Top 50 Albums of 2017

The Top 50 Albums of 2017

Ian Brower

Assuming society does not collectively decide to redact 2017's existence from our history books, a retrospectively defining aspect of this abysmal year has been its music. Perhaps representative of Western culture's need for artistic escapism, great music has historically coincided with our lowest moments. 2017 proves to be no exception to that rule, as music has had what is possibly its strongest run of the decade within the last 365 days. As the FCC and Congress deliberate taking away the foundational aspects of the internet that are allowing you to read this for free, as America utterly loses the orientation of its moral compass (which it probably never had), and the world embraces rampant xenophobia and paranoia, scores and scores of amazing music has and will be released for us to consume, examine, and enjoy. Choosing fifty albums for this list was a task nearly level in difficulty to writing about each one, but here are my favorite albums of this year:

APPLE MUSIC PLAYLIST

SPOTIFY PLAYLIST

HONORABLE MENTION:

A Crow Looked at Me - Mount Eerie

Before listening to this album, it is imperative that one knows the context of its creation. Google accordingly. 

Simply evaluating an album from the perspective of how well it accomplishes the task and aesthetic it sets out to accomplish, A Crow Looked at Me is without a doubt the best album released this year, and one of the best of the decade. Phil Elverum's tribute to his deceased wife is a monument to the numbing, monolithic nature of death and is staggering in its emotional density. This is not art for the faint of heart, and not art for daily consumption. I have listened to this record cover to cover twice and had my day ruined by it on both occasions. Barely qualifying as music at times, Elverum's broken whisper and acoustic guitar make for a deeply uncomfortable and revealing listen, one that has been rarely replicated in the history of modern music. The reason for this album's honorable mention status lies in its incredibly unique circumstances, which are impossible to separate from the art itself. This, plus the album's unique sonic palate and structure make it nearly impossible to evaluate alongside other works of art. 

LISTEN TO: All of it, it works best as an entire package. 

50.

Nothing Feels Natural - Priests

Despite performing what was easily the worst live show I attended this year (granted, it was the last date of their tour and every member of the band was visibly struck with the flu, a fact for which the apologized), Priests released one of my favorite records of the year. Their mutant blend of surf rock, jazz, and early feminist punk combined with their radically direct political stance makes for an album with a personality all its own. Records as fiercely confident, aimed at the demons of America as this one are especially relevant in 2017, and hopefully, Priests continues to work their formula for as long as they are needed by society. 

LISTEN TO: "JJ" "Nothing Feels Natural" "Pink White House"

49.

Hot Thoughts - Spoon

The (actually) most consistent group in the world does it again. While it is far from their best record, Spoon seems completely incapable of displeasing the music listening community. Spoon has subtly shifted their sound with each of their releases, and this record finds them tackling the aesthetic of dance music (and doing it quite well). Returning is the band's excellent ability to write hooks, fantastic production/songwriting, and unmistakable sense of personality. Britt Daniels is a beyond a veteran of the scene at this point, yet Spoon is still dropping fantastic records like they have something to prove. 

LISTEN TO: "Hot Thoughts" "Pink Up" "Shotgun"

48.

Freudian - Daniel Caesar

R&B/Soul had a benchmark year in 2017, and Freudian is undeniably one of the defining records of that statement. Caesar's debut showcases him as one of R&B's newest and most talented rising stars. While the record is far from perfect, Caesar's unbridled potential emanates from every note. Songs here have made him a bit of a star in the hip-hop community, but some on the album seem forgettable or not as fleshed out as others. At only 22 with a Grammy nomination, Caesar is receiving the attention his music deserves, and will only continue to improve as his unique perspective continues to expand with age.

LISTEN TO: "Get You" (feat. Kali Uchis), "Loose" "Freudian" 

47.

Junkyard Jazz - Trudy and the Romance

Here is a prime example of a band that easily has the talent to have landed top 10 on this list but missed a few things. When this Liverpool based band is on (see the singles they have released prior to this EP, you will not regret it) they are one of the most unique and enjoyable rock acts in the world. The trio's Beatle-esque mix of oldie rock n roll, soul music, and modern art rock is a comforting and innovative sound, equally at home in the playlists of older listeners as it is in those of artsy hipsters. Unfortunately, some of this EP slightly undersells the hooks and energy that made their singles so immediately noticeable. All the same, this project is some of the best material they have ever released. Make no mistake: this is still an excellent EP full of good to great songs from one of my favorite up and coming bands.

LISTEN TO: Pre-EP singles, "Is There a Place I Can Go" 'Junkyard Cat" "Twist It, Shake It. Rock & Roll"

46.

Funk Wav Bounces Vol. 1 - Calvin Harris

If you would have told me on January 1st that a Calvin Harris album would make my top 50 list, I probably would have assumed you had me confused for somebody else. Then "Slide" dropped and Calvin Harris went from one of the more enjoyable of the post-Avicii generic white DJs to one of popular music's premier taste-makers (sorry Khaled). Put simply, this album is what fun sounds like. No worries, no thoughts, no experiments. Every song is carried by an infectious dance beat and a dream worthy roster of features, and these factors combine to make an incredibly enjoyable piece of music (so long as you don't think about it too much).

LISTEN TO: "Slide" (feat. Frank Ocean & Migos), "Cash Out" (feat ScHoolboy Q, PARTYNEXTDOOR, & DRAM), "Rollin" (feat. Future & Khalid)

45.

Rocket - (Sandy) Alex G

Let's pretend Alex G did not add (Sandy) before his name, and instead discuss the work of art that is Rocket. Easily the singer-songwriter's most fully realized project, Rocket is an eclectic mix of songs that range from Grateful Dead style alt-country to a noisy Death Grips inspired... detour. Luckily, most songs here stick close to his new alt-country sound, and are all the better for it. The lyrics here are at once simple and obtuse, with stories being told that make no sense but somehow feel relatable all the same (one of his more applauded strengths as a musician). The album also sounds quite interesting, which never hurts anything. The lo-fi trappings here sound great in conjunction with the stripped back country instrumentation, leading the album to feel like a hazy replica unearthed from the Neil Young era of singer-songwriters. (Sandy) Alex G has developed on a fairly consistent course throughout his career, and Rocket seems like a fitting stop along the way to him becoming one of the great artists of our time. 

LISTEN TO: "Proud" "Bobby" "Sportstar" 

44.

Steve Lacy's Demo - Steve Lacy

If the idea of Steve Lacy does not scare you on an existential level, you do not know enough about him. Nominated for a Grammy while still in high school for his work with the neo-soul group The Internet, this year Lacy has finally begun to release his own music and come into his own as an individual performer. Lacy is rapidly developing as a solo star, as tracks like "Dark Red" have become minor hits in the semi-underground hip-hop/R&B scene. This demo shows Lacy's considerable talent for songwriting as well as gives a peek at what appears to be a Frank Ocean-esque personality, just waiting to be hidden from the masses. Always one to keep it understated, Lacy's demo ends in less than the length of a TV show. Supposedly this fourteen-minute demo was recorded entirely on an iPhone, further adding the man, myth, and legend that Steve Lacy is becoming. 

