It was bound to happen — an influx of Christmas gift money allows me to explore more albums after the year-end post goes online. None of these albums would knock off anything in the final list, but they’re definitely worthy of some belated consideration.
Anne Dudley, Anne Dudley Plays the Art of Noise
Anne Dudley, Gary Langan and J.J. Jeczalik rebooted the post-Trevor Horn version of the Art of Noise to reissue In Visible Silence. In the midst of it, Dudley released her own interpretations of Art of Noise tracks using mostly piano and percussion with some clever arrangements. The album was released in Japan, and the band hinted it would eventually see a US/UK release. I was not patient, and I think Art of Noise fans are missing out.
Dudley strips away the obfuscating aspects of the original Art of Noise tracks to bring out their musicality. On “Legs”, the croaking bass line turns into clusters that lose none of the original’s percussiveness. Added bonus: she covers the Buggles’ “Video Killed the Radio Star.”
Onitsuka Chihiro, Tiny Screams
I actually listened to Tiny Screams when it came out (via the Evil Sharing Networks) and vowed to get my own copy when the Christmas money came. The more I listened to it, the more I favored it over Cocco’s four-disc live extravaganza. The barebones arrangements of the original recordings somehow get stripped even further and become more intense (“BORDERLINE”).
R.E.M., Automatic for the People (Deluxe Edition)
I’ve already gone on record about my ambivalence toward Automatic for the People. I wasn’t inclined to get the deluxe edition of the album till I heard its companion live disc playing in-store at Easy Street Music. The playlist mixes just the correct amount of new material with familiar, throwing in a surprise on occasion. If anything, I’ve played the live disc — R.E.M.’s only concert in 1992 to promote the album — more times than I have the remastered album.
Leo Imai, Film Music EP
OK, I need to follow Leo Imai on some sort of social media site. Last I paid attention, Imai released his third solo album, Made from Nothing, in 2013. Since then, he formed another group, Metafive, and now he’s released an album of film music. The Film Music EP is available in the US through online services, but the full Film Music album is available only at live shows.
Imai has grown bolder as a writer. The four instrumentals on Film Music EP refract the influence of his KIMONOS bandmate Mukai Shuutoku, but “Videotape” shows Imai can be catchy when he wants to be.
2017 was a rather active year in music, but when it came to new releases, I opted to leave a lot of stuff on the shelf. A decade ago, new albums by Arcade Fire and Grizzly Bear would have been breathlessly awaited. I don’t get the sense either had much staying power beyond their release dates.
As a result, I ended up purchasing a total of 34 new titles, approximately 7 percent of my total buying activity. The remaining purchases? Catalog and reissues. This list, in other words, comes from a small pool of albums.
Onitsuka Chihiro, Syndrome
Royal Wood, Ghost Light
RADWIMPS, Your name.
Sam Smith, The Thrill of It All
Sam Amidon, The Following Mountain
Kronos Quartet, Folk Songs
Gaytheist, Let’s Jam Again Soon
Living Colour, Shade
Jason Isbell and 400 Unit, The Nashville Sound
Renée Fleming, Distant Light
Sam Smith and Living Colour are the big changes from the mid-year list. The Thrill of It All isn’t as weird as I hoped it could be, but it’s a more appealing album than Smith’s debut.
Shade is the perfect soundtrack for the frustration of living under the current administration. Pre-release press mention the blues as a springboard for the album, but really, Living Colour transform the blues in ways that are nigh unrecognizable.
Other favorites from the year:
Eluvium, Shuffle Drone: I hate both the repeat and shuffle buttons on my playback mechanisms. That said, Matthew Cooper deserves mad props for creating an album that puts both buttons to excellent use.
Sampha, Process: I admit I didn’t listen to this album till a few weeks ago, once it started showing up on year-end favorite lists.
David Rawlings, Poor David’s Almanack: My long-simmering discovery of Gillian Welch will have to wait for another entry, but it’s the reason David Rawlings shows up here.
Shiina Ringo, Gyakuyunyuu ~Kuukoukyoku~: Part of me misses the rocking Ringo-chan of the early 2000s, but then hearing these songs side-by-side with the artists who recorded them first deepens my appreciation for her.
