My Fifteen Favorite Albums of 2021

I was going to start this with a "man this year mostly sucked but thank god for music" intro but then I re-read some previous posts and realized I do that basically every year. What fun times we live in! Anyway, like last year, I did not consume quite as much music as I typically do. Turns out moving in with your partner means that instead of spending hours most evenings checking out new tunes, you binge-watch Gilmore Girls and develop VERY strong opinions on Rory Gilmore's dating choices.

Thankfully, I still heard enough music this year to put together this list of favorite albums. Though 2021 had a dearth of "instant classic" albums, it was an excellent year for new discoveries; nearly half of the artists below were completely new to me this year. Also new to me is having 21 months of pandemic fatigue, so I am going to keep things brief with the blurbs (most of you are here for the playlist anyway, let's be real). I am also trying a new thing where I note the approximate genre of each album to help y'all filter stuff you are more likely to be interested in. Anyway, below is my favorite* music I heard this year:

*But this is definitely the song I heard the most this year. Remarkably few Netflix opening credit skips.

Honorable Mentions
Injury Reserve- By the Time I Get to Phoenix

Rosali- No Medium

Tyler, The Creator- Call Me If You Get Lost

Nick Cave and Warren Ellis- Carnage

Lucy Dacus- Home Video

Top Fifteen
15. Ryley Walker- Course in Fable (Jazzy Folk/Singer-Songwriter)

Intricate jazz-folk songs performed impeccably by Walker and his band. Until Jim O'Rourke releases another album of song-based material, this will do.

14. The War on Drugs- I Don't Live Here Anymore (Heartland Rock/Indie Rock)

These guys are not doing anything new here (and their lyrical shortcomings are becoming increasingly evident) and yet, I still find this album highly enjoyable. Adam Granduciel and co. continue their run of albums filled with propulsive, epic, synth-laden rock songs—with the title track ranking among their best work.

13. Mdou Moctar- Afrique Victime (Psych Rock)

Simply put, this album rips. If you like guitar solos, you are gonna dig this one. Moctar, from Niger, puts an electrifying spin on Tuareg guitar music.

12. illuminati hotties- Let Me Do One More (Indie Rock)

illuminati hotties continue to churn out fantastically catchy (and humorous) rock tunes. This album includes possibly my favorite lyric of the year: "I'm so sad I can't do laundry" on the extremely fun (and appropriately named, once you hear the chorus) "MMMOOOAAAAAYAYA."

11. Mega Bog- Life and Another (Art Pop)

A quirky, whimsical album—recommended if you dig Cate Le Bon, Aldous Harding and other music in that vein.

10. L'Rain- Fatigue (Neo Soul/Experimental)

Never heard an album quite like this! These songs are made up of a fascinating collage of field recordings, vocal loops, and creative instrumentation (with percussion often at the center). I notice something new every time I listen.

9. Magdalena Bay- Mercurial World (Synth Pop)

This year's token "fun dancey synth pop album." Magdalena Bay use a familiar formula but the quality of the songwriting and production make this a very worthy effort. I reckon pretty much anyone reading this list would enjoy this album (prove me wrong!!).

8. Turnstile- Glow On (Post-Hardcore/Rock)

The heaviest album on the list this year—a lot of these songs are made for the mosh pit (that I, personally, would stand a respectful distance away from). As we all continue to carry the stress of living through a pandemic, this is a great album to bob your head to and release some tension.

7. Jazmine Sullivan- Heaux Tales (R&B)

Released at the beginning of January, this was the first album I fell in love with this year. Technically an EP, Heaux Tales feels substantial enough at 32 minutes to be considered a proper album—a consistently exciting one at that. There are a nice mixture of bangers ("Pick Up Your Feelings") and ballads ("Lost One")—all with an uncompromisingly feminist focus.

6. Cassandra Jenkins- An Overview on Phenomenal Nature (Singer-Songwriter)

For all the problems with Spotify's recommendation algorithm, they sure nailed it by showing me Song of the Year candidate "Hard Drive"...many times this year, and introducing me to this wonderful artist. An Overview on Phenomenal Nature is a beautiful, meditative album that was a constant go-to when I wanted to listen to something calming this year.

5. Low- HEY WHAT (Experimental Rock)

Pretty insane to me that this band is still putting out albums this good almost 30 years into their career. Continuing the momentum from 2018's excellent Double Negative, Low dial back the distortion (though there's still plenty!) and let their gorgeous vocals and unique guitar sounds take center stage. Though tense and unsettling in parts, there are some moments of real beauty (as is true on all Low albums). Definitely an album I needed to be in the mood for, but this was one of the more powerfully immersive listens of the year for me.

4. Japanese Breakfast- Jubilee (Indie Pop/Indie Rock)

Few people had a better 2021 than Japanese Breakfast leader Michelle Zauner, who in addition to Jubilee released a New York Times bestselling memoir. While her previous work leaned more towards moody dream pop, Jubilee has much brighter melodies and even a few songs you can dance to (Album highlight "Be Sweet" easily has the bass line of the year). This album provided a needed burst of color in an otherwise gray year.

3. Floating Points, Pharoah Sanders and the London Symphony Orchestra- Promises (Modern Classical/ Electronic)

This is up there with the prettiest music I have heard in recent memory. Promises is a phenomenal collaboration between the brilliant electronic musician Floating Points, legendary jazz saxophonist Pharoah Sanders, and a world-class orchestra. Spanning nine interconnected movements, the album is stunning from front to back—with the three musical forces combining to create some truly transcendent moments. 

2. The Weather Station- Ignorance (Art Pop)

I kind of surprised myself by ranking this one so high, but I continually returned to it throughout the year and it sounded better each time. Ignorance is an unexpected but welcome pivot from The Weather Station's previous folky material—with its numerous piano and string-driven songs creating a much moodier atmosphere. The sonic terrain will feel familiar to fans of bands like The National. This is a great winter album—give this one a try to achieve some warmth during the frigid months ahead.

1. Little Simz- Sometimes I Might Be Introvert (Hip-Hop)

Sometimes I Might Be Introvert is on a totally different level than everything else on this list—an absolute masterpiece. I pretty much knew after my first listen this was going to be my Album of the Year. Across its dense 65 minutes, Little Simz leads listeners on a thrilling, musically-diverse journey. The album is at times intense (check out the marching band drums and horn swells on opener "Introvert"), while some songs incorporate playful instrumentation (as on the children's chorus-featuring "Little Q Pt. 2," or on the bouncy synths of "Protect My Energy"). Throughout, her raps are laser-focused—touching on a range of poignant subjects (with Simz processing complicated feelings about her family, celebrating the women who inspire her, and coming to terms with her introversion, as the album title alludes). The production is also spot-on, pairing lush, vibrant sounds with Simz's phenomenal rhymes. Only 27-years-old, Simz broke out in a major way in 2021 and gave us this gift of an album that eclipsed all of her musical peers.

Best of 2021 Playlist

Here are 75 of my favorite songs of the year, agonizingly sequenced for your utmost enjoyment:

My Fifteen Favorite Albums of 2020

Well, for obvious reasons, 2020 was definitely the worst music listening year of my adult life (you know, because the White Sox were actually good and also I got addicted to a stupid baseball simulation game. Okay yes the pandemic too). It turns out my commute is a huge way I process music, and also when I am living through a slow-motion disaster causing horrific levels of death and suffering I tend to grasp for comfort albums versus new music. Plus, I went to a grand total of four concerts this year so there were minimal opportunities to discover a cool opening act or experience an album live  (I miss going to shows so much and never again will I complain about paying $15 for a beer at the Aragon). So, I feel like I have mediocre qualifications to make this post this year, but I am going to try anyway!* Here is the music I connected with during this phenomenally shitty year.** As always, scroll to the bottom to find a playlist of my favorite 2020 songs.