LISTEN TO: "Ryd" "Dark Red" "Some" 

43.

Odd Hours - Caddywhompus

Boredom is near impossible while listening to Odd Hours. Songs rise and drop like roller coasters, juking from slow, barely musical ballads to fuzzed out walls of noisy guitar and crashing drums. The vocal melodies here are about as pleasant as one can find in noise rock (and pop for that matter), yet never feel out of place in the utter hodgepodge of genres the band cycles through. The band's omnivorous appetite for innovation makes them all the more interesting to listen to, as well as exciting to behold as a creative entity. Having been an underground favorite for almost a decade, Caddywhompus has released what is possibly their best work yet, and only seem to just be coming into their own as one of the most interesting and unique bands in rock music.

LISTEN TO: "Decent" "Salmon Run" "Waiting Room" 

42.

Future / Hndrxx - Future

Say what you want about Future, but the man has an unparalleled work ethic. None of his hard work would matter, however, if the quality did not back up the quantity (and it occasionally does not), but in 2017 Future had nothing but home runs. Both albums, released as psuedo-companion albums, showcase the Atlanta rapper's incredible diversity as an entertainer. Future shows him at his grimiest, releasing hard hitting track after hard hitting track and embracing the pure hedonism of his post-divorce mixtapes. Hndrxx, meanwhile, shows off his innate ability to bare his soul on a track, freaturing more lovestruck and somber performances as well as a greater range of genre stylings. Together they form one expansive package that perfectly encapsulates the duality of one of mainstream hip-hop's most captivating artists. 

LISTEN TO: "Rent Money" "Draco" "Mask Off" "Comin Out Strong" (feat. The Weeknd) "Incredible" "Sorry"

41.

Being So Normal - Peach Pit

Peach Pit makes music that sounds exactly like their name, and that is a compliment of the highest order. Their particular brand of super sweet, relaxed guitar pop is endlessly enjoyable, no matter the mood. Being So Normal features nine of this year's most pristinely crafted indie pop songs, all of which feature recurring elements of deceptively complicated guitar leads, fantastic hooks, and some of the year's most underrated lyrics. The record also represents a significant step forward from the extremely fun but somewhat one-note nature of their debut EP, Sweet FA (check the title track from that EP). Peach Pit is currently developing a fairly strong following in the indie community, and for good reason. Their blend of extremely accessible pop songwriting and the perfect amount of innovation makes for a winning formula, one that will undoubtedly continue to garner them much deserved attention. 

LISTEN TO: "Drop the Guillotine" "Chagu's Sideturn" "Tommy's Party" 

40.

Holiday Food - Skegss

There are fun bands, and then there are FUN bands (not looking at you, Nate Ruess). Skegss falls into the latter category (hell, one of their best songs is titled "Fun"). With each release this Australian garage rock favorite, along with their equally excellent peers and touring buddies Hockey Dad and Dune Rats, continues to paint a picture of the Australian coast as a sort of Southern Californian Babylon, where the only things to do with one's time is surf, chase girls, and drink with your mates (that video gets me every time). Skegss approach their lack of hardships with an optimistic perspective, always ready to offer up the notion that things could be a lot worse (see 'You Probably Won't Die for a While"). While nothing on this record will sound new to a person familiar with rock music on even a cursory level, it is the general atmosphere cultivated by the band that sells me on their music. They sound like the kind of people that would make great friends, and a band that can convey that energy on record is one deserving of a spot on this list.

LISTEN TO: "Got on My Skateboard" "You Probably Won't Die for a While" "Soaking It All In"

39.

Downhill - Cheem 

At times, the band Cheem borders on being too good at their instruments. The band's mathy emo pop consistently borders on too complicated for its own good, the band too obsessed with chasing their own virtuosity that they forget to write a listenable song. Then, suddenly the track will shift directions and remind you why Cheem is one of the most underrated artists on this list. Impeccable melodies combined with some of the fanciest playing this side of pure math rock make Downhill an absolute pleasure to listen to, and the record's lengthy track list is not as intimidating as it seems due to that. These guys have a crazy amount of potential, especially given the current climate of emo music. The future will undoubtedly hold great things for these guys, providing they escape the emo trap of breaking up after releasing one great record.

LISTEN TO: "Kate" "Jacuzzi" "Monster Gorp"

38.

The Underside of Power - Algiers

Algiers easily has one of the most interesting sounds of any band on this list. Their blend of soul music, noise, industrial, and post-punk seems like a match made in hell on paper, but the band's talent and vision carries it into a sound that is distinctly recognizable and surprisingly well suited for their leftist political messages. Algiers is perhaps the most interesting political band in the world at the moment, a notion indebted to both their sound and lyricism. Their debut album featured many of the same elements that continue to make the band great, but there was a sense that in the trio having such an untouched sound, there was room for expansion. The Underside of Power shows Algiers claiming much of that room for innovation, with a series of songs that perfectly encapsulates the greatness behind one of the year's best reviewed albums.

LISTEN TO: "Walk Like a Panther" "Underside of Power" "Cleveland"

37.

4:44 - JAY Z

Look, if you haven't know for over a decade now that JAY-Z is a scumbag, you weren't listening closely enough. This paragraph, however, is not an indictment of his character but rather how his character applies to his public persona. After being exposed for his infidelities on his wife's now infamous album Lemonade, Jay has made his version of a response.  Over the last twenty or so years, JAY-Z has remained almost inscrutable, a cold mask of shark-like efficiency and unflinching resolve, a man with "I hang out with the President of The United States of America" levels of confidence. Here, Jay is self-reflective. He is critical. He is personal. Very rarely does an insight into such a cultural icon appear. In no ways does JAY-Z ever appear aged or soft on this project, but the introspective nature of the album makes him seem human, an unheard of first in his career. 4:44 is almost like being invited into the mansion, to sit on the couch with JAY-Z, rather than to watch him from behind our phone screens. While none of this forgives his transgressions (although Bey seems to have done so), it adds a dimension to them that feels less black and white. JAY-Z seems to have no plans of slowing down his greatness, but for the first time in his life he appears to be touchable.

LISTEN TO: "The Story of O.J." "Caught Their Eyes" (feat. Frank Ocean) "Family Feud" (feat. Beyonce"

36.

