just a rapper, he’s a storyteller. Despite a few underdeveloped features, this EP is slick, satisfying, and consistent.
Of all the bands who called it quits in 2016, I think the one that makes me the saddest is Philadelphia emo/pop-punk band JANK, who followed up last year’s brilliant Awkward Pop Songs album with perhaps an even better EP, Versace Summer. While this is the band’s final release (for now), it is no small achievement, even if it’s only 20 minutes long.
In a year that’s been somewhat short on great emo music, JANK is the band we need. The soaring hooks and strange vocals on this EP are amazing, and they almost make you forget how talented and intricate the musicianship here is.
With progressive guitar work and math-rock-inspired drums, JANK takes their brand of carefree summer rock to new heights with excellent songs about alligators, Chinese food, a bicycle named Ralph, not to mention a sax-heavy instrumental song that shows off the band’s glitchier, more electronic talents.
I know it’s wintertime and perhaps not the most suitable conditions for jammy, upbeat pop-punk music, but this EP is so good I don’t think many will notice or care. JANK, it sucks that you’re no longer a band, and I certainly understand why that’s the case (Google “JANK band breakup” if you’re curious), but goddamn if you have more music in you that’s like Versace Summer, I need to hear it.
I’ve loved English pop songstress Charli XCX on-and-off since she debuted in 2013 with the still-amazing True Romance. Where that album was a nearly flawless ‘80s synthpop/’90s R&B-pop throwback, her recent material has diverged from that formula significantly. 2014’s Sucker was a fairly flaccid radio-pop effort, and I think Charli XCX feels that way about it in hindsight, hence the left turn down PC Music Lane.
For those not in the know, PC Music is a label/collective of artists out of England currently pioneering a glossy, experimental, somewhat satirical but passionately earnest form of dance-pop music. This label features artists like A.G. Cook (the label’s founder and ⅓ of QT), Hannah Diamond, GFOTY, Danny L Harle (who put out a great song with Carly Rae Jepsen this year), and Kane West (⅓ of Kero Kero Bonito).
Vroom Vroom was produced entirely by SOPHIE, who is not signed to PC Music but has worked closely with A.G. Cook on QT, one of the label’s main claims to Internet fame. Hannah Diamond does feature on the beautiful “Paradise,” though, bringing her unique brand of vocals to Charli XCX’s raunchy, aggressive performance.
For the EP’s full 16 minutes, it is nonstop fun. My one complaint is that there’s not enough music on this record, but regardless it’s nearly fuckin’ flawless. SOPHIE’s production is nasty, catchy, and jagged, which is exactly the direction I feel like he and Charli XCX were going for on this one. This is an extremely well executed bit of futuristic pop music that is simultaneously robotically cold and ferociously human.
Key tracks: “Vroom Vroom,” “Trophy,” “Paradise”
4. Kendrick Lamar – untitled unmastered.
Kendrick Lamar is one of those dudes who makes it seem really easy to release a masterpiece. His two studio albums are certified rap classics already, and even his 2011 breakthrough Section.80 holds up after all these years. While not a proper follow-up to last year’s epic To Pimp a Butterfly, this EP is a finely sequenced collection of loose, jazzy rap songs that don’t quite fit the general vibe of TPAB.
Thematically, you’ll find a lot of rhymes that are to be expected from Kendrick at this point. He raps a lot about how instant fame can have an effect on the formerly poor and disenfranchised, hip-hop greed, and how oral sex could be the key to world peace. It’s sexy, sultry, and dense, and it proves that even Kendrick’s throwaway songs are better than your other favorite rapper’s full-length albums.
I love the production, the performances, and the lyrics on this record, and my only complaint is that “untitled 7 | 2014 – 2016″ goes on too long. Otherwise, another excellent release from someone who is inarguably the best rapper right now. I don’t care how many verses he sells to Maroon 5, Cornrow Kenny is the G.O.A.T.