*But I am only doing a top 15 instead of the usual top 20.
**Well okay, remember when Trump got Covid? That was good.

Honorable Mentions
Ratboys- Printer's Devil

Dehd- Flower of Devotion
Bartees Strange- Live Forever

Soccer Mommy- Color Theory

Yves Tumor- Heaven to a Tortured Mind

Jeff Rosenstock- NO DREAM

Freddie Gibbs and The Alchemist- Alfredo

Top Fifteen

15. illuminati hotties- FREE I.H: This Is Not the One You've Been Waiting For

Really the band name alone qualifies this album for the list. Super fun, often hilarious indie rock album that zips by in 23 minutes. 

14. Lianne La Havas- Lianne La Havas

I discovered this album thanks to her absolutely phenomenal cover of Radiohead's "Weird Fishes" but the rest is similarly wonderful. La Havas is an extremely talented singer, guitarist, and songwriter and definitely near the top of my list of musicians I would like to see live post-Covid.

13. Run the Jewels- RTJ4

When RTJ3 came out in 2017 I described it as "Another satisfying album of impeccably produced music by the best duo in rap" and...ditto for RTJ4. They have a pretty standard formula at this point and yet each new Run the Jewels album manages to stay fresh and exciting.

12. Taylor Swift- folklore and evermore

I have never been a huge Taylor Swift fan but predictably, my interest was piqued when I learned she was collaborating with Aaron Dessner from The National. And it turns out folklore and its less-good-but-still-pretty-good companion album evermore are more memorable than anything Dessner's band has put out in the last several years. Perfect for quarantine listening, these folk-pop albums are exceedingly pleasant and at times quite beautiful—particularly on the superb Bon Iver collaborations "exile" and "evermore."

11. The Microphones- Microphones in 2020

After a 17-year hiatus, Phil Elverum resurrected the Microphones name. Rather than returning to writing catchy lo-fi folk like "I Want Wind to Blow," Elverum instead created a 45-minute autobiographical song detailing memories from childhood to present and explaining why he reverted back to recording as The Microphones. The music is entrancing, with Elverum sustaining a single guitar chord for minutes at a time. Because of the freeform nature of the album, I notice something new every time I listen. If you are looking for an album to rock out to... this is not your album! But if you want to zone out as you are enveloped in melancholy, give it a spin.

10. Haim- Women in Music Pt. III

A fun album that got screwed by the pandemic (literally, in that its release was delayed two months but also in that its breezy sound would have been the perfect summer party soundtrack). After a memorable debut, Haim fell prey to the sophomore slump before rebounding big time with Women in Music Pt. III. There are so many good hooks on this album, and the band showcases their obvious influences (Fleetwood Mac, Joni Mitchell, etc.) without sounding stale. Here's hoping these songs get their deserved treatment on the summer festival circuit in the next year or two.

9. Fleet Foxes- Shore

After 2017's complex, moody Crack-Up, Fleet Foxes leader Robin Pecknold went in a decidedly more optimistic (and accessible) direction with Shore. Brimming with dazzling folk melodies, the album provided a needed contrast to 2020's perpetual gloom. The emotional center of the album is "Sunblind," a beautifully earnest and somehow not at all corny tribute to Pecknold's departed music influences (people such as Silver Jews' David Berman, Judee Sill, Arthur Russell, and Elliott Smith). The whole album is strong, however, and is a deserving addition to one of the more consistently rewarding discographies in music over the last decade-plus.

8. Jessie Ware- What's Your Pleasure?

Listening to this wonderful disco-indebted album was almost cruel in a year where there was no chance of hearing any of these songs on a dancefloor. Still, for my sanity I could not spend all year wallowing in sadness and this bright, energetic album really lifted my mood whenever I put it on; perhaps it will do the same for you.

7. Sault- Untitled (Rise)

Sault are a semi-anonymous group from the UK who have put out four albums since 2019, with Untitled (Rise) their best yet. Blending soul, disco, and Afrobeat, Sault's music is consistently thrilling. The percussion in particular stands out—these songs groove. Several of the songs also include pointed commentary on issues such as police brutality, providing a continuation of themes explored on its 2020 companion album Untitled (Black Is) released during the George Floyd uprisings. Sault's powerful music provided a perfect accompaniment to a historically turbulent year.

6. Perfume Genius- Set My Heart on Fire Immediately

Mike Hadreas, the artist behind Perfume Genius, has released a series of increasingly expansive and ambitious art pop albums over the past decade. Set My Heart on Fire Immediately feels like the culmination of everything he has been working toward—with a sonically diverse group of songs ranging from quiet orchestral ballads (Leave), to a funky dancefloor banger (On the Floor), and a song that would have been at home on The Cure's Disintegration (Your Body Changes Everything). 

5. Andy Shauf- The Neon Skyline

When I reflect back on the weeks before Covid hit, this is the album I am always going to think about. The subject matter of this concept album feels quaint now: guy nestles up to the bar at his local dive and discovers a past flame has returned to town. Pre-Covid, I appreciated Shauf's warm folk-rock sound, charming use of clarinet, and his immersive storytelling skills. Ten months later, listening to The Neon Skyline feels wistful—especially since I would give anything to safely go to a dive bar again. Further accentuating that feeling is the fact that the last concert I attended was seeing Shauf perform this album at Thalia Hall. Until I am able to go to a bar and see live music again, living inside these songs will have to do.

4. Adrianne Lenker- songs/instrumentals

Lenker has quickly become one of my favorite songwriters over the past half-decade via her work with Big Thief. With apologies to Taylor Swift, songs and instrumentals are the best of the many so-called "quarantine albums" released this year. After Big Thief's tour was canceled, Lenker holed up in a cabin in Western Massachusetts and made these beautiful albums. songs is a spare collection of guitar-and-voice compositions; not exactly a new formula, but Lenker's music has a special quality that is hard to put into words. Though so far she has operated at her best in the context of a full band, songs proves that her music is plenty alluring on its own. instrumentals, on the other hand, showcases her outstanding guitar playing across two soothing long-form pieces. Paired together, these albums were a needed calming presence in my life this year amidst all the dreary background noise.

3. Waxahatchee- Saint Cloud

Waxahatchee's Katie Crutchfield has been churning out reliable indie rock albums for years. Fitting for a project named after a creek in Alabama, Saint Cloud finds her delving full-on into rootsy Americana. The results are spectacular, with Crutchfield's sharp lyrics and powerful vocals combining with exquisite country-rock production to create a memorable, emotionally affecting set of tunes. The album is endlessly replayable, with its stunning second track "Can't Do Much" being my most-listened-to song of the year (lol, apparently Obama or whoever shows him trendy music is also a fan). In a year that demanded we seek refuge wherever we could find it, Saint Cloud was a rare 2020 release that felt instantly familiar and comforting.

2. Phoebe Bridgers- Punisher

One of 2020's few breakout stars, Bridgers this year fully realized the promise shown on her 2017 debut album and subsequent collaborations with Julien Baker, Lucy Dacus, and Conor Oberst. Punisher was written and recorded before Covid-19 and yet the album's primary themes—anxiety, dread, and self-doubt—match up perfectly with what most of us have experienced this year. Bridgers' clever, self-deprecating lyrics are the star of the show here, with more memorable lines than I can count (one example: "We hate Tears in Heaven/But it's sad that his baby died"). Musically, the album ranges from quiet folk (such as on album highlight "Graceland Too"), to the zippy "Kyoto," as well as epic closer "I Know the End" which culminates in an ear-piercing scream that I cannot wait to experience live. Punisher might not have provided emotional escapism, but it resonated more than almost any album I heard this year.