Sufjan Stevens / Nico Muhly / Bryce Dessner / James McAlister, Planetarium: It helps to have heard this album with a laser light show.
The Drums, Abysmal Thoughts: Jonny Pierce takes over the show.
Cocco, Cocco 20 Shuunen Kinen Special Live at Nippon Budokan ~Ichi no Kan x Ni no Kan~: The live performances don’t stray too far from what’s heard in the studio, but Cocco’s voice doesn’t seem to have aged a bit.
Duran Duran, Thanksgiving Live at Pleasure Island: If you’re a fan of the seriously-underrated Medazzaland, this live album is a must-have.
2017 marked the largest year-over-year increase in my CD collection, and the biggest recipient of that largesse is the Lifelong Thrift Shop.
I crunched the numbers, and the store provided 168 of the 458 items bought in 2017. At an average of $0.73 per CD and $1.46 per record, I contributed more than $130 to Lifelong coffers. I wouldn’t have made a charitable payroll deduction that large.
The Friends of the Seattle Public Library Book Sale is another source for discount music, and I parted with $75 of my cash to them.
Essentially, weekly visits to the thrift shop has crowded out my interest in new releases. That, and being old.
Art of Noise, In Visible Silence: This album started my fascination with the Art of Noise and, more importantly, introduced me to the term musique concrète. It was the weirdest album I encountered in my tween years, and it primed me to discover Kronos Quartet.
Wendy and Lisa, Eroica: A woefully underrated album.
k.d. lang, Ingenue: The MTV Unplugged bonus material didn’t seem like much of an enhancement on paper till you actually listen to it
The Smiths, The Queen Is Dead: The demos don’t stray too far from what eventually appeared on record, but it’s nice to hear how these tracks evolved.
Prince and the Revolution, Purple Rain: I have to admit I was more enamored of the Eroica reissue, despite the bonus material in this special edition.
Deee-Lite, World Clique: I’m usually not a fan of remixes, but the bonus disc on this special edition actually worked.
Moondog, Moondog: I had been curious about Moondog for a long time, and the Record Store Day reissue of his self-titled Columbia debut was a good excuse to fill in a gap finally.
Shawn Colvin, A Few Small Repairs: Yes, you can find this album at Lifelong for $1, but I still like it. And it’s on vinyl to boot!
Emmylou Harris and the Nash Ramblers, At the Ryman: OK, I ended up with two copies of this album on vinyl because I hadn’t anticipated I could get the Ryman special edition when I visited Nashville in August 2017.
Geinoh Yamashirogumi, Symphonic Suite AKIRA: The sequencing of the album had to change to accommodate the limitation of vinyl, but that doesn’t work against it.
Nakamori Akina, Fushigi: I have a number of middling Nakamori Akina albums,
so out of curiosity, I did a search for what’s considered her best work. I wasn’t expecting an album that actually gets nods by the American indie music press. It puts to rest who I like better in the Akina vs. Seiko debate.
The Streets, Original Pirate Material: I so dug “Geezers Need Excitement”, I used it as part of an assignment for an ear training/sight singing class I’m taking.
New York Dolls, New York Dolls: I picked this album up from Lifelong Thrift Shop purely on reputation, and I didn’t expect how prescient it was.
Loretta Lynn, Don’t Come Home a Drinkin’ (With Lovin’ on Your Mind): Don’t let the country weepies fool you — this album is all about how women have to be strong because men are just no good.
Perfume, GAME: It took nearly a decade for me to discover the sublimity of “Polyrhythm.”
The Roots, Game Theory: I want to call this album punk AF.
Low, Things We Lost in the Fire: I’m not sure how much further I want to explore the Low catalog.
Midnight Oil, Head Injuries: For the American Midnight Oil fan who wants to reach back into the Australian catalog, this album is where to start.
Charles Mingus, The Black Saint and the Sinner Lady: Similarly, I’m not sure how much further I want to explore Mingus after hearing this work. I feel everything else would pale by comparison.
Weezer, Pinkerton: This album is the one to own if you can’t stand Weezer fans.
I don’t think I’d mind Weezer if it weren’t for the fans.
