I like April Fools Day and Halloween, but I’m never ambitious enough to pull of a prank or a costume.
SUPERCAR, PERMAFROST, April 25
I think I’m covered in terms SUPERCAR best albums, but the special edition of this compilation comes with a Blu Ray edition of the video collection P.V.D. COMPLETE 10th Anniversary Edition. I would have gotten that Blu Ray without the CD.
Janelle Monáe, Dirty Computer, April 27
I have to admit I would rather much see Janelle Monáe on screen than in sound. She was terrific in both Hidden Figures and Moonlight, and I would watch the hell out of a Cindy Mayweather movie. But the only album of hers I remotely like is the Metropolis EP.
Courtney Barnett, Tell Me How You Really Feel, May 18
Sometimes I Sit and Think, and Sometimes I Just Sit was one of many great albums to emerge in 2015, but I’ve not yet cottoned to anything else.
Various Artists, Adam to Eve no Ringo (Shiina Ringo Tribute), May 23
The artists contributing to this Shiina Ringo tribute album don’t seem to be very adventurous. Given the two volumes of Reimport albums, I would have thought Tomosaka Rie or Kuriyama Chiaki would have participated. And did anyone ask Mukai Shuutoku?
U2, All That You Can’t Leave Behind, April 13
All That You Can’t Leave Behind was the mea culpa album for Pop, which is also being reissued on vinyl at the same time.
The fact I can actually post a preview entry this early in the year makes me hopeful we won’t see a repeat of last year’s lopsided schedule.
Igor Stravinsky, Chant Funébre / Le Sacre du Printemps, Jan. 12
This album featuring a newly discovered work by Igor Stravinsky comes out a week after I’ll have heard the Seattle Symphony perform it. I’ll own yet another version of The Rite of Spring, though.
Sasagawa Miwa, Atarashii Sekai, Jan. 31
Last time I checked in with Sasagawa Miwa, she was moving in a jazz direction.
Rhye, Blood, Feb. 2
The singles preceding this album release make me think I ought to place a pre-order.
Steve Reich, Pulse / Quartet, Feb. 2 (vinyl on March 30)
The cover of this album almost fooled me into thinking Reich had gone back to ECM. For proof, compare the Reich cover with John Surman’s forthcoming album Invisible Threads on ECM:
Kronos Quartet and Laurie Anderson, Landfall, Feb. 16
Anderson contributed to Kronos’ Fifty for the Future initiative, and they’ve included the piece in recent concerts. I’m curious to hear more of this collaboration.
My Bloody Valentine, Loveless, Jan. 18 (UK)
Kevin Shields sure went to a lot of trouble remastering this album for vinyl, when it wasn’t really recorded for analog in the first place.
SUPERCAR, HIGHVISION, March 30
SUPERCAR, ANSWER, March 30
I became a SUPERCAR fan just as the band changed its sound, so the recent vinyl reissues of Three Out Change!! and JUMP UP allowed me to discover its early work. I’m coming around to the idea that maybe that first era was better than what followed.
Shiina Ringo, Gyakuyunyuu ~Kuukoukyoku~, March 30
Have you seen how much the Shiina Ringo vinyl reissues from 2009 are going for on the secondhand market? I’ve got mine pre-ordered.
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.
I picked up a number of Idlewild albums from Lifelong Thrift Shop and discovered Hope Is Important is the Scottish band’s roughest — and quite frankly most interesting — album. It gets reissued on vinyl along with the masterwork, 100 Broken Windows.
An analysis of Spotify data in 2015 quantified how listeners stray from popular titles as they age. I don’t know if the music I listened to in my 20s could have ever been called “popular”, but compared to the excitement of discovery in the ’80s, the ’90s were bit of a let-down.
Grunge was conflated to represent all forms of post-punk music, and the major label gold rush to find the next Nirvana eventually dead-ended into Nickelback. In response, I took up Celtic music, downtown New York jazz, modern classical music, Japanese indie rock and country music.
I was at sea.
Shiina Ringo, Shousou Strip
Sure, the loud guitars, infectious melodies and epic production could have won me over, but it was the conclusion of “Gibusu” where the effects go utterly bugfuck that convinced me Shiina Ringo was a keeper.
NUMBER GIRL, SCHOOL GIRL DISTORTIONAL ADDICT
I may have eventually found my way to Sonic Youth and Pixies by some other means, but it was NUMBER GIRL that was my gateway to old school punk.
Madonna, Ray of Light
This album arrived when I was exploring the gay bars in Austin after I moved away from home. I still like this album. I cannot say the same for gay bars or Austin.
Neutral Milk Hotel, In the Aeroplane Over the Sea
Like probably most people who love this album to death, I didn’t discover it till about many, many years after it was released. But it has enough of a late-’90s patina to evoke that period.
The few articles about Cocco translated into English I found on the Internet at the time seemed to credit her for paving the way for Utada Hikaru and Shiina Ringo, and we should all be thankful for that.
Steve Reich, Music for 18 Musicians (Nonesuch)
I wouldn’t encounter this 1996 Nonesuch recording till it was compiled in a 2005 boxed set. Philip Glass was waning as my favorite minimalist, and this recording pretty much catapulted Reich to the top.
Emmylou Harris, Wrecking Ball
The only people in Hawaii who listened to country music lived on the military bases. But a interview promo disc of Emmylou Harris talking about Wrecking Ball got me interested in the album. It made my move to Austin, Texas two years later slightly more plausible.
Talitha Mackenzie, Solas
As much I loved Clannad and Enya, Talitha Mackenzie drew the connections between Scottish waulking songs and hip-hop, Bulgarian folk music and techno.