1. Fiona Apple- Fetch the Bolt Cutters

Fiona Apple is not exactly prolific, so when she announced Fetch the Bolt Cutters at the start of the pandemic it was a much-needed dose of good news. Apple is still best known for her 1996 hit "Criminal" and the accompanying Tidal, but since that time she has released a slow drip of incredible (albeit less radio-friendly) music; Fetch the Bolt Cutters is just her fifth album in 24 years. The album begins with Apple's signature piano driving the gorgeous ballad "I Want You to Love Me" and the propulsive ode to grade school words of encouragement "Shameika" (the story behind the latter song is worth your time). From there, however, percussion becomes the musical focus—with Apple and her bandmates seemingly using every available household object to create a mesmerizing complement to her passionate vocals. Apple has never been afraid to take risks or offend people ("Kick me under the table all you want, I won't shut up" she sings on "Under the Table"). Particularly on the album's back half, she flirts with abrasion while keeping her music highly compelling. This is not background music; Apple's forceful, unguarded lyrics and fierce originality demand your full attention. Though not quite my favorite Fiona Apple record (depending on the day you ask me, that would be When the Pawn... or The Idler Wheel...), Fetch the Bolt Cutters is another masterwork to add to her small but brilliant catalogue. In a trying, often claustrophobic year, it was inspiring to listen to Apple fetch the proverbial bolt cutters, break free of expectations, and create such a unique, adventurous album; nothing else in 2020 was on her level.

Best of 2020 Playlist

Here are 83 of my favorite songs of the year, sequenced for maximal musical enjoyment (or just put it on shuffle, whatever).

My Twenty Favorite Albums of 2019, Plus a Bonus End-of-Decade Playlist

Gonna get right to the point here: I listened to a lot of albums in 2019. Twenty of them were particularly good. Here's a list of them, with brief commentary (I spent a lot less time writing this up this year! You'll be able to tell!) There are also two playlists at the bottom- one with my favorite songs of the year, and another (very long!) playlist of my favorites from the past decade.

Honorable Mentions

Madlib and Freddie Gibbs- Bandana

Bon Iver- i, i

Aldous Harding- Designer

Jenny Hval- The Practice of Love

Top Twenty

20. Solange- When I Get Home
Seems slight in comparison to A Seat at the Table but there are some really cool sounds/grooves on this album.

19. (Sandy) Alex G- House of Sugar
This album is half weird lo-fi studio experiments and half extremely catchy earworms. His best album, I'd say.

18. Stella Donnelly- Beware of the Dogs
Nice debut album from an Australian singer-songwriter. Good variety of songs on this one, I have a feeling she has even better albums ahead of her.

17. Sharon Van Etten- Remind Me Tomorrow
Sharon is happy and in love! Which is nice to see after her emotionally brutal prior album. But turns out happy people can still make excellent albums, and she might have written the best song of her career with Seventeen.

16. Danny Brown- uknowhatimsayin¿
One of the most consistently interesting artists of the last decade delivers another great rap album.

15. Carly Rae Jepsen- Dedicated
I am incredibly embarrassed that I didn't put Emotion near the top of my 2015 Favorite Albums list. But I am rectifying that mistake by putting its not-quite-as-good but still delightful and highly entertaining follow-up on this list. Her concert at the Chicago Theatre was one of the more joyful concert experiences I had in 2019.

14. Vampire Weekend- Father of the Bride
Vampire Weekend have settled into a jam band kind of thing with this collection of fun, breezy tunes.

13. PUP- Morbid Things
If you are reading this list looking for a new album to rock out to, this is the one. Think my body is still recovering from their show at Metro I saw earlier this year, these guys know how to make a room full of people go absolutely insane. They also make fantastic music videos.

12. Tyler, The Creator- Igor
Tyler has turned into an incredible producer. This a very well-constructed album that makes great use of synths. And Tyler sings a lot on it (and does so well!).

11. Nilüfer Yanya- Miss Universe
A lot of people slept on this album, but it's great. A highly original debut from a songwriter with a lot of range. Heavyweight Champion of the World has been stuck in my head basically all year.

10. Julia Jacklin- Crushing
After a solid debut a few years back Julia Jacklin took a huge step forward with Crushing, an endlessly replayable album about moving forward (and all the self-doubt and anxiety that comes with it) after the end of a relationship. As one would expect given the subject matter, there are some rather emotional moments but Jacklin throws in some catchy rockers (albeit with less than optimistic lyrics) for good measure.

9. Big Thief- UFOF
The first of two excellent albums Big Thief put out this year, UFOF is a strange, alluring collection of songs. Frontwoman and chief songwriter Adrienne Lenker's vocals are not for everyone but if you can get used to her singing style there is much to appreciate in the band's music. By the end of the decade they have taken the mantle from The National as indie music's biggest "grower" band- you won't necessarily love them immediately but keep listening and they could become one of your favorite bands, as they have for me.

8. Purple Mountains- Purple Mountains
A new project by longtime Silver Jews leader David Berman following a decade-long hiatus. Few albums outside of Jason Molina's catalog capture the feeling of someone in the throes of depression like Purple Mountains. It is impossible to listen to this album removed from its tragic context: weeks after its release, Berman died by suicide. I am grateful he left us a beautiful parting gift.

7. Angel Olsen- All Mirrors
One of my favorite musicians of the decade, Olsen's sound has grown in a way fans who have been following her since her early self-recordings (humblebrag, myself) would have never anticipated. Olsen really went for it on All Mirrors, employing lush orchestral production that increases the power of her songwriting.

6. Big Thief- Two Hands
My favorite of Big Thief's two albums this year, Two Hands finds the band adopting a raw, live-in-studio approach which suits them well. The album also includes my favorite song of the year, the absolutely immense Not.

5. Weyes Blood- Titanic Rising
The flat out prettiest album you'll hear this year, the 70s-indebted Titanic Rising already sounds timeless. Show it to your parents, they'll like it!

4. FKA Twigs- Magdalene 
Magdalene feels like an extension of the weirdo art pop artists like Kate Bush were making in the 70s and 80s. FKA Twigs's vocals are incredible throughout, especially on the gorgeous ballad Cellophane. Also, I guess I like Skrillex now because he helped write and produce two of the songs on the album (Sad Day and Holy Terrain).

3. Nick Cave and the Bad Seeds- Ghosteen
The first album Cave wrote entirely after the death of his son, Ghosteen finds him figuring out how to move on with his life. A beautiful and deeply moving album of piano and synth ballads that invites repeated listens.

2. Lana Del Rey- Norman Fucking Rockwell!
I'd never been compelled to listen to Lana Del Rey until this year but Norman Fucking Rockwell! won me over initially with its title (I'm a sucker for an amusing album title) and then with the music, which is impeccably produced (how did the guy from fun. get so good at this?) and performed. These songs really tug at your heartstrings, which I guess I knew was Del Rey's schtick, but she delivers these songs genuinely. She convincingly shows she's a true talent and not a gimmicky music industry plant which was my previous ill-informed impression of her. Moreover, somehow a 70-minute album made up almost entirely of piano ballads isn't a slog at all- the songwriting is that good here (plus, there's a Sublime cover thrown in for good measure). If you are like me and had dismissed Del Rey previously I strongly encourage you to check out this album, it will likely change your mind about her.