Tremendous Sea Of Love - Passion Pit

You have to want the best for Michael Angelakos. From his highly publicized struggle with and advocacy for mental illness to the heartwarming story of discovering and accepting his homosexuality through his marriage to a woman, Angelakos is a character to root for at all times. So when he announced that he would be leaving the music industry indefinitely after releasing one of the best albums of his career, I could only assume it was for the right reasons (it was, and he is back in business as of my writing this). Tremendous Sea of Love featured one of the year's more interesting release strategies, coming out one song at a time with a heavy social medial campaign tie-in, but altogether it was worth the extended wait. Passion Pit's sound has developed wonderfully throughout the project's career, and TSOL is no exception there. The heartbreakingly intimate lyrics, the lush synth instrumentals, the amazing hooks of his previous work all return, yet with a topical focus entirely unlike many of his previous works. We should all continue to wish the best for one of music's most wholesome figures, and hope he returns our goodwill by continuing to release music like this.

LISTEN TO: "Hey K" "You Have the Right" "Undertow"

35.

Sponge Cake - Winston Surfshirt

35th on this list but 1st on the list for "Best Band Name" is the debut record from a six piece soul band from Australia by the name of Winston Surfshirt. These guys play a mix of hip-hop and blue eyed soul that in no way, shape, or form feels as terrible as I know that description endears it to be. The semi-slurred raps never get too corny, and the hooks always feel tight and catchy, while the instrumentals give each song a languid but soulful feel. This is a young band with an extremely well thought out sound, especially considering how poorly the idea of six white Australians rapping and singing could theoretically have turned out. Luckily, it really does not work out that way. Instead, we get an easy, accessible listen from a band with a natural ability to write a sticky melody and a thought provoking verse. If you are browsing this list looking for late night, chilled out music, I recommend you listen here.

LISTEN TO: "Ali D" "Be About You" "For Real"
  

34.

Come Over When You're Sober Pt. 1 - Lil Peep

He was a polarizing figure during his tragically short lifetime, but Lil Peep's ambition was undeniable. Taking early 2000s "mall emo," one of modern music's most derided (and mislabeled) genres and fusing it with a love of hip-hop takes a massive amount of vision, especially for a person so young. While the value of his sound is still heavily debated within both the emo and hip-hop communities, it is undeniable that Lil Peep was a highly troubled young man with a single minded focus on achieving his goals of stardom through a sound that was entirely pioneered by himself. One he had gathered some semblance of fame through consistently excellent releases such as this one, he used his platform to speak out about issues such as mental illness (which he desperately struggled with in his life), human and civil rights, and a variety of other social justice topics. Ultimately, his heavy self medication caught up to him, and the world will never know how the career of this amazingly talented young man would have unfolded. RIP Gustav. 

LISTEN TO: "Save That Shit" "Awful Things" "Better Off (Dying)" 

33.

Coast Modern - Coast Modern

My first thought upon hearing this record was a sense of disgust that I was hearing a band who counted Twenty One Pilots as an influence, despite being formed barely after them. Eventually, this album grew on me and became one of my favorite pop albums of the year. Nowhere to be found is the cheesy self-seriousness of TOP's records. Instead we are treated to an excellent pop (and horrible rap) album about love, laziness, and not taking anything seriously. At no time does any song here feign any sense of importance. The rap verses on each song are laughably bad (and the lyrics can be even worse at times), yet the hooks are maddeningly catchy and the instrumentals well produced enough to make up for it. This is another record on this list that cannot be taken too seriously, but has the potential for thorough enjoyment given a proper mindset.

LISTEN TO: "Guru" "Run It Up" "Hollow Life"

32.

Crack Up - Fleet Foxes

Thank god that Robin Pecknold didn't end up like Rivers Cuomo (who released one of my least favorite albums of this year). Historically, when a massive indie darling suspends their career to attend an Ivy League institution, they come out of school a shell of their former genius, albeit a shell with a fancy piece of paper that will in no way affect their record sales or artistic merit. However, unlike Weezer's frontman, it seems that Pecknold actually got smarter while in school. Crack Up is easily the most socially conscious Fleet Foxes album to date, and benefits from its cultural relevance immensely. All the things Fleet Foxes have done well in their illustrious career are audible here, as well as some welcome changes that keep their sound interesting. While this record certainly suffers from Pecknold's hiatus in terms of striking while the iron his hot from the band's first few projects, it is not impacted at all in terms of quality.

LISTEN TO: "Cassius, -" "If You Need to, Keep Time on Me" "Fool's Errand"

31.

Culture - Migos

Migos had an unprecedented year in 2017, and the start of that is with Culture. The hip-hop trio's second studio album represents a light year sized step forward for the group, in nearly every conceivable way. (Mostly) gone are the robotic triplet flows and generic trap beats. Gone are the boring features and lack of distinguishing characteristics between members of the group. Unlike in the past, these songs have legitimate hooks that do not solely rely on repition to get caught in your head, and each member of Migos has developed enormously as an individual MC and personality between their last project and now. These personal improvements, plus some of the best trap production in the game, has resulted in a life changing year for the three Atlanta rappers. Their sales have also caught up to those improvements, and Migos has deservedly become a (worldwide) household name thanks to the hits spawned by Culture. 

LISTEN TO: "T-Shirt" "Slippery" (feat. Gucci Mane) "Kelly Price" (feat. Travis Scott)

30.

Forever - Code Orange

Forever came out early in the first month of the year and immediately secured a place on this liast. With Forever, Code Orange has punched, kicked, and tore their way into being the most interesting young band in heavy music today. Their mix of industrial and electronic music with a demolishing metalcore sound makes for a record that at times is the sonic equivalent of being kicked in the chest (and enough credit cannot be given to Converge guitarist Kurt Ballou for his production on this record). Yet, for a band in their genre, the sound is relatively accessible. The speed rarely picks up too absurdly, and the vocals are invigorating while rarely becoming too much for the listener. The breakdowns are heavy and tons of fun, adding plenty of visceral excitement to the record. This all makes for an album that can be enjoyed by newcomers and veterans of the scene alike. This young band is hungry to be the kings (and queen) of the hill, and have made no secret about it in their interviews. Typically, however, when a band of their age begins making claims to the throne they rarely have the stuff to back it up. Unfortunately for Code Orange's peers, this band absolutely has the power to take that title.

LISTEN TO: "Forever" "The New Reality" "No One Is Untouchable"

29.

Ctrl - SZA

SZA's debut album has taken her from "the girl on T.D.E." to one of the biggest names on hip-hop's most stacked label in less than a year, and for good reason. Her portrayal of a relationship from the perspective of "the other woman" is one of the most innovative hip-hop concepts in recent memory, and is delivered with all the nuance, emotional depth and perspective of a master songwriter. Musically, SZA's voice is truly a marvel, a flexible tool with inflections that change at the drop of a hat and phrasings that add layers upon layers to her meanings and hooks. The album is also incredibly precise with its features, adding other artists only when the track calls for it and never at the expense of taking the focus away from SZA. All in all, her debut album is representative of an artist with full command of her craft, one who is completely at ease with and fully deserving of being held in the same breath as the greats of her genre. 