I don’t need to tell you that Daveed Diggs has been slaying the mainstream lately; the Tonys and Grammys for “Hamilton” speak for themselves, as does the story arc on television show “Black-ish.” But, I may need to remind you that Diggs uses both his musical and theatrical gifts in his main musical venture, noise rap provocateurs clipping., who I’ve loved since debuting with Midcity in 2013.
Immediately following Diggs’ awards and the end of his run on “Hamilton,” he got back together with William Hutson and Jonathan Snipes to put the finishing touches on what would be the group’s sophomore album for Sub Pop Records, Splendor & Misery, and a short EP of great songs that didn’t fit their 2014 debut, CLPPNG. Said EP is called Wriggle, and it’s a celebration of everything that makes clipping.’s first two projects so incredible, with their harsh noise samples, pop rap reimaginings, and debaucherous depictions.
The highlight of the EP is, of course, the title track, which transforms a song by foundational noise/industrial group Whitehouse into a footwork anthem that would please the late DJ Rashad (RIP). “Wriggle like a fish, girl/Wriggle like a snake, girl/Wriggle like a worm, girl/Wriggle like an eel” Diggs raps, turning Whitehouse’s “wriggle like a fucking eel!” command into a legitimate dance-rap hook. It’s fucking genius.
If you’re unfamiliar with clipping., this project would be a much better starting place than the group’s (also amazing) new studio album, purely because it’s shorter and catchier. It’s also a strong rap project on its own merits, and it well earns its high place on this list. It’s clipping., bitch.
Key tracks: “Shooter,” “Wriggle,” “Back Up”
2. Carly Rae Jepsen – E•MO•TION SIDE B
You know how the story goes at this point. In mid-2015, Canadian pop vocalist Carly Rae Jepsen pretty much sent explosive missiles of saccharine ‘80s brilliance into the music journalism world. The album, E•MO•TION, didn’t sell well, which might make you think it’s a flop. But, slowly, the high praise started to roll in, and more people decided to see what the big deal was with Carly Rae Jepsen suddenly.
Some still dissent, but a lot of people (myself included) found a lot of greatness in this album. It’s fun, very well produced, and there’s also not a single bad song on here. Seriously, every song on this album isn’t just passable, but great. That’s extremely rare for a “mainstream” pop album. It’s artistic, goofy, and completely redeeming in terms of CRJ’s indie cred. She went from YouTube laughing stock to playing to thousands of people at fucking Pitchfork Festival.
Anyway, over 200 songs were written for this album, so naturally there was some runoff. Of the 185 songs that missed the final cut that aren’t already bonus songs, 8 were put together for this appropriately titled EP (which has an amazing cover, by the way).
And… ALL. EIGHT. SONGS. ARE. INCREDIBLE. There’s not a dull moment on this EP, whether Carly is going vulnerable (“Cry,” “Fever”) or just having a ton of fun (“Store,” “Higher”). Either you are going to really get this or you aren’t, because there’s nothing to get, really. SIDE B is a series of throwaway songs that don’t feel at all like throwaway songs, which is the mark of a True Fucking Artist.
I wouldn’t have said this in 2012, but I’ll say this now: Carly Rae Jepsen is a musician to be on the lookout for, especially now. The real question is, going into the future, will CRJ be able to top herself? I really hope so.
Key tracks: “Store,” “Cry,” “Fever”
1. Gorguts – Pleiades’ Dust
Canadian technical death metal legends Gorguts made a glorious return in 2013 with the excellent Colored Sands record, the first to feature Dysrhythmia axemen Kevin Hufnagel and Colin Marston on guitar and bass, respectively. While we await that album’s proper follow-up, the reformed Gorguts has proven itself to be an even more ambitious group of musicians than the band’s ‘90s lineup.
In turn, Pleiades’ Dust isn’t so much an EP of multiple songs as much as it is one 33-minute song. For a first foray into the art of the short-form release, this is certainly a difficult undertaking. The result is a pummeling half hour of strange, unpredictable death- and sludge-metal music, with elements of drone and progressive metal.