1. Jamila Woods- Legacy! Legacy!

Clearly I have a strong Chicago bias because a local artist has now topped my list three out of the last four years (though lol at me ranking Chance's Coloring Book over Frank Ocean's Blonde in 2016). But Legacy! Legacy! was the album I most frequently returned to this year. Each song is inspired by a different Black and Brown luminary from the past century- people like Zora Neale Hurston, Frida Kahlo, Jean-Michel Basquiat, James Baldwin, and Octavia Butler. Back in November, I saw Woods perform the album in a VH1 Storytellers-type setting where she spoke about each song on the album along with audio clips and visuals by the various song inspirations. It was breathtaking hearing her explain in detail how she melded these inspirations into a cohesive album. The album works quite well on a purely musical level (there are many wonderful grooves throughout), but taking the time to dig into the lyrics and the musicians, writers, and artists who inspired them makes for an even more rewarding listen. Woods is a poet by trade, so its no surprise that the wordplay is outstanding. Woods's memorable lyrics are accented by a killer band that deftly incorporates elements of R&B, jazz, rock, hip hop, and house music into a consistently exciting listen. With Legacy! Legacy!, Woods has put herself on a path towards perhaps one day being mentioned beside the legends who inspired the album. Regardless of what Woods's own legacy will be, no album gave me more joy to listen to in 2019.

Best of 2019 Playlist

Here are some of my favorite songs of the year. Per usual, I spent some time sequencing it so I will be VERY offended if you listen to it on shuffle.

Best of the 2010s Playlist
Look, sometimes you get bored and you make a nearly 16 hour, 210 song playlist. Totally normal. But I think this is a pretty fun listen. And definitely do listen to this one on shuffle.

My Twenty Favorite Albums of 2018

2018 felt a bit off to me, musically-speaking. Certainly, there was plenty of music I liked. But compared to the past few years, not as many albums I loved. With that said, there were some musical milestones this year: 

-I learned that I really like Ariana Grande (Lyft rides are much more pleasant now!)

-boygenius formed, released an amazing EP, and put on one of the most inspiring shows I've ever seen. Supergroups can be good!

-I saw Radiohead play the one good song from Pablo Honey that's not Creep. First performance since 2008!! Be excited for me. 

-A country artist (Kacey Musgraves) and a jazz artist (Kamasi Washington) made my favorite albums list for the first time. And I believe this is the first year that a majority of albums on my list are by women.

-I obtained a recording of myself singing an absolutely horrific karaoke version of Carly Rae Jepsen's "Run Away With Me" at Alice's Lounge. No, you cannot hear it.

Anyway, on to the list. Below are my favorite albums of 2018. At the bottom, you'll find a (poorly-edited, overly long) playlist of my favorite songs of the year.

Honorable Mentions

boygenius- boygenius EP (Though really this should be #4 on the list, relegated to honorable mention status only due to its length)

Ravyn Lenae- Crush EP

Pusha T- Daytona

Adrianne Lenker- abysskiss

Parquet Courts- Wide Awake!

Car Seat Headrest- Twin Fantasy

Vince Staples- FM!

Top Twenty

20. Janelle Monae- Dirty Computer

This is topping a lot of lists this year, and though I don't think it is a masterpiece, it is a fun, uplifting listen. Her live show though, holy shit. An absolute blast.

19. Let's Eat Grandma- I'm All Ears

Yes the band name is terrible (though it might be pleasing to grammar nerds). But this is a very good band! Essentially, they sound like Chvrches but a bit weirder and more experimental. So if Love is Dead disappointed you, maybe check this out instead.

18. Ariana Grande- Sweetener

As indicated above I never really listened to Ms. Grande until this year. Then I heard "No Tears Left to Cry" and found it to be simultaneously a powerful response to 2017's tragic Manchester bombing and also an infectious pop banger. Turns out the whole album is very enjoyable, with consistently interesting songwriting and production choices. Grande ended the year as the biggest pop star on the planet and she is 100% deserving of that title.

17. Robyn- Honey

If you had asked 11-year-old me which artist behind a 1997 pop hit would make an album I love two decades later, I certainly would have guessed Chumbawumba and not Robyn. Granted, it was not a particular shock to 2018 me; after all, this is the woman who wrote "Dancing On My Own." Honey is an exquisite collection of pop songs, bookended by two of my favorite songs of the year ("Missing You" and especially "Ever Again"- one of the most empowering breakup anthems I've ever heard).

16. Earl Sweatshirt- Some Rap Songs
With 15 songs in 24 minutes, Some Rap Songs packs a lot of ideas and interesting sounds into its short run time. It can be a disorienting listen at first, because just as you start getting into a song the next one abruptly starts. But with patience the album reveals a surprising cohesiveness, bound together by a bevy of looped samples and nonstop, hook-free rapping.

15. U.S. Girls- In A Poem Unlimited
Cool as hell, surprisingly groovy album (which caught me off-guard because her earlier work is a lot less immediate). Outstanding use of saxophone on this one.

14. Hop Along- Bark Your Head Off, Dog

One of my favorite rock bands returns with an album that matches the quality of 2015's stellar Painted Shut. Frances Quinlan remains one of the most powerful vocalists in music, and the band's songwriting has evolved to include some new instruments and textures- most notably, on the stunning strings-laden closing track "Prior Things."

13. Foxing- Nearer My God

Another of the most memorable shows I saw in 2018 was this St. Louis band's triumphant, celebratory tour-finale at Lincoln Hall. The band was incredibly grateful to have sold out the venue, and delivered a rousing performance matched in enthusiasm by a crowd shouting every lyric back at the band. A similar energy is captured on Nearer My God, the album that inspired me to attend the show. These are big songs with soaring melodies paired with emotional, soul-bearing lyrics. In a parallel universe where rock bands still could ascend to the top of the music world, I can imagine these songs being played in stadiums.

12. Jeff Rosenstock- POST-
Released on January 1st, 2018, POST- was a trusty companion this year whenever I was in the mood to rock out. Rosenstock is a punk lifer with outstanding songwriting chops. His music is vibrant, thoughtful, and adventurous- with him allowing space for a 7 ½ minute multi-sectioned epic ("USA") to start the album and an 11-minute fist-pumping anthem ("Let Them Win") to close things out. The latter even has a calming 5-minute drone outro, not often found in punk songs!

11. Kali Uchis- Isolation
My favorite debut album of the year. Uchis is a Colombian-American artist who I first learned of in 2017 via her amazing performance on Tyler, The Creator's "See You Again." Isolation reveals that, in addition to her impressive vocals, she can successfully pull off a diverse range of styles- from R&B, synth pop, funk, and Latin pop to Amy Winehouse-style neo soul. Uchis drafts an array of impressive collaborators (Damon Albarn, Steve Lacy, Tame Impala's Kevin Parker, and Tyler on album highlight "After the Storm") but her voice and charisma remain front and center. I would love to see her further cross over into the mainstream; she definitely has the talent to be a world-conquering pop star.

10. Mount Eerie- Now Only
Phil Elverum followed up the saddest album I've ever heard (2017's A Crow Looked at Me) with this almost-as-sad album. Unlike Crow, which captured the raw heartache of his wife's still very-recent passing from pancreatic cancer, Now Only finds Elverum figuring out how to move forward living his life and raising his daughter. He bluntly states on the title track, "But people get cancer and die/People get hit by trucks and die/People just living their lives/Get erased for no reason with the rest of us watching from the side/And some people have to survive/And find a way to feel lucky to still be alive/To sleep through the night." I saw Elverum perform much of the album at Thalia Hall last June, and it was an incredibly beautiful albeit surreal experience. At the end of each song, you could feel each audience member hesitating: "he just sang a song about discarding his dead wife's ashes...how do I clap for that?" Thankfully, there is a happy ending of sorts. Little did I know that a few weeks after that show Elverum would move to New York and marry the actress Michelle Williams.