LISTEN TO: "Doves In the Wind" (feat. Kendrick Lamar) "Drew Barrymore" "Pretty Little Birds" (feat. Isaiah Rashad) 

28.

Flower Boy - Tyler, the Creator

Tyler finally grew up (and came out!). Flower Boy features none of the shock-value elements of his earlier work, trading them for a funny, mature, insightful look into the young adult that at one point was being denied entry by entire sovereign nations for his lyrical content. Saying that Tyler has grown up feels like a cliched understatement at this point in the review cycle, yet the development he has made as an artist and human being is nothing but welcome and admirable. Flower Boy also features Tyler's best production thus far, ranging from soulful, Stevie Wonder inspired instrumentals to trap flavored (but still distinctly Tyler) beats. Long story short, Flower Boy is the best work of Tyler's career, and shows a consistency and maturity to him that has never been so much as glimpsed in his career.

LISTEN TO: "Foreward" (feat. Rex Orange County) "Boredom" (feat. Rex Orange County & Anna of the North) "911/Mr. Lonely" (feat. Frank Ocean)

27.

Mean Well - Queen Moo

Queen Moo (members formerly of Sorority Noise) has been a band that has flown largely under the radar of even the most astute DIY rock fans, and for fairly good reason. Their songs twist and turn, never even reminiscent of a conventional song structure. Each member of the band is blindingly talented at their respective instruments, jazz trained so that rock music feels like a traditionalist chore in need of innovation. Queen Moo offers that innovation and more on their second studio album Mean Well. Every song on the record features a half dozen or so ideas that lesser bands would have turned into entire songs, yet the sheer musical force that is Queen Moo churns those concepts out and puts them together like puzzle pieces. If you like your rock music complicated, beautiful, and surprisingly catchy, look no further than this album (or the band's excellent debut).

LISTEN TO: "Goals" "It's Become Clear" "Funeral"

26.

Process - Sampha

Sampha's debut album has spent years in the making, but delivered in every way imaginable. Process takes everything great about Sampha and runs with it. His gorgeous voice is at the center of every track, aided by some incredibly interesting electronic production. The instrumentals are truly remarkable, morphing around and interacting with Sampha's voice and cadences in order to create songs that feel genuinely dynamic despite their synthetic nature. Lyrically, the album sees Sampha baring his soul (pun not intended) to the listener and exploring the concept of mortality to the point of discomfort, every song a heartbreaking study on Sampha's process (I promise, an accident) of dealing with the grief surrounding his mother's passing. Not on album for the faint of heart, but nonetheless one that deserves to be heard and appreciated.

LISTEN TO: "Plastic 100 C" "Blood On Me" "Reverse Faults"

25.

Glasshouse - Jessie Ware

Despite their consistent critical acclaim, I personally have never cared for an entire Jessie Ware album. The occasional great song or Disclosure collab notwithstanding, most of her projects have been inconsistent at best (a natural product of attempting to break into radio popularity). Yet on Glasshouse, Jessie Ware has put together an album that is noteworthy not just within her discography but within the canon of 2010s pop music as a whole for its consistency. Multiple songs here compete for her best yet, largely thanks to some top notch production. The instrumentals here run a variety of genres, from soul to Latin, and are as well crafted as any in popular music. Fortunately, Jessie is more than talented enough to shift herself through a range of pop personas to keep up with her changing backdrop. The hooks are as sweet as anything found on the radio today, yet without any of the sugar hangover that usually accompanies them. Instead the hooks here feel refreshing and unique, while still remaining as effective. If you listen to one pure pop record (a.k.a a pop record that could actually end up on the radio) this year, make it this smart, catchy, innovative work of art.

LISTEN TO: "Midnight" "Alone" "Selfish Love"

24.

Good Nature - Turnover

Good Nature might be the best Real Estate album since Days. Joking aside, the second this album came out, after Real Estate had released the first truly mediocre album of their career, I knew Real Estate was in trouble. It just so happens that we all discovered their guitarist is a piece of subhuman trash, but from a musical standpoint Turnover had already taken the Real Estate formula, improved it, and filtered it through their own emo-folk lens to fantastic results. On Good Nature, Turnover offers a take on dream-pop that feels like a completely logical step forward from their previous darker sound. The record's embrace of spirituality and optimism is in sharp contrast to the band's once self-loathing work, and feels both healthy and enlightening, a definite result of singer/songwriter/guitarist Austin Getz's relocation to Southern California. This record has caught a decent amount of flak for being "unremarkable" and "uninteresting" since its release, both of which are labels I disagree with. Underneath the gauzy shimmer of the instrumentals lies some truly fantastic hooks and lyrics, as well as some surprisingly dynamic playing for such a quiet album. Turnover seems to have turned over (HA) a new leaf (ha) in their career, finding a new sound in their relocation and sounding happier, healthier, and better in the process.

LISTEN TO: "Super Natural" "Butterfly Dream" "Breeze"

23.

Episode - Goldwash

Perhaps the most criminally short entry on this list, Goldwash's Episode is an EP that needed to be an album. Goldwash is a producer/singer who can genuinely claim to have never made a bad song. Each and every release, his futuristic funk-soul production features some inventive texture or rhythm, and each and every time the song's melody features some iron clad pop hook. This EP is no exception to the pattern. Songs here border on guilty pleasure status with how enjoyable they are, yet are saved from that label by their incredibly unique production. I away Goldwash's debut album with bated breath, and hope that his winning streak continues for many releases to come.

LISTEN TO: "Won't Cry" "Episode" "Why Hide It"

22.

The Yunahon Mixtape - Oso Oso

The popular consensus for the emo/pop punk community's AOTY, The Yunahon Mixtape is a DIY success story at its finest. Its popularity built largely on word of mouth and artist support, this album took the emo community by storm in 2017 (an expression that contrasts with the album's blissed out sound). The Yunahon Mixtape takes its primary influences from 2000s pop, both emo and not. Every track features a little of The Shins, a little Jimmy Eat World, a little Death Cab for Cutie, and a little of every band that made that era such an amazing time for good hook writing, all played with the conviction of a seriously talented modern rock artist. Thematically, this album centers around the concept of love, but in a celebratory fashion that is largely at odds with the usual self-deprecating cynicism of pop punk. All of this makes for a beautiful, catchy, well played walk down memory lane that fully deserves the attention it is getting within its scene.

LISTEN TO: "Reindeer Games" "Great Big Beaches" "Shoes (The Sneaker Song)"

21.

Aromanticism - Moses Sumney

Moses Sumney is without a doubt one of the most unique and talented artists in music today. His voice is unparalleled, both live and in the studio. His instrumentalism is complicated and unique, a mixture of soul, folk, psychedelia, and jazz all at once. His artistic vision is mind boggling in its broadness, and his hunger for change and forward motion is palpable. Aromanticism centers around loneliness in love, a fairly conventional topic that Sumney re-invents through his skill for abstract lyricism contrasted with biting observation. Sumney's influences are quite obvious, yet his vision is so unique that nothing sounds quite like him. Flickers of Nina Simone, D'Angelo, and Frank Ocean can be sensed on every track, yet Sumney's raw talent makes it feel as if he is their peer rather than their disciple. In a year full of incredible art-soul projects, Moses Sumney takes the cake and refuses to share.