Back in 2008, I wrote a series of entries detailing my favorite albums from various decades. For the longest time, I held an incredibly dim view of 1992. Compared the years preceding and following, 1992 felt like a creative malaise had spread throughout the music industry.
Bands that used to be underground found themselves to be popular, and under this newfound, wide-scale scrutiny, some of them cracked.
Or so I thought.
I had only turned 20 years old, an age when the dopamine hit from discovering new music left a neophyte intoxicated. I wanted every album to matter, and the ones that didn’t received a harsh judgment.
Twenty-five years later, I’ve got more of an education on where 1992 fit in the larger scheme of things, and of course, I got it wrong. This old entry details all the ways I got it wrong. So let’s make it right.
Here’s a revised list of the Favorite Edition 1992.
Wayne Horvitz/The President, Miracle Mile
Máire Brennan, Máire
Henryk Górecki, Symphony No. 3 (Dawn Upshaw, David Zinman, London Sinfonietta)
k.d. lang, Ingenue
Sade, Love Deluxe
En Vogue, Funky Divas
Prince and the New Power Generation, 0(+> (Love Symbol Album)
Emmylou Harris and the Nash Ramblers, At the Ryman
Kronos Quartet, Pieces of Africa
Robin Holcomb, Rockabye
The Sugarcubes, Stick Around for Joy
Faith No More, Angel Dust
Sonic Youth, Dirty
The original list stopped at five items, with a longer list of albums accompanied by explanations for why they weren’t favorites. In some cases, I’ve completely changed my mind.
At the time, Love Deluxe was such a drastic turn for Sade that I thought something went wrong. It would take another 18 years for Love Deluxe to reveal itself as the start of a new creative era, one marked by extreme pauses between albums. This early ’90s album shares more with its successors in 2000 and 2010 than it did with 1988’s Stronger than Pride.
I also got a chance to revisit Ingenue after the entry was written, and it’s place on the favorite list is well anchored.
Other albums would not have appeared on the list at the time it was written. Prince was unexplored territory for me in 2008, so I wouldn’t have even thought to include the Love Symbol album. En Vogue wouldn’t have gotten past my raging rock snobbery.
The rest of the albums on the list could have only been included after much research. Dirty makes a lot more sense if a Sonic Youth novice also considers Sister and EVOL. At the Ryman would not make sense to someone who’s only exposure to Emmylou Harris was Wrecking Ball.
I usually publish this entry at the start of July. Unfortunately, all the releases in which I’m most interested came out in June, and I didn’t want to make hasty judgements. So I held off till I had a few weeks to live with these latecomers.
Labels, why did you all wait till the middle of the year? Couldn’t you have spread some of this joy over the previous 6 months?
Onitsuka Chihiro, Syndrome: This album really recaptures the sound and mood of her debut album.
Royal Wood, Ghost Light: This album was released in 2016 but limited to Canada. So I’m calling it a 2017 album because of its worldwide release in January. The Burning Bright is so far Wood’s best album, but Ghost Light isn’t a slump for a follow-up.
Renée Fleming, Distant Light: I’m not sure Fleming’s sound suits Samuel Barber’s Knoxville 1915, but the orchestral arrangements of Björk songs works really well.
RADWIMPS, Kimi no Na wa: I’m pretty much throwing this soundtrack on the list because the movie was amazing, and it’s impossible to hear “Katawaredoki” without tearing up. (You just have to watch the movie to understand.) The English version of the songs came out really well.
Sam Amidon, The Following Mountain: Amidon does some strange things with traditional material, but this time around he writes his own songs and lets his jazz side out a bit more.
Kronos Quartet, Folk Songs: Kronos takes a back seat to the singers — who include Amidon, Olivia Chaney, Rhiannon Giddens and Natalie Merchant — but these arrangements of mostly traditional songs are far from genteel.
Jason Isbell and 400 Unit, The Nashville Sound: Isbell is the kind of songwriter whose music continues to play in your head after it’s finished on the player.
Gaytheist, Let’s Jam Again Soon: Oh, it’s loud!
Sufjan Stevens / Nico Muhly / Bryce Dessner / James McAlister, Planetarium: I don’t know if this album needs to be 75 minutes long, but it’s a fascinating listen nonetheless.
