A decade ago, I wrote a series of entries ranking my favorite albums from 1985 to 2004. My collection has expanded greatly since then, particularly in the last five years. So I wanted to see what has changed in 10 years.
2015 started strong with the return of Sleater-Kinney, and it stayed strong all the way through the release of the Hamilton cast recording. That said, the list goes through quite a number of changes, consolidating some stragglers and bouncing a few titles off.
Lin-Manuel Miranda, Hamilton: An American Musical
Kendrick Lamar, To Pimp a Butterfly
Sleater-Kinney, No Cities to Love
Jason Isbell, Something More Than Free
Deebs and Jarell Perry, Shift
Steve Grand, All-American Boy
Janet Jackson, Unbreakable
Other favorites from the year:
Software Giant, We Are Overcome
Madonna, Rebel Heart
Duran Duran, Paper Gods
Enya, Dark Sky Island
The Weeknd, Beauty Behind the Madness
Courtney Barnett, Sometimes I Sit and Think, and Sometimes I Just Sit
ASIAN KUNG-FU GENERATION, Wonder Future
Andrew Norman, Play
Troye Sivan, Blue Neighborhood
The Favorite 10 sees one title switched out — Gaytheist and Rabbit’s split EP for Miguel’s Wildheart. Father John Misty, Takaakira Goto, Seattle Symphony and Kronos Quartet make way for Andrew Norman, Troye Sivan and Software Giant.
Eight years into 2010s, 2015 is so far turning out to be my favorite year for the decade. The hierarchy of the list gives a false sense of preference — some of the albums outside of the Favorite 10 got as much play time as those at the top of the list.
Duran Duran and Enya could have occupied spots in the Favorite 10 if the field weren’t so crowded.
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.
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.
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.