9. Beach House- 7
Beach House have been a consistently good band since 2006, and released two fine albums in 2015. Nonetheless, I found myself not especially excited for 7 when it was announced. It felt to me that their sound had run its course. How many blissful dream pop albums could this band make before things become stale? Thankfully, I was mistaken. 7 is one of Beach House's best albums, only eclipsed by Teen Dream in my mind. "Dive" best encapsulates how they managed to keep things fresh. Starting off as a typical Beach House-y song with organs and hushed vocals, midway through the song transforms into a full-on, New Order-indebted dance number. In general, the album provides a darker atmosphere than their previous albums; however, they forged down this darker path without sacrificing the qualities that make their music so comforting to my ears. And in doing so, cemented their status as one of the best indie bands of the last 15 years.

8. Kacey Musgraves- Golden Hour
I will admit that I never would have listened to Golden Hour on my own, drawn to it instead by the torrent of praise it received outside of the pop country world. From the tender opening notes of "Slow Burn," I could tell the album would challenge my negative stereotypes about modern country music. Nowhere to be found are inane lyrics about trucks and beer, sterile production, or MAGA-adjacent politics. Instead, Golden Hour is an earnest collection of often sweet pop songs- delivered with warmth and humor. Try to listen to these lines from "Slow Burn" without smiling: "Texas is hot, I can be cold/Grandma cried when I pierced my nose." Musgraves displays impressive versatility as well, most notably on the country-disco masterpiece "High Horse." Musgraves also delivers one of the most gorgeous ballads I heard this year, "Rainbow" (let's be real, I could definitely cry to this one if I let myself). Though I am not exactly planning on running out and buying some Brooks and Dunn records, I am glad to have found a pop country artist who resonates with me.

7. Noname- Room 25
It frustrates me to see Noname often mentioned as being "one of the best female rappers in the game" because she is without a doubt one of the best rappers, period. No gender qualifier needed. 2016's Telefone was an exciting debut but Room 25 betters it in every way. Still employing a jazzy backing band as on Telefone, the musicianship and complexity of Noname's song arrangements take a big step up on Room 25. Noname's rapping sounds more confident here, as well- with her declaring at the outset "Y'all really thought a bitch couldn't rap, huh? Maybe this your answer for that." I was sad to learn that Noname no longer calls Chicago home, having moved to Los Angeles in 2017. But Chicago is still all over this album, with frequent lyrical nods and an impressive array of local collaborators (Ravyn Lenae, Phoelix, Smino, and Saba all make appearances). "Ace," featuring Saba and Smino, makes me feel especially grateful to live in a city that has birthed so many talented musicians. Room 25 is a wonderful realization of the potential Noname hinted at on Telefone, and one of the more inspiring albums I heard this year.

6. Lucy Dacus- Historian
Few songs wowed me this year as much as Historian opener "Night Shift." I dare you to not belt out the song's explosive chorus ("You got a nine to five, so I’ll take the night shift/And I’ll never see you again if I can help it") at the top of your lungs. The rest of the album, though generally more restrained, is consistently enjoyable. "Addictions" and "Next of Kin" are quite catchy, while the slow-burning "Pillar of Truth" provides one of the more exciting musical payoffs of the year. Dacus's talents further shined in 2018 on her contributions to the stellar boygenius EP with Phoebe Bridgers and Julien Baker. Only 23 years old, Dacus has very clearly positioned herself as a songwriter to watch moving forward.

5. Kamasi Washington- Heaven and Earth

Jazz has long been a genre I have neglected, and given that I have never listened to countless jazz classics (Bitches Brew? A Love Supreme? Nope!) I still have a lot of work to do. Heaven and Earth, however, has piqued my interest somewhat. I have known Kamasi Washington's name for awhile, primarily due to his collaborations with Kendrick Lamar and Thundercat, but I had never heard his own music before this year. Heaven and Earth impressed me from the outset- opener "Fists of Fury" is an absolutely epic re-imagination of the theme from an old Bruce Lee movie. Amazingly, Washington manages to sustain that level of quality for the entire 2 hours and 24 minute running time. The album is impeccably arranged and produced. Washington displays skill performing both fast tempo songs that let him go wild on the saxophone, as well as slow, beautiful ballads. Heaven and Earth may be an intimidating listen, but I found myself continually returning to it due to the tremendous artistry on display.

4. Mitski- Be the Cowboy
Mitski's audience has exploded since 2016's fantastic Puberty 2. She has handled this increase in attention with humility and grace, frequently and earnestly declaring gratitude to fans on her wonderful (and often hilarious) twitter feed. Be the Cowboy (to Mitski's own befuddlement) has topped year-end lists by publications such as Pitchfork. Though to me, Puberty 2 is the superior record, Be the Cowboy got under my skin like few albums this year. With only two songs exceeding three minutes, the album moves by quickly and often leaves the listener wanting more. This is fitting, with Mitski's lyrics describing people who are restless, insecure, and unsatisfied. Mitski has a profound talent for writing songs that genuinely capture core human emotions (heartache, sadness, regret) in a way that resonates with the listeners' own experiences. Album centerpiece "Nobody," probably my favorite song of the year, is an anthem to loneliness set to a disco soundtrack. Mitski understands that sometimes you just want to wallow in that feeling of being alone, that this can be something to celebrate. Be the Cowboy might not be the most uplifting listen, but it provides excellent emotional validation.

3. Julia Holter- Aviary
Aviary is the boldest album I heard this year. In 2015, Holter released Have You In My Wilderness- a  relatively accessible and well-received collection of chamber pop songs; the album was in stark contrast to her previous, more experimental work. Fresh off that success, Holter easily could have continued down the same path in an attempt to further expand her audience. Instead, Holter went in the complete opposite direction- returning to her roots and releasing a fiercely avant-garde album surely to challenge even her biggest fans. Aviary is unlike any album I've ever heard. In fact, it almost feels wrong to call it an "album"; instead, it functions as an atmosphere to get lost in for 90 minutes. None of the 15 songs are structured in any sort of conventional way, with Holter's gorgeous vocals and a dense array of strings, horns, piano, and organ the only constants. And before you get mad at me, fair warning: epitomizing the risks Holter took on this album, "Everyday is an Emergency" starts out with a four minute bagpipe drone (it has kinda grown on me!). Most of the album, however, explores beautiful rather than abrasive sounds. Holter's music makes me feel glad to be alive- not dissimilar to how I feel when immersed in nature. This year, there was no better album than Aviary for when I wanted to relax and let music calm my mental state.

2. Low- Double Negative
Low are long-time favorites of mine, having created a sublime catalog of slow-burning, melancholy music ("slowcore" being the genre they are most associated with). Double Negative, the band's 12th album, represents a high-water mark in their career. Low has always been an adventurous band, unafraid to release a song with a 10-minute drone outro or to turn Little Drummer Boy into a funeral dirge. Double Negative, however, finds the band exploring a sound unlike any I have heard from them or anyone else. Fuzz and distortion prevail on the album, employed in a way that is hypnotic rather than off-putting. The album almost sounds like it is from the future, with guitars used to create alien soundscapes. As with the band's previous work, the vocals are beautiful and haunting. This is  particularly true when drummer Mimi Parker, who has long been one of my favorite vocalists, sings. Seeing the album performed at Rockefeller Chapel at University of Chicago was the perfect setting to hear these songs, representing another concert highlight for me in 2018. I tend to temper my expectations for new albums by bands that have been around for 25+ years like Low has. Double Negative is the rare album that finds a band three decades into its career proving emphatically that they have only gotten better.