Compiling a Favorite Edition list for 2016 was tough, and the titles in the last half of the original list didn’t have solid locks on their rank, as the revised list now shows.
Sturgill Simpson, A Sailor’s Guide to Earth
Henryk Górecki, Symphony No. 4
MONO, Requiem for Hell
Solange, A Seat at the Table
A Tribe Called Quest, We Got It From Here … Thank You 4 Your Service
Perfume, COSMIC EXPLORER
Drive By Truckers, American Band
Cocco, Adan Ballet
Colvin & Earle, Colvin & Earle
Perfume has been around for years, but I’ve been mostly immune to their charms. Then someone set the viral clip of a neo-Nazi getting punched in the face on live TV to the 5/8 middle section of “Polyrhythm”. At first, I thought it was clever audio editing for the video, till I heard the song itself and discovered, no, it really does switch to 5/8.
I’ve been playing catch up ever since.
Utada Hikaru’s comeback was welcome, but Perfume provided some needed ear candy to offset the advent of the current leadership in Washington, D.C.
Ty Herndon’s post-coming out album is still indeed a fun, optimistic listen, but We Got It From Here was hip-hop’s A Sailor’s Guide to Earth — both highly ambitious albums with little room for filler.
What a spiteful year 2016 has turned out to be. I won’t hazard how subsequent years may turn out with the impending leadership change in Washington, D.C., but for now, 2016 has just been a veritable shitstorm.
In terms of music, 2016 has been lackluster. I encountered a lot of albums that were likable but very few I could really love. In a few instances, some of my favorite bands turned out some of their most interesting music in their careers, but I couldn’t muster excitement for them.
Sturgill Simpson, A Sailor’s Guide to Earth: Sturgill Simpson played a two-hour set with no encore at the Paramount Theatre in Seattle in November. He spent the first hour performing songs from his previous album. Then he spent the next hour playing A Sailor’s Guide to Earth from start to finish with a whole lot of room for jamming. That’s something a composer would do.
Henryk Górecki, Symphony No. 4: Insistent.
MONO, Requiem for Hell Of the two albums MONO released in 2014, Rays of Darkness was my favorite. I didn’t imagine the ideas on that album could be exploded.
Solange, A Seat at the Table: Solange not only out-Lemonaded Beyoncé, she also out-Blonded Frank Ocean.
Shaprece, COALS: Björk, if she were black.
Drive By Truckers, American Band: I’ve known about Drive By Truckers for years, but I finally took the plunge with this album. So that’s who took up the Uncle Tupelo mantle.
Cocco, Adan Ballet: This album won’t dislodge Rapunzel or Bougainvillia as a fan favorite, but it’s some of the best work she’s done since Sangrose.
Colvin & Earle, Colvin & Earle: This pairing of Steve Earle and Shawn Colvin looks unlikely on paper, but intuitively, you could tell the universe was ready for it.
Utada Hikaru, Fantôme: I’m beginning to realize Utada Hikaru was PBR&B before Solange started hanging out with Dirty Projectors.
Ty Herndon, House on Fire: It’s tough not to read some autobiography into this album, the first Ty Herndon released after revealing he’s gay. It’s also tough not to get swept up in the confidence and energy pouring out of the speakers.
Other notable albums:
Eluvium, False Readings On
Santigold, 99 Cents
Explosions in the Sky, The Wilderness
Blood Orange, Freetown Sound
Pixies, Head Carrier
Colin Stetson, Sorrow: A Reimagining of Gorecki’s Third Symphony
It’s half way through the year, and I’ve listed all but three of the new releases I own this year.
That’s 13 albums from 2016.
So while I can technically create a favorite 10 albums of the year so far, that doesn’t actually mean I feel very strongly about most of this list.
Sturgill Simpson, A Sailor’s Guide to Earth: Simpson aimed to make this album his What’s Goin’ On, and he pretty much hits it.
Henryk Górecki, Symphony No. 4: Don’t expect a sequel to Górecki’s chart-topping Symphony No. 3. This work goes back to the modernist style he forged on his second symphony.
Colvin & Earle, Colvin & Earle This pairing is counterintuitive but kind of inevitable, and it works.