LISTEN TO: "Don't Bother Calling" "Plastic" "Indulge Me"

20.

DAMN. - Kendrick Lamar

Now that your mom can sing the chorus to a Kendrick Lamar song, is it still cool to like him? Absolutely. While DAMN. is not my favorite Kendrick Lamar album, even Lamar's off days are better than 99.9% of hip-hop. Speaking objectively, DAMN. should be a top five album of this year on every list from every publication, including my own. However, this is a personal list and relative to his past work, which I place in the highest pantheon of all music, this album has yet to grow on me as much. Nonetheless, DAMN. features some of Kendrick's best music, bar none. "HUMBLE." is by far his best hit to date, and songs like "LOVE." and "PRIDE." show a more immediate, tuneful side to the artist that has been largely missing since Good Kid M.A.A.D City days, but with less influence from contemporary hip-hop than his classic breakout album contained. All sides of Kendrick Lamar are put on display here, from the hitmaker to the genre chameleon to the artsy street philosopher and all come together to create one of the most powerful and entertaining listens of the year.

LISTEN TO: "DNA." "HUMBLE." "LOVE."

19.

Villains - Queens of the Stone Age

Benefiting from the opposite effect that put Kendrick Lamar's incredible album barely inside the top twenty of my list is Queens of the Stone Age's most recent effort, Villains. This list season has not been good to the hard rock vets. The album has been (somewhat unfairly) heavily criticized for Mark Ronson's flat production, as taking away the thunder from one of the world's most bombastic bands is like taking the cannon off a tank. Fans and critics have lampooned the album's dance influences, or rather the lack of he typical metal cliches that queens typically overblow to the point that they become entertaining again. However, once the listener realizes that the band they are hearing is not the same as the one they used to hear, this album becomes far more enjoyable. A less crowded instrumental palate and more open mix places a far greater focus on Josh Homme's hooks, which have always been a secret weapon for a band who have lowkey been one of the best pop rock groups in the world for over a decade now (when they chose to be). The dance influences fit neatly into Homme's old-school, unhinged rock god parody persona, and their mindless campiness feels like a natural way to age compared to repeating the same mockery of heavy metal and hard rock stereotypes. This Queens of the Stone Age is one that demands to be taken far less seriously than in the past, (where they were still joking around, but at least they were serious about being a joke) and can be enjoyed all the better for it.

LISTEN TO: "Feet Don't Fail Me" "Head Like a Haunted House" "The Evil Has Landed"

18.

Take Me Apart - Kelela

Being progressive in pop music is a challenging feat, but it is one that Kelela handles like waking up and getting out of bed. Her projects consistently push the same wave of alt-pop that is currently being spearheaded by wonderful artists like Charli XCX, Carly Rae Jepsen, and the wealth of great PC Music descendant producers like SOPHIE and (to a degree) Arca. Yet, contrasted to the bright pinks and yellows of those artists, Kelela's music moves in murky blues and blacks, dealing in subtleties and emotions that those artists artistically and intentionally eschew in favor of a wholehearted embrace of campiness and loving ignorance. Kelela's sound exists as an electronic superego to their pop id, an equally potent and catchy affair that represents the same pop frontier pushing yet seems to be expanding the other end of the emotional spectrum. For those that like their pop music smart, sexy, and occasionally challenging but have been disillusioned by the purposely obnoxious manner of her peers, Kelela is a dream come true. An all star list of producers help this album really stand out compared to many of the others in her genre, but enough credit cannot be given to Kelela for her lyricism and hook writing. If you consider yourself a poptimist, this might be the record for you.

LISTEN TO: "Frontline" "LMK" "Blue Light"

17.

What Not to Do - Perspective, a lovely hand to hold

Perspective... are a favorite of nearly every musician in their community, and for good reason. Their playing is TIGHT. Seriously. These guys are easily one of the most cohesive bands in their genre. Their short songs run through about a dozen passages each, going from complicated to straight ahead, quiet to loud, from 4/4 to every other time signature under the sun with ease. All of it is handled with a casualness that comes from each member of the band being extremely skilled and the live comfortableness that comes with playing a relentless touring schedule. One of my favorite moments in music this year has to be the playing in the second minute of "Thick as Thieves," especially when the band runs through the same bouncy guitar riff at three different tempos. All of that would be for naught, however, if the record was a hookless mess. Luckily, this album features those in spades, as well as some of the best lyrics this year has seen. The band's playing combined with their skill as songwriters makes for an album that is as enjoyable for its cathartic climaxes and earworm melodies as it is for its poetic beauty and subtle instrumentation. PALHTH has established themselves as one of the most promising young rock bands in underground music and will be a name to watch in the near future.

LISTEN TO: "Therapy" "Thick as Thieves" "201"

16.

Humaniac - Lou the Human

Every year a new artist comes around and makes danger sound fun again. Last year it was Show Me The Body, a downright incredible hip-hop/noise punk group from NYC that wrote songs about killing cops, drug addiction, and being homeless. They sounded believable, genuine, and SCARY. Lou the Human is none of those things, but still makes for a great listen. His music makes it fine to long for a time where Eminem was good again, when edgy lyrics were an artform that could exist without falling into cringeworthy self seriousness or cheap anti-SJW propaganda.  Lou takes the notion of being a musical button pusher and blows it out of the water, doing so with some incredible technical skills on the mic to boot. His music sits so far beyond the boundaries of parody that it removes all notion of legitimate scariness, which is completely for the better. Not for a second does this album consider taking itself seriously, and even during the moments where it says "No really, I am crazy" there is the implication that it is all a joke. Or is it? Either way, Lou the Human has created a special record. The self production is cohesive and ominous, perfectly suited for Lou's horrorcore styled raps. The actual rapping is virtuosic to the maximum, and the lyrics being completely unrestrained by topic or any sort of logical progression of ideas lets him run wild with his skills in a stream-of-consciousness series of versus. Humaniac is certainly not an album for everybody, but is definitely a fun listen for some and those people are in for one of the wildest rides a hip-hop album has offered in years.

LISTEN TO: "Macklemore" "Born" "Who Knows"

15.

Classic - Elephant Jake

This is my hipster entry. The entry where I can almost certainly say "You Do Not Know This Band" and that is a damn shame, because Elephant Jake is a band that every DIY rock fan in America should cherish. Elephant Jake is an extraordinarily talented (seriously, listen to that drummer) young band from New York who write a brand of emo music that fills the JANK sized whole in our hearts, hopefully minus the pedophilia and rape. While this album is occasionally inconsistent, the unfiltered talent displayed on the better tracks here are among the year's most impressive moments. The hooks, the playing, the songwriting, the image, the humor, everything, they have the potential to be one of the internet's next buzz bands. Expect the DIY rock scene to be talking about these guys soon.