1. Saba- Care for Me
I will fully admit that even as a self-identifying music obsessive, I am rarely hyper-focused on what I am listening to. Oftentimes I am listening to music on crappy laptop speakers while browsing Twitter and getting angry about the day's headlines. As a result, I tend to take in the overall sound of an album but rarely do I get more than a surface-level impression of the lyrics. Care for Me, however, demanded my attention like no other album I heard this year. I first heard of Chicago rapper Saba through his collaboration with Chance the Rapper on "Angels" in 2015, but as one of the leaders of the west side collective Pivot Gang, Saba has been a key member of the city's thrilling hip-hop scene since his first project dropped in 2012. Saba's close association with the Pivot Gang forms the tragic backstory for the album. On February 8th, 2017, Saba's cousin Walter Long Jr., a founding Pivot Gang member, was stabbed to death following an altercation on a Green Line train. Care for Me finds Saba processing this loss in an absolutely stunning tribute to his cousin. I can tell you precisely when I realized this was likely going to be my album of the year. Driving home after a quick trip to Wisconsin last July, I put on the album as I entered into Illinois. At that point, I knew the heartbreaking context of the album but had not taken the time to truly feel what Saba was saying. Without a glowing screen to distract me, I listened to his every word. By the time the album was over, I was in awe at Saba's ability to so vividly capture the life and death of his cousin as well as the many emotions (anger, despair, guilt) he experienced in the aftermath of his murder.

There are two major highlights on Care for Me. On opener "BUSY/SIRENS," Saba raps about his social isolation and depression that worsened after his cousin's death; simultaneously, he paints an evocative portrait of living in a bitterly segregated city where police sirens bring fear to his community in the west side neighborhood of Austin. The penultimate track, "PROM/KING" is absolutely heart-wrenching. Throughout 7½ captivating minutes, Saba tells the story of when Walter helped get him a prom date and how their friendship blossomed in the ensuing years. During the song's second half, Saba raps at a furious pace as he talks about how their lives and careers were trending upward until that fateful February day. The song ends with Saba recounting receiving a phone call from Walter's mother trying to find out what happened to him in the confusing hours after his murder. Walter's voice is then heard, singing "Just another day in the ghetto...I just hope I make it 'til tomorrow." The rest of the album, while not quite as intense, similarly evokes strong emotions in the listener. Saba utilizes jazz accents on "LIFE" and "CALLIGRAPHY," both powerful songs that further speak to his anguish. "SMILE," meanwhile, provides a rare upbeat moment- with him reminiscing about growing up in his grandparents' west side apartment and expressing a desire to vacation in the South where his family originates. The album concludes with Saba taking Walter's perspective on "HEAVEN ALL AROUND ME." He attempts to reach a sense of comfort by telling himself that, after all that has transpired, there is now "heaven all around" his cousin.

As a whole, Care for Me is a remarkable album and one of the finest to come out of the vibrant Chicago hip-hop scene. Saba channeled his grief into a complex, absorbing work that will ensure his cousin's legacy lives on.

Best of 2018 Playlist
Here is a playlist of some of my favorite songs of 2018. These get longer every year, sorry. But I think it flows nicely (don't listen to it on shuffle)!

My Twenty Favorite Albums of 2017

A lot of terrible things happened in 2017. Thankfully, there was plenty of great music to help keep me (mostly) sane and remind me that there is hope for humanity yet. Below are the albums that affected me most in 2017, followed by a playlist of some of my favorite songs of the year.

Honorable Mentions
Jay Som- Everybody Works
White Reaper- The World's Best American Band
Moses Sumney- Aromanticism 
The National- Sleep Well Beast
Waxahatchee- Out In the Storm
LCD Soundsystem- American Dream
Father John Misty- Pure Comedy
Charly Bliss- Guppy

Top Twenty
20. King Gizzard and the Lizard Wizard- The Five Fucking Albums They Released in 2017

I'm cheating a bit here by not singling out a particular album, but come on, these psych rockers said they'd release five albums in 2017 and then actually did it. And all of the albums were pretty good! I suppose Flying Microtonal Banana was my favorite with Polygondwanaland a close second. Their show at Lincoln Hall was also one of the best I saw this year. 

19. Protomartyr- Relatives in Descent
Another high-quality collection of brooding post-punk songs by one of the most underrated rock bands out there.

18. Thundercat- Drunk
Probably the most humorous album I heard this year, and also one of the funkiest. The Michael McDonald and Kenny Loggins-featuring "Show You the Way" is an obvious highlight, but there are a lot of jams on here.

17. Japanese Breakfast- Soft Sounds From Another Planet
Really beautiful album that sounds a lot like its title. Great to zone out to at night.

16. Slowdive- Slowdive

Excellent reunion record by these shoegaze legends. Not easy to take a 22 year break and come back with an album that improves your catalogue, but Slowdive pulled it off.

15. Priests- Nothing Feels Natural

This band sounds like a cross between Sonic Youth and Sleater-Kinney, while still managing to be fresh and exciting. One of the best debut albums of the year, and their extremely energetic show at Beat Kitchen was another highlight of my 2017 concert-going. 

14. Jens Lekman- Life Will See You Now
Lovely indie pop album. Few songwriters pull off the "melancholy lyrics with bright melodies" juxtaposition as well as Jens.

13. Perfume Genius- No Shape

An intriguing collection of lush, densely-orchestrated art pop songs.

12. Fleet Foxes- Crack-Up
This album was divisive among fans of the band's previous work due to its unconventional (and often jarring) song structures. If you spend enough time with Crack-Up, however, it reveals itself to be a fascinating album brimming with interesting ideas, albeit not as endlessly replayable as their first two albums.

11. Run the Jewels- Run the Jewels 3

Another satisfying album of impeccably produced music by the best duo in rap.

10. Tyler, The Creator- Flower Boy

Never could get into Tyler's music previous to this album, but he took a huge step forward here. The songs are stylistically diverse and downright pretty at times. The album also features my favorite Frank Ocean appearance of the year, on the wonderful "911/Mr. Lonely."

9. King Krule- The Ooz
Is jazzy experimental post-punk your thing? Probably not! But if it is, this is your album. Just don't expect to get into it on your first few listens- took me four or five to appreciate its slow-burning brilliance.

8. Lorde- Melodrama

The follow-up to Pure Heroine may not have had a ubiquitous hit à la "Royals," but Lorde managed to improve on her debut in every way. Brilliant pop songwriting.

7. Vince Staples- Big Fish Theory

Staples's house-music influenced sophomore album is essential listening for fans of both electronic/dance music and rap.

6. Julien Baker- Turn Out the Lights

Heartbreakingly sad but emotionally cathartic album by a supremely talented young singer-songwriter. If you can sit through "Appointments" with dry eyes, you are probably an alien or something.

5. Big Thief- Capacity

Never would have guessed this album would make my top five when I first heard it, but I kept returning to it this year. Frontwoman Adrianne Lenker is an outstanding singer and lyricist, and her stories from her traumatic childhood resonate deeply.

4. SZA- CTRL

SZA became hands down the breakout star of 2017 thanks to this instant R&B classic- impressive given how difficult it is to get smart speakers to play the correct damn artist (no, Alexa, I did not say "Sizzler").

