I didn’t think a comeback this year could top the return of Sleater-Kinney, but I was mistaken. I didn’t realize how much I had missed Janet Jackson till she returned, and Enya quenched a drought of a similar length (7 years.) Even Madonna turned in work that’s some of her best in a while. I also learned the awful term “PBR&B”, which describes the kind of R&B music to which I seem to be drawn.
- Lin-Manuel Miranda, Hamilton: An American Musical: The last time the score of a musical had me riveted to my stereo was The Phantom of the Opera. Not only is the story of Hamilton thrilling to follow, but the hip-hop score is jaw-dropping. Policy debates as rap battles? Maybe that should happen in real life.
- Kendrick Lamar, To Pimp a Butterfly: Just about every year-end list will include this album near the top. And I don’t even listen that much hip-hop.
- Sleater-Kinney, No Cities to Love
- Jason Isbell, Something More Than Free: It’s always great to see an artist with a breakthrough album follow up with something just as strong.
- Torche, Restarter
- Björk, Vulnicura: So now the question is which do you prefer: Vulnicura or Vulnicura Strings?
- Deebs and Jarell Perry, Shift: I like how Jarell Perry keeps pushes the borders of what R&B can do. He’s got great company with Shaprece, Santigold, Miguel and Frank Ocean, WHEREVER THE HELL HE IS.
- Steve Grand, All-American Boy: I still don’t understand why people call him a country artist. He sounds nothing like Sturgill Simpson.
- Janet Jackson, Unbreakable: Janet returns with her most sonically diverse album since The Velvet Rope.
- Miguel, Wildheart: He bragged about being better than Frank Ocean, and I hate to say it, but I think there’s something behind that bravado.
Honorable mention goes to …
- Madonna, Rebel Heart
- Duran Duran, Paper Gods: Duran Duran tends to misstep after hitting a home run, but that’s not the case here.
- Enya, Dark Sky Island: You know what you’re getting with Enya. On a few tracks, she does seem to be dipping a tentative toe into more pop styles, by which I mean less Bach.
- Courtney Barnett, Sometimes I Sit and Think, and Sometimes I Just Sit: Barnett crams a lot of imagery in her songs, but they make for great stories.
- ASIAN KUNG-FU GENERATION, Wonder Future: When ASIAN KUNG-FU GENERATION take time with their albums, it really pays off.
- Kronos Quartet, Tundra Songs: No, this isn’t an international crossover album. If anything, it’s some of the most challenging music the quartet has recorded in a while.
- Seattle Symphony / Ludovic Morlot, Dvorak: Symphony No. 9 / Varese: Ameriques: This album is something of a souvenir for me because I attended this concert, but the live recording of Ameriques would be reason enough to pick it up.
- Takaakira “Taka” Goto, Classical Punk and Echoes Under Beauty: I didn’t think this album would be very distinct from MONO, but it’s quite a change for Taka and still recognizably him.
- Father John Misty, I Love You, Honeybear: This album will also appear on a lot of year-end lists, but it didn’t grab me as much as everything else on the list.
Tags: bjork, deebs, favorite edition, janet jackson, jarell perry, jason isbell, kendrick lamar, lin-manuel miranda, miguel, sleater-kinney, steve grand, torche
It’s bound to happen that some albums from the previous year don’t get air time on the personal playlist till the following year, and as a result, they alter how the Favorite Edition list should have been compiled.
This time, two albums fell off the 2014 list — Sam Smith’s In the Lonely Hour, and Wayne Horvitz’s 55: Music and Dance in Concrete. I mentioned that Smith’s album could have been more adventurous, so that vulnerability led to his ouster. 55 is still some of Horvitz’s most adventurous music, but the gloom of MONO’s Rays of Darkness won out in the end.
In their place are albums by D’Angelo and Sturgill Simpson.
Continue reading »
Tags: d'angelo, favorite edition, inventions, john luther adams, juanes, meredith monk, mono, royal wood, shiina ringo, sturgill simpson, the bad plus
2015 is turning out to be one of those years where the really good albums suck so much oxygen out of the rest of the release schedule that it’s tough to put together even a speculative list.
That’s a long-winded way to say Sleater-Kinney’s return has pretty much overshadowed everyone else.
- Sleater-Kinney, No Cities to Love: Sleater-Kinney left at the height of their career, and a 10-year hiatus did nothing to dim that achievement.
- Björk, Vulnicura: I like Björk best when she’s more beat-oriented because her more introspective work tends to meander. This album is too wrenching to mess around.
- Madonna, Rebel Heart: I would agree this album is Madge’s best since Ray of Light mostly because it’s head and shoulders above the last few meandering discs she put out, Confessions on the Dancefloor not withstanding.