LISTEN TO: "Sebastian Bauer" "Six Four (You Know Better Than I Would)" "I'll Try Again"

14.

The Manson Family - Heart Attack Man

The Manson Family is a grower, for sure. On first listen the trudging tempos, overproduced guitars, extended recurring vocal melodies, bleak lyrics, and pounding drums seem to blur together into a mess of fairly forgettable post-grunge emo music. Then, suddenly, it doesn't. Those trudging tempos mix perfectly with the dreary lyrics, which suddenly present themselves as incredibly clear and cuttingly relatable musings on human darkness. Those pounding drums begin to feel cathartic in their simplicity and the reappearing vocal melodies become hauntingly catchy, delivering their crushing commentary on struggling with mental illness straight to your brain. Heart Attack Man is one of my favorite bands in music right now, yet they still masquerade as a generic Weezer disciple. Fortunately, their music is so much deeper and well constructed than that, even though it might take a few listens for it to be discernible. Hopefully their next record keeps the things that makes this band excellent and attempts to experiment with it and push their brand beyond heavy power pop to something that grabs the attention slightly better. Still, there are few bands who do what Heart Attack Man does as well as they do it, and despite that there is so much room for them to do it better.

LISTEN TO: "Burn Down the Mall" "Life Sucks" "Cool Kids Table"

13.

Now That's What I Call Music Vol. 420 - Counter Intuitive Records

The best hyper-independent label in rock music releasing a split featuring all of their star artists? That earns a spot on the list. Even better, however, is when every one of those artists maximally delivers on their appearance. Pictures of Vernon, the smallest band here, throws down what has to be their best two songs ever. Prince Daddy & the Hyena, my favorite band on the split, brought their A game on their solo feature "Thrashville 1/3" but especially came to play on their collab with Kississippi (watch her upcoming career closely, her 2018 record is going to be a huge deal). Confusingly, the most popular and widely acclaimed band on the split, Mom Jeans., had the most "disappointing" performance. Their original song was decent, and while their reworked, full band version of "Vape Nation" is an amazing upgrade to a fantastic song, it still is not an original song. No matter, they are still one of my favorites, one of the best live acts I have ever seen, and expected to release a record that will compete for my 2018 AOTY. All in all, these three stellar bands have released one of the best punk splits in recent memory and look poised to release upcoming albums in the upcoming year.

LISTEN TO: "The Sunshine Bus" "Thrashville 2/3" (feat. Kississippi) "Vape Nation 2.0"

12.

Pure Comedy - Father John Misty

Father John Misty's previous album, I Love You, Honeybear, was described to the point of redundancy as "ornate," "lush," and "dense." It is also one of my favorite albums of all time, as a side note. Pure Comedy takes those descriptors and multiplies them into a 74 minute opus, a war waged on the futility of existence in our current political climate. Tillman's character, Father John Misty, is a force designed for pretension, the smug asshole who always assumes he knows everything (but deep down has a heart of gold). Here he turns his focus away from Honeybear's themes of struggling with love and devotion having previously led a life of utter cynicism and debauchery, and towards society at large. The album consistently skirts the edge of falling into complete insufferability, and the narrator's position of obnoxious detachment and apolitical nature will wear some out within a few songs. Yet, this ego is precisely what makes the character so well written, as well at times painfully relatable. In addition to Tillman's genius writing, this album is sonically gorgeous. The strings, pianos, orchestral horns, and everything in between are positively "ornate" and "lush" and paint streaks of color that add to each song immensely. Occasionally the song lengths can get a bit extreme, and the album is an exhausting cover to cover listen for a variety of reasons (least of all the nature of Tillman's character and the extremely cohesive sound), but as a whole Josh Tillman has again delivered a folk odyssey worthy of the high critical acclaim it has received this year.

LISTEN TO: "Pure Comedy" "Things It Would Have Been Helpful To Know Before The Revolution" "The Memo"

11.

Brutalism - Idles

Idles are an angry band. Nearly every song on Brutalism is angry at something, be it the British government, British society (in particular British men), and just about everything else in the world. Make no mistake, however - Idles are not all raw passion. Their rage is tempered by their intelligence. These songs are articulate, funny, clever, and artistic in every way that a good topical punk band should be. The sculpture on the album's cover was made by singer Joe Talbot and his father, in honor of his deceased mother, pictured above it. Talbot is the focus of the music here, and his vocal performances are full to the brim with charisma and energy. His voice is caustic and gnarled in the best way, making him the overwhelming star of the record. The lyrics are biting and brutally intelligent, further adding to his art-punk personality. The rest of the band displays some fairly impressive playing behind Talbot's antics, especially during some of the band's more rhythmically complex numbers. While nothing here is exceptionally original, it is all delivered with such convicion that it feels fresh and immediate all the same. Idles have been grinding away in the British punk circuit for a while now, and it is about time that they get the attention their music deserves, whether we give it to them or they have to take it from us.

LISTEN TO: "Well Done" "Mother" "Stendhal Syndrome"

10.

The World's Best American Band - White Reaper

Unlike Idles, White Reaper does not make thinking man's rock music. Their music is pure bubblegum garage rock, the musical equivalent of drinking a soda. Everything about songs like "Judy French" and "Crystal Pistol" screams "soundtrack to a house party in a 1980's comedy" in the best way possible. Their lyrics revolve around girls and partying, and that about covers it. The album is mixed to be almost painfully loud, and frontman Tony Esposito's voice is the epitome of snotty. Those factors mixed with a self deprecatingly egotistical sense of humor (check the title) make for a record with a ton of personality, especially relative to most of their garage rock peers. Their post-ironic worship of bands like Thin Lizzy, Van Halen, and Cheap Trick make for a decidedly uncool set of influences that meld together into a loud, riffy, slugfest of a rock record. Subtlety be damned. This is arguably the best pure rock record of the year, a golden homage to when rock music was the soundtrack to every party and guitars where the cool instrument to play. Make no mistake though. This is still a modern record, and nowhere is there the sentiment of nostalgia for their father's music, no longing for a different time. This is simply classic rock n' roll as an expression of energy, and that is timeless.

LISTEN TO: "Judy French" "Tell Me" "Daises"

9.