The song itself is a somewhat historical retelling of the House of Wisdom, an ancient library in Baghdad that was destroyed in the 13th century. Vocalist and principle songwriter Luc Lemay uses the library, which was said to house all of the world’s knowledge until the Mongols destroyed it, as a metaphor for the sort of scientific and mathematical achievement which we take for granted every day. Knowledge is personified, with characteristics and the ability to move and evolve.
Pleiades’ Dust is loaded with complex musical structures, ferocious performances, and a truly impressive bass solo from Colin Marston. It’s a massive EP that transitions from one movement to the next with the aplomb of a canonically admired composer of classical music. Fans of more experimental metal music may not find much to enjoy here, but Pleiades’ Dust stands out to me as the best EP of the year. It’s intricate, intelligent, cohesive, and somehow manages to be a hell of a lot of fun to listen to.
Key tracks: (you get the idea at this point)
Thank you for reading! Make sure you stay tuned over the next few weeks to catch my Top 69 Albums of 2016, 10 WORST Albums of 2016, and 10 Best Live Acts of 2016! List week never has to end!
On Friday night, in
between a prolonged beat, Jai Wolf
stole my heart at The Showbox in downtown Seattle, and put his concert in my list of top 5 concerts.
The show opened with Ramzoid, an 18-year old from Canada, whose alternative electronic vibe was
refreshing. While electronic music is extremely common, his music pulled
everyone in. The second opening act was Jerry Folk, another person I had never heard of until that
night. I am glad to have heard him because his remixes were outstanding. This
one of Oh Wonder’s Lose It and Years & Years’ Desire was definitely one of my favorite moments of the
Ramzoid and Jerry Folk
played on either side of the main stage. Leaving the main stage for the main
act: Jai Wolf. By the time he came
on, we had been waiting for almost 2 hours, but his show was worth the wait.
Right of the bat, he pulled the entire crowd into his music as everyone jumped,
and danced—swaying as a giant crowd. And as I looked around, I saw a sea of
people whose face had the same goofy grin I am sure I wore too.
Standing behind that
beautifully constructed stage, and using the disco ball in the middle of the
room, Jai Wolf’s entire concert was one that pulled the audience in.
In the middle of his set,
Jai Wolf reminded us this was his first show since his EP Kindred Spirits had
dropped and he was beyond excited to play for us—and near the end, we as a
crowd could tell he was overwhelmed. Yet, his dominance was unwavering. For a
minute there, he let the beat go on a little longer than it was supposed to as
he got emotional, and left the stage soon after to regain his composure.
But he was back in no more
than a minute, closing the show magnificently. He played his most commonly
known and greatest hit Indian Summer where I am guessing the confetti was
supposed to burst but didn’t, and so he said “I am going to pull a Kanye and
replay that last one for you.”
In between the tiny
mishaps and the amazing set, in the midst of confetti, the show was over
leaving us with an abundant memories of a night well spent.
“Indie Folk” is the genre label often tossed on British band Daughter. But labels never do anything justice. Daughter’s music, to quote
someone I hardly know, is mildly terrifying and deeply liberating. Its
bleakness threatens to eat the world up, but it also radiates hope. Gun to my eye, I’d label Daughter’s music as Indie Emotional. Yup.
Halfway through their set last night, a fan in the
crowd said, loud but respectful, “Thanks for what you give us.”
The Neptune was sold out, and we all stood shoulder to
shoulder feeling emotional as Daughter blessed us. Back
to back heat. Their music is relatable in an embarrassing way. It exposes our
inner natures, our unspoken thoughts, our underlying values, and all the associated darkness.
The set list comprised a lot of songs from latest album “Not
to Disappear,” but made room for fan favorites. The opening chords of Youth, by and far Daughter’s most
popular song, met with an immense cheer. Masterpiece.
The light show kept pace with the music, flashing-exploding at
the violent parts and glowing at the low-key parts. Various shades of purple and
blue played a dominant role, and oddly embodied Daughter’s whole vibe pretty
Frontwoman Elena Tonra’s voice sounded just
as rich and beautiful in person. I know, impossible right? Throughout the show
I stood staring astounded. Emotion dripped like honey from every word. The
memory haunts me, but in a good way.