3. The War on Drugs- A Deeper Understanding

I did not think The War on Drugs would ever create another album as good as Lost in the Dream (my favorite album of 2014, for those keeping score at home) but they came pretty dang close! A Deeper Understanding is even more meticulously crafted than its predecessor, and continues to showcase the band's talent for writing blissed-out rockers and lighters-in-the-air ballads that should resonate with any rock fan no matter their age.

2. Mount Eerie- A Crow Looked At Me

I am not going to mince words here: this is the saddest album I have ever heard. Songwriter Phil Elverum's wife was diagnosed with cancer months after giving birth to the couple's first child in 2015, and tragically died at age 35 the following summer. Elverum recorded A Crow Looked At Me in the ensuing months, in the same room where his wife died and using her old instruments. Elverum states bluntly on the album's powerful opener "Real Death" that "Death is real/Someone's there and then they're not/And it's not for singing about/It's not for making into art." Elverum is acutely aware that grieving for his wife through his songwriting is a futile exercise, that nothing will truly make him feel better. Nonetheless, Elverum lays his emotions bare and the result is both beautiful and heartbreaking. Despair permeates every moment of the album, accented by sparse musical arrangements ("barely music," Elverum called it in an interview). This is not an album I am able to listen to very often, and cannot "enjoy" like most of the other music on this list. But A Crow Looked At Me so effectively captures a dark, sorrowful part of the human experience that when I do listen it is a fully immersive and deeply moving experience; this album cannot be background music. Despite Elverum's declaration that he had no desire to make art in the face of personal tragedy, he created a masterwork of grief and loss that hit me harder than nearly everything I heard in 2017.

1. Kendrick Lamar- DAMN.
Before 2015, all my year end "best album" lists had nary a hip-hop release on them, save for the occasional Kanye West cameo. Then Kendrick Lamar released To Pimp a Butterfly, and I decided to take a break from listening to guitar bands and see what the hype was about. I remember driving to work listening to the album for the first time, quickly realizing I was hearing something special. I had previously (and ignorantly) dismissed rap as one-dimensional, tuneless music. To Pimp a Butterfly shattered that notion. It was the most creative, thought-provoking album I had heard in a long time. With DAMN., Lamar has made another masterpiece and cemented his standing (in my mind, at least) as the best musician on the planet.

While To Pimp a Butterfly paid tribute to the jazz and funk songs of Lamar's youth, DAMN. employs a starkly different sound- showing his unique spin on what rap should sound like in 2017. Working closely with hit-making producer Mike Will Made-It, Lamar manages to connect with the pop masses (every song on the album charted on the Billboard Hot 100!) while compromising none of his artistic ambition. DAMN. announced its arrival with the chart-topping first single "Humble," the most overt "banger" of his career. With "Humble," Lamar shows that he can make a song completely in line with 2017 rap trends, and he can do it better than anyone (its incredible music video further hammers this home). "DNA," too, illustrates Lamar's pure skills as a rapper; its jaw-dropping final third ranks as a career highlight. Elsewhere on the album, Lamar shares a more introspective side. There's "Fear," where he vividly describes terror he has felt at different stages in his life. On "Pride" (my personal favorite), Lamar grapples with being "the best rapper alive" with a desire to maintain humility. "Love," meanwhile, is a straight-up gorgeous ballad destined to be a fixture on wedding playlists. The album concludes with the stunning "Duckworth," with Lamar reflecting on the unbelievable series of events that led to him emerging from troubled beginnings to become a global superstar (and how, when their lives fatefully crossed decades ago, choices made by his father and the head of his record label likely spared him from an untimely demise). Taken as a whole, DAMN. is a remarkable album with many layers; I'm still digesting it nine months after I first heard it. Nothing in 2017 sounded better or more vital.

Best of 2017 Playlist
Here is a playlist of some of my favorite songs of the year, featuring all of the above artists and more!

My Twenty Favorite Albums of 2016

Well, at this point it is clear that this blog only exists as a portal for me to post my year end list of favorite albums, and for my friend Bob to sporadically review weird rock shows he sees in Washington D.C. This isn't even the pre-eminent music blog named Static and Distance anymore. How the mighty have fallen.

Anyway, no one needs to read more about how "2016 was the worst year ever." Nonetheless, it was undeniably bittersweet for me as a music fan. David Bowie, Prince, and Leonard Cohen left us (plus two thirds of Emerson, Lake, and Palmer!). But we also got some truly remarkable new music this year, including two wonderful farewell albums from Bowie and Cohen. Personally, my listening habits shifted significantly. Most people who know me think of me as "that guy who really, really likes Radiohead" (and I still do! See below). However, 2016 was the first time since my circa-1997 days of Puff Daddy worship that I listened to as much hip hop and R&B as rock music. Turns out I had it right in middle school.

Just as I did last year, I made a Spotify playlist of my favorite songs of the year, which you will find at the end of this post. Unlike last year, I don't have the inclination to share extended blurbs about the albums on the list, but I did write brief endorsements.

And now, the moment that maybe three of you have been waiting for! Here are my favorite albums of 2016:

Honorable Mentions:
Kendrick Lamar- Untitled/Unmastered
Kaytranada- 99.9%
Pinegrove- Cardinal
Noname- Telefone
Danny Brown- Atrocity Exhibition
Whitney- Light Upon the Lake

Top Twenty
20. Kanye West- The Life of Pablo
This album is a mess, honestly, but the highlights ("Ultralight Beam," "Waves," "No More Parties in LA") are so good that it just barely sneaks onto this list.

19. King Gizzard and the Lizard Wizard- Nonagon Infinity
A perfectly executed psychedelic rock opus that can (and should) be played on an infinite loop.

18. Blood Orange- Freetown Sound
Nice third effort from alternative R&B artist Dev Hynes, featuring excellent collaborations with the likes of Debbie Harry, Empress Of, and Carly Rae Jepsen.

17. Jamila Woods- HEAVN
Fresh off her star turn on the chorus of "Sunday Candy," Ms Woods shows that song represented just the tip of the iceberg of her talent.

16. NxWorries- Yes Lawd!
Capping off an extraordinary year for Anderson .Paak, he and producer Knxwledge released this excellent collection of hip hop jams layered over a bevy of soul samples.

15. Bon Iver- 22, A Million
I found the whole numerical theme of the album (and its borderline incoherent song titles) a little pretentious, but the songs themselves are good and represent an interesting evolution of Bon Iver's sound.

14. Leonard Cohen- You Want it Darker
One of the best albums ever made by someone in their 80s, and a wonderful conclusion to Cohen's incredible life and career.

13. Weyes Blood- Front Row Seat to Earth
A beautiful and haunting collection of ethereal, dream-like folk songs.

12. Beyoncé- Lemonade
Catchy, lyrically engaging, and demonstrating a remarkably diverse array of sounds across its twelve songs, Lemonade is pop music at its best.

11. A Tribe Called Quest- We Got it From Here... Thank You 4 Your Service
Heck of a comeback album from these hip hop legends, made bittersweet by Phife Dawg's passing.

10. David Bowie- Blackstar
Bowie, ever the iconoclast, goes out with one of his strangest albums- a dark, jazzy/experimental work that sounds like nothing else in his catalogue (or anyone's catalogue, really).

9. Mitski- Puberty 2
This was definitely a down year for rock music, but this album bucks that trend. Simply great songwriting that hits you right in the gut.

8. Angel Olsen- My Woman
Angel Olsen has been one of my favorite songwriters for years now, and My Woman is her most impressive release yet. Far removed from the hushed bedroom recordings of her earliest work, the album sees her expanding her sound with synthesizers, slow-burning guitar epics, and punchy rockers.