Same, Same - Ditz

Ditz can play. Never once during this EP's painfully short run time is that in doubt. Lightning fast drum fills, blazing guitar licks, throat shreddingly passionate vocals, and shifting time signatures fill every one of these songs will kinetic energy. Add some fantastic vocal hooks and you have a pop punk record that is almost endlessly listenable. At five songs and sixteen minutes, plus the sheer speed of these songs, this EP ends almost as soon as it begins. Ditz, along with a few others on thi slist, are part of a wave of bands led (unknowingly) by Mom Jeans. and Remo Drive that fans are looking to fill the gap left by the departure of world class scumbag Lou Diamond of the once legendary group JANK. Their band featured many of the elements that make Ditz such a compelling listen, from the complex instrumentation and catchy songwriting to the childish lyrics and DIY aesthetic. Comparisons to that once popular trio have followed Ditz since their inception, and do not seem to be going anywhere, despite the fact that they are already considerably more skilled than JANK ever was, and simply need to develop the songwriting skills that come with being together as a unit for longer. Ditz seem like an up and coming contender for DIY music's most coveted position,  and with a few more releases should be one of underground rock's bands to watch.

LISTEN TO: "Spanish Subtitles" "Spike" "Home of the Tomato Pie"

8.

Greatest Hits - Remo Drive

Everything about Remo Drive has set them up for where they are today. Relatable, intelligent lyrics? Check. Dynamic, catchy sing-a-long-hooks? Check. Explosive, dancy rhythms and riffs? Check. Sad-pretty boy aesthetic? Check. Midwestern emo influences with a retro rock spin? Check. From a paper point of view, it's like Remo Drive was designed in a laboratory to be rock internet's favorite buzz band (looking at you r/Emo). Luckily for this Minnesota group, they are actually really really good. Every song here is loaded with an infectious energy, an X factor that makes Remo Drive endlessly compelling as both a story and musical act. Rising out of obscurity thanks to internet hype, largely through TheNeedleDrop, building a solid reputation with their outstanding live shows, and then securing their place as a top band in the DIY scene with an excellent debut album makes these kids all too easy to root for. Seeing them live only reiterated to me how much fun they appear to be having with their newfound (relative) notoriety, but the quality of the show also showed how hungry they are for more. Here's hoping they don't rest on their laurels and instead release a follow up album soon, for our sake as much as theirs. 

LISTEN TO: "Art School" "Crash Test Rating" "Eat Shit"

7.

More Life - Drake

Yes, More Life is too long. No, it is not cohesive in any way. Yes, Drake is a culture vulture. I know, the idea of calling his album a playlist is a pretentious cop out. Yep, some of the songs here suck. Every criticism of More Life is valid in some way, shape, or form. However, they ignore the fact that this is Drake's best music since Take Care, and no, I have not forgotten about Nothing Was The Same and If You're Reading This, It's Too Late. I view More Life as Drake's White Album, a pop genius' scattershot collection of ideas and concepts, results ranging from complete failure to undisputed brilliance. Obviously a Beatles comparison is overrating Drake a bit, but the concept applies somewhat smoothly. Drake knows as well as we do that some of the songs here are bad. He also knows that tracks like "Free Smoke," "Gyalchester," and "Can't Have Everything" feature some of the best rapping of his career, and that "Passionfruit" and "Teenage Fever" (especially the latter) are some of the best pop-rap/R&B hits of this decade. Throw in tracks like "Portland" and "Fake Love" and you are starting to fill out the track list nicely. Once you make it to "Get It Together," "Do Not Disturb," "4422," both of the excellent Young Thug features, and "Since Way Back" you tend to forget about "No Long Talk," "Glow" and some of the other less impressive songs here. While it certainly has its duds, More Life has more than enough shining peaks to not only be one of the best albums of the year, but one of the best albums in the discography of a bona-fide megastar.

LISTEN TO: "Gyalchester" "Teenage Fever" "Can't Have Everything"

6.

War and Leisure - Miguel

Miguel's music is exponentially more enjoyable when it is not compared to his past work. The cheesy soul of his debut is a different world from his breakout album Kaleidoscope Dream, which exists entirely seperate from the psychedelic-funk-soul-pop-sex-drugs-rock-n'-roll masterpiece that is Wildheart, his zenith as an artistic force and a defining moment of modern R&B alongside albums like Channel Orange, Blonde, and Black Messiah. While War and Leisure is indisputably his least outwardly artistic work since his debut, it counters that by embracing the idea of pop as an artform. Melodically, this is Miguel's strongest effort and the record is equally as enjoyable as his previous albums because of this. Rather than attempting to stand with them in their ambitious deconstructions of our perceptions about soul music, Miguel has made their equal by turning the fun up a few notches. The first two songs of the album are pop perfection, but that momentum is marred by the decidedly mediocre single "Sky Walker." However, after that misstep, the album hits a stride that is unmatched by any other album this year. Tracks four through twelve refuse to drop the ball in any way, jerking the listener from the fun of "Banana Clip" and "Told You So" to the sultriness of "Harem" and "City of Angels" like their brilliance is second nature at this point in his career. Then "Caramelo Duro" hits and the album flashes by, as lovely as it started. In short, Miguel has created a compulsively listenable album with War and Leisure, and while it is one that falls short of the artistic standards set by his previous work, it is in no way less enjoyable than those records.

LISTEN TO: "Pineapple Skies" "Harem" "Caramelo Duro" (feat. Kali Uchis)

5.

Saturation Trilogy - BROCKHAMPTON

BROCKHAMPTON has been the story of of the year in independent music, and for good reason. Fourteen young adults meet on the internet, become best friends, ditch their lives to live together in Los Angeles, and proceed to make incredible music with machine-like efficiency. Three albums this year and another slated for release in 2018, and the hip-hop collective is still putting out better music with each release. Musically, BROCKHAMPTON has become a force of nature, both critically and socially. Their songs ooze a type of lightning in a bottle chemistry and charisma that has somehow managed to last for three consecutive releases, and the improvement of each member has been perceptible with time. Their albums perfectly straddle the line between poppy/accessible and relentlessly artistic, leading them into developing a diehard fanbase of teenagers and young adults from all walks of life. As a group they are at their strongest, but each member of the clique is interesting in their own right. They each keep active social media presences, have their own distinct personalities, and add a different, essential element to the group without overwhelming the less flashy or charismatic members (something past collectives like Odd Future missed). BROCKHAMPTON prefers to be known as a boyband (toying with our perception of that phrase to include black, queer, and hip-hop artists is nothing short of genius), and it seems like a fitting label. BROCKHAMPTON at times feels like a legitimate boyband, minus that artificial circumstances of most of their conceptions, because of how well their personas interact and feed off one another. BROCKHAMPTON has become a major player in the hip-hop scene because of their natural chemistry, tireless work ethic, and amazing quality of work. It all feels too good to be true, an intangible that the group could lose at any time, but they know as well as we do that three incredible albums is no accident.

LISTEN TO: "HEAT" "STAR" "BUMP" "GUMMY" "QUEER" "JUNKY" "JOHNNY" "BLEACH" "TEAM"

4.

