Albums of the year 2017
Slowdive
Slowdive
Ariel Pink
Dedicated to Bobby Jameson
Algiers
The Underside of Power
A quietly powerful live band reforms after 20 years playing to critically acclaimed sold out gigs around the globe, silencing the critics from their original mid-90s run. The music press thought they'd have another chance to pile on when news came a new album was indeed on the way. But then 'Slowdive' was released to rave reviews, and it surely will end up on many best of 2017 lists. It's a rare achievement, being able to sound as new and fresh as any other record or band labeled as such, while at the same time possessing the sounds of the past that any fan would be hoping for on a reunion record. It delivers on all fronts; a beautiful, glowing work of art that lends the thought this band clearly has unfinished business, and by the looks and sounds of it, the best is still yet to come.
Mr. Pink is definitely a divisive character, mostly by getting himself wrapped up into personal controversies which are completely avoidable, yet carry over into his public persona. His music as well has been divisive even amongst his own fans, who many claimed he sold out by signing to the bigger, yet still small indie label of 4AD, and - GASP! - recording in a studio instead of his bedroom. How dare he?! For me it's only refined his crazy sound, made it clearer, crisper and more focused. That's all relative of course, as his music is still a slightly muddy, purposefully retro affair, but amongst all this noise, literally and figuratively, Ariel knows how to put together a perfectly crafted yet skewed pop song, and this new LP fits right in with the rest of his musical cannon.
Algiers seems to be prophetic in some sense, with their 2015 self-titled debut acting as the modern art that best represented the bubbling tension that was seemingly rising to society's surface on a world scale. Now with the rise of morons in government (The Orange Horror), nationalism in some sections of the US and Europe, and racism, misogyny and overall bigotry in areas across the globe, this new album feels like a reaction and a warning. A reaction to things getting worse, not better, and a warning that at some point, it might be too late before history begins to repeat itself. Wrap this up in their dark mix of Motown and gospel having gone through a bit of a TV on the Radio filter, and you have their new album. It's brilliant, thought-provoking and beautiful.
Another interesting year in music, and a really exciting one for me personally, with long-time favorites returning and reuniting, and still managing to make my tops of the year. Last year I mentioned that 2017 was shaping up to be a great year, and it turned out to be true (musically at least), so let's explore why that turned out to be true! PLUS - check out the playlist here, for a highlight from each of this year's albums. And as usual, these are in no particular order.
Ride
Weather Diaries
A few years ago I never would have guessed two of my favorite bands would release new albums, let alone a few months apart, but low and behold just weeks after the release of Slowdive's triumphant new LP, Ride presented us with their return engagement, their first since 1996. As talented a bunch as they are, I simply didn't know what direction they were going to go in. Ride's last two LPs were a big leap in sound and style from their earlier shoegaze output, and despite being inspired by today's continuing shoegaze renaissance, who knew if that's where their sound would go. But it did, and it's far greater than I had even hoped. I knew Slowdive had it in them, but Ride surprised me, with this fitting right in as the natural successor to 'Nowhere' and 'Going Blank Again.' As perfect a Ride album as you could ask for.
Gas
Narkopop
Without question, I only found myself exploring this artist's music within the past year, so really this is my way of saying "hey, you should listen to his music too" without focusing on older output, i.e. his recently released vinyl box set reissue of previous albums. That's because after a long hiatus, this German electronic pioneer, Wolfgang Voigt, has released his first album in 17 years, and it fits right in perfectly with his decades-long discography. His sound is one that's very simple: "soundscapes." Lush, orchestral soundscapes with muted, menacing, repetitive beats. It's likely not everyone's "bag," and it can require a fair amount of patience for some, and even background music this is not. But it's the ultimate meditative headphone music you're likely to find. Well worth your time and exploration.
Ghostpoet
Dark Days + Canapés
I hate to compare Ghostpoet to Tricky, because it's obvious from listening to a few seconds of this, his third album, that he dabbles heavily in Tricky's trademark trip-hop soundscapes. But there is also his voice: it kind of gurgles, it's chill but with a slight amount of tension waiting to explode, and of course he is also English. If you've missed Tricky's 90s sound, then you'll find a lot to love here. It's dark with a goth pop undercurrent, folky at times, but it's also quite adventurous, with the overall vibe shifting from song to song. It may take a few listens to sink in, but this is a gorgeous record, perfect for a nocturnal drive through an empty city. Before you know it, Ghostpoet's creepy folk jazz rock earworms will be slowly and unexpectedly implanted in your head in ways you wouldn't expect on first listen. Headphones on. Volume up. Lights low.