7. Car Seat Headrest- Teens of Denial
This is simply one of the most ambitious and creative indie rock albums I've heard in some time. Too many memorable lyrics and hummable guitar hooks to count.

6. Nick Cave and the Bad Seeds- Skeleton Tree
Though most of the album was written prior to the death of his son, the tragedy hangs over each of the songs on this devastatingly sad album.

5. Radiohead- A Moon Shaped Pool
Radiohead's most classically-influenced album by a large margin, A Moon Shaped Pool includes some of the prettiest music of their two-decade-plus career. Additionally, long-time fans such as myself were rewarded with excellent studio versions of long gestating songs such as "Burn the Witch" and "True Love Waits."

4. Solange- A Seat at the Table
Absolutely stunning album that powerfully explores societal issues pertaining to race and gender. Pair that with vibrant music that transcends the typical parameters of "R&B" and you have a classic.

3. Anderson .Paak- Malibu
Hard to believe this album came out during the second week of January because I have been listening to it pretty much nonstop since then. A fantastic melding of hip hop and soul music that was my go-to party album this year.

2. Frank Ocean- Blonde
Several people have told me they "couldn't get into" this album despite liking channel ORANGE, which is understandable. Blonde is not exactly accessible- there's hardly any drums on the thing, for one. However, its confounding qualities are what makes it so brilliant. Blonde is a moody, soul-bearing work by one of the most important (and least predictable) artists in music today. A perfect album for a melancholy solo night drive.

1. Chance the Rapper- Coloring Book
Was Coloring Book really the "best" music release of the year? Probably not. But we're talking about my favorites here, and this was the album (okay, technically mixtape) that most defined my 2016. The gospel-influenced songs on Coloring Book, brimming with choirs and horns, lifted my spirits countless times throughout the year. Chance's enthusiasm and positivity provided a needed contrast to an endless parade of negative world events. He also has proven himself to be one of the all-time great Chicago ambassadors, and driving around the city listening to these songs was a consistently joyful experience.

2016 Year End Compilation
Here are some of my favorite songs of the year, sans anything not available on Spotify (Linked here are the songs I would have included by Beyoncé and Cate Le Bon. And fuck it, here's the entirety of Sheer Mag's III EP).

Guest Post: Bob Reviews Melt-Banana/Melvins/Napalm Death at the 9:30 Club in Washington, DC (4/12/16)

I think it is clear at this point who is most dedicated to posting on this blog: Static and Distance Washington, DC correspondent Bob! Here's another of his zany dispatches from the seedy musical underground of our nation's capital.

Despite what all of my entries on this blog seem to imply, I do go to shows that aren't just exercises in the bizarre. Bands with people who play a normally tuned guitar and four-on-the-floor beats and shit. However, I can't really write about those shows in an interesting manner, so here we are.

On 4/12/16 I went and saw Melt-Banana, Melvins, and Napalm Death at the 9:30 Club. They called the tour the "Savage Imperial Death March Tour," which I'm gonna be honest, even if I didn't know any of the bands would have been worth the ticket price on name alone. I was most excited to see Melt-Banana, especially since I missed a show of theirs in San Diego last year. Melvins are a group I've always known and liked but never really dove into. For Napalm Death, I was completely blind—only having done a quick tour of their discography on Spotify at work the day of the show.

The crowd for this show was interesting, mostly in that I had not felt like more of a square in a very, very long time. Like, I was actively getting side-eye from hardcore kids in the flipped bill hats with gauges in their ears and homemade tattoos and shit. It was fascinating, mostly because I don't have anybody like that in my social scene so it felt good to break out a bit, y'know?  But mostly it left me very jealous of these people with battle jackets. I could easily buy a denim jacket, some patches, and sew that shit up, but I just don't feel like I could pull off the look. It'd be like if I wore an old Ramones-style leather jacket on the way to my job in software development. It'd be completely phony. Maybe someday if I go off the grid or something.

Melt-Banana went on first. Excuse the obnoxiously pretentious genre name, but I think I'd describe these guys as hardcore noise pop. The band is composed of two people: a guitarist, and a singer/electronics manipulator, and they play this frantically hooky punk music. The singer controlled the bass/drum machine tracks via this super cool Nintendo Powerglove type situation, which was really impressive. They banged through their set, basically refusing to waste any time. They even did this bit about halfway through the set where the singer said "Okay! We're gonna play six short songs!", and they banged out six songs that were each about fifteen seconds long (see below for an example from a different stop on the tour). I was really looking forward to seeing these guys, and they more than met my expectations. Was worth the entire show, to be honest.

   Melt-Banana doing their part to get you home at a reasonable hour 

With Melvins what struck me was how impressively professional they were. Kind of what I'd imagine a Neil Diamond concert is like in terms of the musicians' complete confidence in their material and playing ability. Surprisingly, I really enjoyed the outfits these guys had on for the show. I never would have pegged Melvins as "best dressed" kind of guys, but that's what I get for assuming. The guitarist (Buzzo, well King Buzzo officially but that's too formal) wore this pre-match boxing robe with this big ol' eyeball on the front of it—like what a different galaxy's Mike Tyson would be wearing if the TNG crew ever came knocking. Not only that, but the drummer wore a shirt that was bedazzled with the word "Drummer", and guitarist "Guitarist." That really tickled me. The tunes they played were solid, and they were definitely an enjoyable band to see. Well, all their songs literally sound like depression, but they do it very well. That kind of enjoyable.

      Melvins being all professional and skilled at their instruments and stuff

Then on came Napalm Death. They are one of those bands where the band name is in a font that looks like the words were painted in blood on a wall. So I kind of knew what I was getting into, but since they were the headliner and I was marginally interested at best, I stepped back a bit and let all the folks who were stoked up closer and holy shit these people were fucking STOKED. They came out and the singer started talking and I was surprised to learn they were British! I had no idea. He bantered bantered and then on a drop of a hat switched to that growly hardcore like "BURN THE INNOCENT FUCK YOUR FRIENDS KILL YR IDOLS" type thing, which was jarringly entertaining. I also enjoyed that the guitarist had his mic set up like Lemmy's, where the microphone is positioned 6-8" above his mouth and angled down sharply.

However, I have a completely uninformed and scandalous accusation to make at this time. I'm halfway convinced the drummer had...electronic assistance. To paint the picture: the drummer had a kit with two bass drums a la Keith Moon. Further, he looked like the stereotype of a smooth jazz drummer: fat white dude that's balding just a bit and has a pony tail. No judgment here, dude can look how he wants. What I was shocked by, though, was how nonplussed the guy looked when playing these crazy fast tunes. Like, picture the beginning part of that "Wipeout" song. Except instead of playing that on a tom with his hands, he played with his feet that quickly and for 3-5 minutes at a time. So, imagine the dude I described basically running in place for 20 minutes. I figured he'd be showing outwardly that he was making physical effort. To my surprise the guy looked as if he was just calmly playing, like he was idly tapping while waiting for a pizza or something. Now to be fair, he could easily just be incredibly talented and what seems hard to me is ho-hum bullshit to him. But if not, I find the idea of PEDs for drummers incredibly funny.

      Napalm Death: Soon to be tied up in the Biogenesis scandal

I left the show after four or five Napalm Death songs. I felt like a quitter, but the buzz I had going earlier was wearing off, I was out of money, I didn't really care about Napalm Death, and I had shit to do at home. Even still, the concert was a really, really great time. Well worth the $30 and long bus ride home for sure.