Big Fish Theory - Vince Staples

At this point in his career, calling Vince Staples the voice of a generation hardly feels like an overstatement. Every interview, every tweet, every lyric he seems to perfectly capture the thoughts of every millennial, usually by accident. His social media presence is easily the best of any celebrity (his argument with Ronnie Radke is one of the funniest moments in Twitter history), and most major publications cover his every thought and action. He is consistently trying to push as many buttons as society will allow him, and has made himself an incredibly likable celebrity in the process. In addition, everything I have mentioned above absolutely horrifies Vince Staples, and that distaste for celebrity is the focus of Big Fish Theory. Big Fish Theory is tirelessly ambitious and experimental, incorporating electronic music into Vince's already expansive style. The techno influences make for an interesting and futuristic album, from just an instrumental perspective. Luckily, his rapping is also better than ever. Vince's perchant for clever observations and one-liners is applied to his newfound fame, and to great lyrical effect. His flow has never sounded better either, despite the the fast, jumpy electronic beats doing their bests to throw him off time. Staples' skill as an MC has consistently increased with each of his releases, as well as the artistic ambition of his work, and Big Fish Theory keeps that streak alive. Vince Staples has released the rap album of the year, and it still sounds like he is barely trying.

LISTEN TO: "Big Fish" "Yeah Right" "Party People"

3.

The Dusk in Us - Converge

Untouchable. If I had one word with which to describe Converge, twenty years into their career, it would be untouchable. In their scene, their word is law; down to the letter. For those unfamiliar with the politics of heavy music, picture your favorite genre and and other "untouchable" artists in it. For hip hop, names like Kendrick Lamar, JAY-Z, and Kanye West come to mind. For indie music, names like Arcade Fire, Sufjan Stevens, and Radiohead come up. All of those artists and bands are less ubiquitous, less respected, and more human than Converge is in the heavy metal scene. Every album, without fail, Converge releases a seminal work that redefines the boundaries of the genre, and The Dusk in Us is no exception. Jacob Bannon's famous lyrics are better than ever, and the band's world-class playing is as sharp as it has ever been. Kurt Ballou produces, and delivers as he has on (literally) hundreds of other albums. The drums here hit like cannon shots, the guitars are perfectly noisy and distorted, and the bass is as pounding as it is during their live shows. It is no surprise that Ballou killed the production on this album, as he is the genius behind the sound of almost every interesting metal band in America, including Nails (his best and heaviest production, in my opinion), Code Orange, Black Breath, Kvelertak, All Pigs Must Die, High on Fire, Full of Hell, Dillinger Escape Plan, Chelsea Wolfe, and more. His discography is a hall of fame for modern metal, but his work with Converge has always been his most consistently impressive. Aside from the production the album is utterly fantastic in every way. The album is heavy when it needs to be, quiet when necessary, topical, emotional, sentimental, angry, and every other emotion possible at any given time during its perfectly sequenced run. Converge have unanimously set the standard for heavy music in the last two decades, and apparently refuse to let any younger bands try for that title. Despite their guitarist offering world class production to any band that will ask for it, none of them have the mettle to challenge their forefathers.

LISTEN TO: "Under Duress" "I Can Tell You About Pain" "Trigger"

2.

The Ooz - King Krule

Archy Marshall is a genius. Even before The Ooz, that was a fairly well accepted opinion. His work on his self titled EP and debut album 6 Feet Beneath the Moon threw the idea out there, while his leftfield rapping and hip hop production on A New Place 2 Drown showed his brilliance in a field that always seemed adjacent to his previous work, but never explicitly linked to it. The Ooz melds together Archy's two musical worlds, the jazzy punk of his debut and the trip-hop of his side project, into a beautiful marriage. Everything about The Ooz is dense, from its length to the hazy London fog that permeates every track. A psuedo-concept album about Marshall's descent into depression and isolation (and subsequent escape through self-realization and creation), The Ooz is musically as somber as it should be. Jazz, punk, hip-hop, electronic music, downtempo, and everything else imaginable are at work here, shifting around Archy's iconic voice and brilliantly vivid lyrics to create an encompassing view of his mental state that sucks the listener in and refuses to let go. Marshall's lyrics have always been one of his strengths, but on The Ooz they reach Fitzgeraldian levels of beauty as he cuts his abstract, heady musings with lightning sharp personal condemnations and revealing self descriptions. Between the huge musical soundscape, the complex themes and symbolism (and by extension the unparalleled lyricism that conveys them), King Krule has created an album that takes countless hours to unpack, but only a few minutes to enjoy.

LISTEN TO: "Biscuit Town" "Slush Puppy" "Czech One"

1.

You're Not As _____ As You Think - Sorority Noise

Sorority Noise is the project of Cameron Boucher, one of the most remarkable and troubled minds in modern music. Boucher is known as one of DIY rock's great workhorses (and one of the best live acts I have ever had the fortune to see in person), fronting multiple bands to success, including the legendary screamo group Old Gray, one of the most emotionally heavy bands in music, and producing nearly every remarkable emo album to come from the American northeast in recent memory. This is made even more impressive given his highly publicized struggle with manic-depressive disorder and a variety of anxiety issues. While his first two records with Sorority Noise focused internally, his third album moves its scope outward. After losing nearly all of his close friends to heroin or suicide, Cam's thoughts have turned broader in their focus, and his lyrics revolve around dealing with the grief associated with their passings. The lyrics here range from downright heartbreaking ("Second Letter From St. Julien") to sardonically bleak ("Disappeared") and often both within the same song ("A Portrait Of"). Boucher's songwriting is brutally honest, often crushingly so. Cam's skill as a songwriter has increased immensely since the band's last album, Joy, Departed. Joy, an incredible album in its own right, could get heavy handed at times, often losing itself to obscure poetry and grand musical gestures without connecting the two. None of that is featured on this album. Boucher's lyrical bluntness is downright chilling and the music is loud, massive, and aggressive without feeling bloated. The record's crescendos and breakdowns are still as huge as before, but in more of a triumphant, necessary sense than on their previous records. Now the giant walls of guitar and pounding drums seem to underline the severity of Cam's lyrics, rather than before where the two phenomenons could feel disconnected. All of this combines to form a record where nearly every song is goosebump worthy, a ball of sonic frission waiting to be heard. There is not much else to be said about this record other than to listen to it with the lyrics open on your computer. Few more powerful examinations of death, loss, mental health, and friendship exist in music today.

LISTEN TO: "No Halo" "A Portrait Of" "Disappeared" "Second Letter From St. Julien"

If you have made it this far, I would like to thank you for caring enough to read this much text. I greatly appreciate you giving my writing the time of day, and I hope you enjoyed this list (or at least found some new music). I put more work into this list than I am willing to admit (including having to completely restart from square one after I had finished it due to a saving error), so if you enjoyed reading it, I implore you to share it with others who also might gain something from my efforts. Remember to support the artists that you enjoy, and to share music with the people you love. Have a great day and feel free to send this list to anybody you know who might enjoy it.

Thank You.

Ian Brower