11. McKinley Dixon- Beloved! Paradise! Jazz!? (Jazz Rap)
Static and Distance
Thursday, January 4, 2024
My Twenty Favorite Albums of 2023
11. McKinley Dixon- Beloved! Paradise! Jazz!? (Jazz Rap)
Tuesday, January 10, 2023
My Fifteen Favorite Albums of 2022
Honorable Mentions
15. The Beths- Expert in a Dying Field (Indie Rock/Power Pop)
This New Zealand quartet write amazing hooks driven by punchy guitars and sublime harmonies. Power pop might have had its heyday in the late '70s, but The Beths prove they make it better than anyone else these days (experts in a dying field, indeed).
14. The Smile- A Light For Attracting Attention (Art Rock/Post-Punk)
No one is quite sure why Radiohead's Thom Yorke and Jonny Greenwood formed a very Radiohead-esque side project rather than releasing these songs as a proper Radiohead album. Nonetheless, it was exciting to hear long-lost Yorke compositions like "Skirting on the Service" and "Open the Floodgates" find a home. Though the songs lack the transcendent quality of their main band, A Light For Attracting Attention is a satisfying listen; and it is fun to see Yorke and Greenwood taking inspiration from their post-punk roots with songs like "We Don't Know What Tomorrow Brings."
13. Alvvays- Blue Rev (Indie pop/Shoegaze)
This band has proven for years that they know their way around a good melody, and Blue Rev finds them surrounding each earworm with shoegaze fuzz. The result is their best album yet.
12. Aldous Harding- Warm Chris (Singer-Songwriter/Psychedelic Pop)
A delightfully weird album from this New Zealand singer-songwriter (no surprise this is a strange one, given a) her prior output and b) it is called Warm Chris). Harding's songwriting is whimsical without being overly cute, and few artists can use a multitude of different singing voices as she does.
11. Wild Pink- ILYSM (Indie Rock)
Brooklyn's Wild Pink have quietly been doing their thing for awhile now, churning out satisfying if unremarkable Americana-adjacent indie rock. Frontman John Ross was diagnosed with cancer in the midst of writing and recording ILYSM, and the resulting album is warm rather than despairing—with a focus on gratitude and connection. The band surrounds themselves with a myriad of friends and collaborators—including Julien Baker, Yasmin Williams, J Mascis (on the supremely catchy "See You Better Now"), and Ryley Walker (who rips a killer solo on "Simple Glyphs"). This is the kind of uplifting, inspirational music that modern day U2 could only dream of making.
10. Kendrick Lamar- Mr. Morale & the Big Steppers (Hip-Hop)
Kendrick's last album topped this list back in 2017, and though Mr. Morale has a few befuddling moments, its highs more than justify its inclusion this year. "Mother I Sober" (featuring Beth Gibbons of Portishead) is one of his best ever songs in my book, and "Father Time" is similarly stunning. Though not a masterpiece, Mr. Morale further bolsters the resume of one of music's greatest talents.
9. JID- The Forever Story (Hip-Hop)
The relative lack of buzz around this one was confusing, as I found it to be a really impressive listen (maybe people were judging JID for collaborating with Imagine Dragons on mainstream hit "Enemy" which...does not effectively showcase his talents). A Southern Rap epic, The Forever Story is ambitious and immersive without being overlong. Check out his awesome Tiny Desk if you need further convincing.
8. Beyoncé- Renaissance (Pop/House/R&B)
Beyoncé made a house music album! But you probably already knew that since we are talking about Beyoncé here. Renaissance is a great listen, however. The energy never lets up throughout all sixteen tracks, making it ideal for your next workout or dance party.
7. Sudan Archives- Natural Brown Prom Queen (Alternative R&B)
A vibrant sophomore album from singer-violinist Brittney Parks. Lots of great grooves on this one. "Selfish Soul" will replace "Come On Eileen" as your go-to violin-featuring dance song.
6. Little Simz- NO THANK YOU (Hip-Hop)
After topping this list with last year's incredible Sometimes I Might Be Introvert, Simz surprise-released a worthy follow-up in the waning weeks of 2022. Again featuring exquisite production from Sault's Inflo, NO THANK YOU, further establishes Simz as being in a class of her own. She shows a more playful side on songs like "Gorilla," while retaining the ability to wow with lyrically dense songs such as "Angel."
1. Big Thief- Dragon New Warm Mountain I Believe In You (Indie Rock/Folk Rock)
Thursday, December 23, 2021
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 MentionsInjury Reserve- By the Time I Get to Phoenix
Top Fifteen
15. Ryley Walker- Course in Fable (Jazzy Folk/Singer-Songwriter)
Sunday, December 27, 2020
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.
Ratboys- Printer's Devil
Bartees Strange- Live Forever
Thursday, January 9, 2020
My Twenty Favorite Albums of 2019, Plus a Bonus End-of-Decade Playlist
Seems slight in comparison to A Seat at the Table but there are some really cool sounds/grooves on this album.
This album is half weird lo-fi studio experiments and half extremely catchy earworms. His best album, I'd say.
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.
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.
One of the most consistently interesting artists of the last decade delivers another great rap album.
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.
Vampire Weekend have settled into a jam band kind of thing with this collection of fun, breezy tunes.
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.
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!).
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.
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.
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.
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.
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).
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.
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.
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.
Monday, January 21, 2019
My Twenty Favorite Albums of 2018
17. Robyn- Honey
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.
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!
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.
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.
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.
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
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.
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.
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)!
Monday, January 15, 2018
My Twenty Favorite Albums of 2017
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
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.
Really beautiful album that sounds a lot like its title. Great to zone out to at night.
16. Slowdive- Slowdive
Lovely indie pop album. Few songwriters pull off the "melancholy lyrics with bright melodies" juxtaposition as well as Jens.
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.
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
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!