- Steve Grand, All American Boy: The rockist in me should rally against everything about this album, but I can’t bring myself to do it.
- Takaakira “Taka” Goto, Classical Punk and Echoes Under the Beauty: The decidedly non-orchestral direction of MONO’s Rays of Darkness was a welcome direction that I feared this album would be a relapse. It’s not.
- Kronos Quartet, Tundra Songs: I was bracing myself for more international crossover, but this album is some pretty adventurous and spellbinding music.
- Torche, Restarter: I liked Harmonicraft, but Gaytheist’s Stealth Beats was more my speed. Then Torche recorded this album.
- Emmylou Harris and Rodney Crowell, The Traveling Kind: I hate to say this, but this album is what you would expect from artists with the calibers of Emmylou Harris and Rodney Crowell. Old Yellow Moon, though, kind of exceeded that.
Tags: bjork, emmylou harris, favorite edition, goto takaakira, kronos quartet, madonna, rodney crowell, sleater-kinney, steve grand, torche
Something I didn’t anticipate when I moved from Austin to Seattle in 2012 was a classical music scene with an audience receptive to modern works.
Seattle Symphony Orchestra includes a number of commissions throughout its season, and a chamber series focusing on modern works turns the lobby of Benaroya Hall into an informal setting. I got to hear Steve Reich’s Different Trains as part of a chamber music festival, and Town Hall has brought in the likes of Alarm Will Sound, Roomful of Teeth and NOW Ensemble.
So the year-end Favorite Edition for 2014 reflects my rekindled interest in new music. It’s easier to indulge when even the record shops make it a point to separate modern music from the common era.
Continue reading »
Tags: favorite edition, igor stravinsky, inventions, john luther adams, juanes, meredith monk, mono, royal wood, sam smith, shiina ringo, the bad plus, wayne horvitz
Just because this site is no longer review-driven doesn’t mean I’ve stopped listening to newer releases, and no music writer worth her salt can resist the compulsion to make lists.
The first half of the Favorite Edition 2014 are the titles I anticipate will keep some sort of ranking by year’s end. The second half of the list is up for grabs.
- Juanes, Loco de Amor: This album could very well be Juanes’ best. The writing is some of his catchiest since La Vida es … Un Ratico, and producer Steve Lillywhite gives him a big arena sound. (It’s there in the drums.) Loco de Amor finds Juanes rejuvenated after the lackluster P.A.R.C.E.
- The Bad Plus, The Rite of Spring: I’ve been waiting for this album since a video of The Bad Plus performing the seminal Stravinsky ballet hit the Internet many years back. Similar to the trio’s reworking of Ligeti etudes, The Bad Plus rely on their virtuosity to give The Rite of Spring a fairly faithful reading.
- Royal Wood, The Burning Bright: I wasn’t very impressed with Royal Wood’s hitmaking album, We Were Born to Glory, and neither was he. So Wood retreated to Ireland, where he crafted The Burning Bright, an album steeped in heartache and cautious optimism.
- Shiina Ringo, Gyakuyunyuu ~Kouwankyoku~: I had to listen to this album three times before I could orient myself to what was happening. Gyakuyunyuu is billed as a “self-cover album,” featuring songs Shiina contributed to other artists. I was half-expecting another Utaite Myouri, but instead, I got her strangest and most baffling solo album to date. The stylistic whiplash makes the album something of a hot but fascinating mess.
- Meredith Monk, Piano Songs: Double Edge recorded Monk’s Phantom Waltz back in 1992, and I’ve always wondered if there was more from where that came from. This album answers that question.
- Molotov, Agua Maldita: The blistering anger of Molotov’s previous decade has evolved into something much more tuneful.
- Inventions, Inventions: My first listen of Inventions’ self-titled album left no impression at all, but an extended coding session made me realize this album is actually quite compelling. I would put the Eluvium/Exploisions in the Sky ratio at around 60/40, though.
- Sam Smith, In the Lonely Hour: Sam Smith does indeed possess an incredible set of pipes. What he has yet to acquire is an adventurousness on the level of James Blake. This debut is appealing, but like Janelle Monae, Smith has potential that is not yet tapped.
- Ben Watt, Hendra: Do you miss Everything But the Girl? Hendra, Watt’s first solo album in a number of decades, picks up where Amplified Heart left off before Everything But the Girl ventured into electronic dance music.
And a few more favorites …
- Favorite reissue: Emmylou Harris, Wrecking Ball (Deluxe Edition)
- Favorite catalog discovery: Neneh Cherry, Raw Like Sushi
- Favorite vinyl find: Last Exit, Iron Path
- Favorite late discover from 2013: Jason Isbell, Southeastern
Tags: ben watt, favorite edition, inventions, juanes, meredith monk, molotov, royal wood, sam smith, shiina ringo, the bad plus