Duran Duran, The Wedding Album
It was great seeing people getting back into Duran Duran, but I don’t think my love for this album would have been reinforced without the aid of the Tiger Mailing List, the first Internet community in which I participated.
Smashing Pumpkins, Gish
Nevermind would have been the easy choice, but I would have never picked up the seminal Nirvana album if Butch Vig hadn’t worked with Smashing Pumpkins on Gish beforehand.
I balked when Barsuk Records released a 10-year anniversary edition of Give Up by the Postal Service. Yes, add 10 to 2003 and you get 2013. But 2003 didn’t seem so distant from 2013, as 2003 did from 1993.
That’s the thing about getting older — there’s more past to remember. In 1987, I had barely any memory of 1977. In 1997, I had only 1987 as a clear reference. Only in 2007 did 1987 start to feel distant. And now I’m shocked to think 1997 — the year I moved away from home — is pretty far chronologically from where I am today.
So yeah, 2007 still feels like yesterday, although 2002 does feel more like history.
Tokyo Jihen, Sports
Shiina Ringo’s albums from earlier in the decade saw her batting a hundred, but with Tokyo Jihen, it took a few albums before the band came into its own.
… And You Will Know Us by the Trail of Dead, The Century of Self
Source Tags and Codes was the obvious choice to include on this list, but recent spins of the album revealed a number of dead spots. Lost Songs wouldn’t show up till the next decade, which leaves The Century of Self next in line on my list of favorite … Trail of Dead albums.
ASIAN KUNG-FU GENERATION, World World World
At first, I dismissed ASIAN KUNG-FU GENERATION as a watered-down version of Eastern Youth. Then World World World came out, and I became a convert.
Explosions in the Sky, All of a Sudden I Miss Everyone
It took a while for me to warm up to The Earth Is Not a Cold Dead Place, but All of a Sudden I Miss Everyone had a clarity that hooked me for good.
Utada Hikaru, ULTRA BLUE
Utada Hikaru’s US debut Exodus went too far to rub out the alt-rock influence in her music, so it was refreshing to hear it come roaring back on ULTRA BLUE.
Sigur Rós, Takk …
I was unfamiliar with Sigur Rós when this album was released, so I asked a friend of mine to describe their albums to me. He told me to imagine a cold, flat icy land, and that was Ágætis byrjun. Then he told me to picture 1,000 angels appearing in bursts of blinding light. That was Takk …
Shiina Ringo, Karuki Zaamen Kuri no Hana
I’m convinced if this album had been released in the US, indie rock fans would have abandoned their Flaming Lips albums.
Molotov, Dance Dense and Denso
US promoters tried and failed to conflate Latin American rap-rock bands as epitomizing Latin alternative rock. Molotov stood head and shoulders above the rest, and they shared more with Café Tacvba and Aterciopelados than with Puya or Control Machete.
Hatakeyama Miyuki, Diving into your mind
The year I started working for Waterloo Records was the year Norah Jones made a splash with her debut album. I wasn’t convinced, mostly because I had spent weeks listening to Hatakeyama Miyuki instead.
UA and Asai Kenichi came together for only one album, but boy is it a keeper. UA had found success on the Oricon charts before this collaboration, but afterward, she embraced a more challenging sound.
fra-foa, Chuu no Fuchi
Every time I put this album on, I feel the need to fuck shit up. It’s that intense.
During the summer, everyone is touring, or gearing up for the fall release schedule. So there’s not much to seek out over the next few months. I do find it surprising that news about fall releases has been pretty scant.
Shiina Ringo, “Nagaku Mijikai Matsuri / Kamisama, Hotokesama”, Aug. 5
Is another album on the way? This single would be the third Ringo-chan has released since her last studio album, Hi Izuru Tokoro.
The Replacements, The Twin/Tone Years, Aug. 11
The Rhino-era albums have already undergone the vinyl reissue treatment, and the exorbitant prices for the Twin/Tone albums on the collector’s market certainly demonstrate a demand. So this set has been a long time coming.
Georg Holm, Orri Páll Dýrason, Hilmar Örn Hilmarsson, Kjartan Holm, Circe, Aug. 28 (digital), Sept. 11 (physical)
Two members of Sigur Rós, plus the band’s touring guitarist team up with composer Hilmar Örn Hilmarsson for a soundtrack to a BBC documentary.
Everything But the Girl, Walking Wounded (Deluxe Edition), Sept. 11
The Salvo label in the UK finishes a reissue campaign of Everything But the Girl’s studio albums with Walking Wounded and Temperamental. I’m sticking with just Walking Wounded because Temperamental doesn’t age very well.
Duran Duran, Paper Gods, Sept. 11
All You Need Is Now restored my faith in the band after a long time meandering in the wild during the W. Bush era. The lead-off single from Paper Gods has enough Nile Rodgers to cue some Notorious nostalgia. The artwork, though, is the laziest I’ve seen on a Duran Duran album. Even Red Carpet Massacre showed more effort.
Janet Jackson, Unbreakable, Oct. 2
I didn’t realize how much I missed Janet till she announced her return. I have no idea what seven years has done for her music, and I kind of don’t care.
Henryk Górecki, Symphony No. 4, Oct. 16
Górecki passed away before he could complete his fourth symphony, but a piano score with detailed annotations allowed his son Mikolaj to orchestrate it. Nonesuch is going ballers with this release by also reissuing the Symphony No. 3 on vinyl and compiling a box set of Górecki’s works recorded by the label. Let’s just call Oct. 16 Górecki Day.
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.