ANOHNI, HOPELESSNESS: ANOHNI trades in the chamber pop of Antony and the Johnsons for an aggressive electronic sound, something she’s already done before with Björk.
Santigold, 99 Cents: Santigold goes for a sunnier sound on this album, and while it may not be as fascinating as her previous albums, they’re tuneful as hell nonetheless.
Explosions in the Sky, The Wilderness: After the predictability of Take Care, Take Care, Take Care, The Wilderness is a definite zag to its predecessor’s zig. It’s probably the most adventurous Explosions album to date.
Ben Watt, Fever Dream: Watt builds upon the post-Everything but the Girl vibe of Hendra with a stronger set of songs.
Colin Stetson, Sorrow: A Reimagining of Górecki’s 3rd Symphony: I should hate the idea of a post-rock interpretation of Górecki’s Symphony No. 3, but I don’t. I like what Stetson does here.
UA, JaPo: Nope, UA hasn’t returned to her pop roots, but she does provide enough hooks to temper her more avant-garde tendencies.
Prince, HITnRUN Phase Two: Recommended if you like classic Prince.
As it often happens when compiling the year-end favorite list, a few discoveries don’t reveal themselves till after deadline. At this point, none of these albums pose a threat to anything on the 2015 list, but that may change.
Software Giant, We Are Overcome
I thought Chicago singer-songwriter Dylan Rice had fallen off a corner of the earth. He released his second solo album in 2010, then seemingly disappeared. As it turned out, he joined a band in 2013, which then went on to unleash its debut album We Are Overcome in 2015.
Billing itself as “Less Claypool sitting in with Kraftwerk”, Software Giant reminds me more of the grunge jazz of Wayne Horvitz’s early ’90s outfit Pigpen. The music is a bit too human for its mechanistic aspirations — Morrissey singing with New Order is another description — but we can forgive the band for having a live drummer instead of a machine. Rice has the kind of gorgeous croon that makes me wish he were more prolific.
The Weeknd, Beauty Behind the Madness
PBR&B is a pretty awful term, but it’s succinct in describing the kind of R&B music that appeal to rockist snobs such as myself.
Various recommendations led me to the Weeknd. Beauty Behind the Madness has slowly seeped into my consciousness. I find myself humming portions of the album during those rare moments when no music is playing on my devices.
The collaborative approach to this split album works incredibly well. Rather than devote one side to each band, Gaytheist and Rabbits exchange songs and band members throughout. It ends up sounding like the work of one unit, a true case of the sum being greater than the parts.
Andrew Norman, Play, Boston Modern Orchestra Project
Ask yourself what an orchestra would sound like performing Naked City’s Torture Garden.
We’re half way into the second decade of the 2000s, and I haven’t seen much punditry on what albums have been emblematic of the decade. It’s probably because listening habits have moved on from albums even if the release cycle hasn’t.
My friend will be disappointed to learn I consider 2010 the start of the decade, so I’ll restrict my list to its first five years with 2010 included (i.e. 2010-2014.)
Jason Isbell, Southeastern: “Songs That She Sang in the Shower” and “Elephant” pretty much sold me on this album, and everything else was just seduction.
Tokyo Jihen, Sports: Shiina Ringo loosened her writing monopoly with the band, which then internalized her style to produce its best album.
Jarell Perry, Simple Things: Part of me thinks this album is actually better than Frank Ocean’s channel ORANGE.
John Luther Adams, Become Ocean: Does what it says on the tin very, very beautifully
Frank Ocean, channel ORANGE: WHERE YOU AT FRANK??
D’Angelo and the Vanguard, Black Messiah: So many of my friends lost their shit when this album was released that I had to hear it for myself.
Santigold, Master of My Make-Believe: I love her music, but damn, her videos are disturbing.
Sturgill Simpson, Metamodern Sounds of Country Music: What happens to country music when it ingests hallucinogens.
Duran Duran, All You Need Is Now: Thank you, Mark Ronson, for bringing Duran Duran back to itself.
Kuriyama Chiaki, CIRCUS: Getting Shiina Ringo to write a few tracks is a sure way for Japanese actresses to grab my attention.