I started listening to Daughter at the emotional age of 15.
Yeah, it was totally hardcore. “The Wild Youth EP” soundtracked most of my adolescent
conundrums and setbacks and victories. I didn’t have a beard back then. Woah.
Well, here I am now, five years later, bearded, a couple
inches taller, and I love Daughter even more. I grew with their music. I grew
to their music. Seeing them live, wow. What a privilege. I went to high school
in a small town up on a secluded hill in South India. I never ever even dreamed
I’d see Daughter live. They were just another option on my iPod Touch.
They’re so much better live. The music, unbounded by a
recording, burst forth wild and triumphant. Yeah, triumphant. Plus, the guitars
resonate. Arena music in an intimate environment. Outer space guitars, man.
Outer space vocals, man. Outer space, man. Seeing them all up there, doing
their thing, perfectly on time with every element, holy cow.
Listening to Daughter on Spotify will never be the same—The
divine memory of their live sound will forever haunt and augment.
This Saturday, November 26th, indie rock band Car Seat Headrest will be performing at the Neptune Theatre, along with opening band The Domestics. Although originally from Leesburg, Virginia, the band has since relocated to Seattle and is playing their first show here in several months. They are touring in support of their recent album Teens of Denial, which was released earlier this year, and is also their first full-length release of new music since signing to Matador Records. In addition to their 2 traditionally released albums, Car Seat Headrest also has many fantastic albums available on Bandcamp (some of them for free!).
As a huge fan of the band, and someone who’s been following their tour closely, I expect it to be a great show, and I hope they play some songs from the older albums, which are (in my opinion) overlooked. The Domestics are a new band to me, so I’ll be curious to see their performance.
If I was superstitious, I’d bet money that Donald Glover
sold his soul to the devil. It’s unfair that one man can have so much talent.
Comedic genius, fire rapper, distinct actor, and now the mastermind behind that
beautiful new TV Show Atlanta. Goddamn, man. You’re making everybody else look
bad. I’m so jealous of you, Donald Glover. Why is everything you do amazing?
I’m here today to talk about Childish Gambino’s new song. His
last album, Because the Internet, was
in my top albums of 2013 list. I still bump it. I own it on vinyl. Yo, I don’t
even own a record player. What even is rationality?
This latest single, wittily titled Me and Your Mama, sounds nothing like the last album. Not the least bit surprising. This new single showcases a totally evolved sound, and is more funk than
hip hop. That said, it’s amazing. The angelic crooning on the intro plays as a
wonderful contrast to Childish’s hoarse, desperate singing throughout. The
production is simultaneously smooth and violent. Guitar riffs. It’s Gambino like you’ve never
heard him before.
His new album Awaken,
My Love is out December 2nd. I, for one, am hyped beyond hyped.
Coming all the way from Houston, Texas, The Sufferswill be performing live at The Crocodile this Saturday, November 12th, at 8:00 PM. Get excited, because these soulsters do it like no other. They call themselves a “Gulf Coast Soul” band, combining soul with reggae, South American, and jazz influences. The result is beautiful. It’s a seamless blend of genres that doesn’t fit in any one box. It also perfectly reflects the diversity of band, which includes a Latin percussionist, a classically trained saxophonist, a jazz drummer, and a gospel singer.
In their self-titled 2016 debut, The Suffers tastefully arrange each section of their 10-piece ensemble alongside the powerful vocals of Kam Franklin. Her captivating voice is so warm and rich, and I can’t wait to hear it fill the room this weekend. For first-time listeners, I recommend “Giver” (below). Other notable tracks include “Make Some Room” and “Gwan”, which was performed on The Late Show with David Letterman.
Even if soul isn’t your thing, I hope you all can “Make Some Room” in your busy schedules to enjoy these fabulously soulful Texans. It’s going to be a good time.