The War on Drugs
A Deeper Understanding
I don't even know what to say about this one that hasn't been said before, including by yours truly. The obvious comparisons are there: Bruce Springsteen, the late, great Tom Petty, and I'm sure others that I'm ignorant of right now. But take that, extend the running times allowing enough time for grooves, beats and emotions to settle in and take hold, and this is basically The War on Drugs. Uniting it all though is something that can only be called WARM. The lilt of vocalist/songwriter Adam Granduciel's voice, the crisp sounds of reverb enveloping the gorgeous guitar noodling and strumming of acoustic guitars. The clean production. The songwriting. Every element is incredibly warm, inviting, life-affirming and they continue to kill it with this new LP. It's one giant hug of an album, just what all of us need right now.
Lea Porcelain
Hymns to the Night
This is an interesting little beast of a record, with the best way of summing it up in my view is calling it "stadium shoegaze." They aren't necessarily a "shoegaze band", but they have very strong elements from that genre that weigh heavily on their sound. It creates an interesting density that I can't quite explain, pulling me in on every listen, both claustrophobic, yet open and bright. There's also a vibe there that brings to mind bands like The National and Elbow who seem to get their stadium crowds into an aural frenzy. Whenever I listen to this record, I visualize them on a festival stage, which is probably the opposite of their situation; a shame as I think they have an audience just waiting to discover them. Hopefully it's soon, these boys have something special.
Liam Gallagher
As You Were
It was assumed this album would be shit, but with a title like that, I mean how can it go wrong? Liam's brilliant: a fucking crack-up and an instigating motherfucker, making him the most entertaining gent in music business after all these years. Just Google "Liam Gallagher" + "potato" - you won't be disappointed. 'As You Were' doesn't really break new ground, it's what you would've expected if Liam went solo after say 'Be Here Now,' at least more so than his previous band Beady Eye (which I loved, but most didn't). There are really strong songs here, some clunkers, but what makes it a Liam album more than anything is LIAM. That's where he smartly lays his focus, and the result is his voice sounds better than ever. The best part though? That this exists at all, and Liam's still in our lives. With that voice and swagger. Long live the king.
John Maus
Screen Memories
The album begins with an anthem of sorts, an homage to 80s synth horror film scores, mixed with some sort of dark disco from the late 70s/early 80s. It almost feels like a call to action. A strange marching song of sorts in defense of some kind of chillwave side genre. It's that good of a song. It's pop, but not pop. It's 80s pop culture in purely sonic form. On track two, it becomes painfully obvious this guy - who hadn't hit my radar previously - must be a protégé of Ariel Pink and his AM radio retro sound. Turns out they're former bandmates, and though Ariel aims for the more 70s yacht mixed with 60s-era Zappa, Maus, at least on this album, is purely swimming in 80s nostalgia. It's an odd record, but also oddly, despite all it's weirdness, a somewhat conventional record. But it's atmosphere takes you RIGHT back there, and it's a beautiful thing indeed.
Tim Heidecker
Too Dumb for Suicide
I do have to say this album was not nearly as funny as I had hoped. Maybe that is the purpose - that with this situation we find ourselves in - even though we may try to cope with it by lightening things up with humor - it's really not very funny? Perhaps, and that could go along with Mr Heidecker's bizarre, surreal sense of humor. But still, I was hoping to be in fits of laughter here, and this record didn't deliver for me. But maybe it does others! For me what makes it to this list ... well I guess it's more a symbolic tribute, that this album can and does exist in the first place is in itself what makes it so good. I'm sure there are other great Trump parody albums out there now or in the works (having an updated version of the 60s LP from Vaughan Meader, "The First Family," would be very fitting these days), but this one really struck me with it's title. That is one brutal title, and even though the image is not graphic per se, it's nearly disturbing in its brutality. It is downright cruel. But that's the point; this is cruel to one person. His cruelty effects millions. WORST AMERICAN EVER.
Björk
Utopia
The first time I listened to this album, I was in complete shock. Not necessarily because of it's sound - it's a Björk album no doubt about it - but because my first reaction was this is a total mess. Incoherent, lacking melody, lacking songs. The past 10 years Björk has definitely moved towards the more avant-garde, but there was usually something that made it all gel into some sort of a pop record. But with Utopia, her ninth as a solo artist, all the lines were blurred, and all felt very unfocused to me. But Björk not only challenges herself on every album, she also challenges the listener, and low and behold the richness of this began to unveil itself. I had to reprogram my brain for what this is; instead of waiting for this to finally reveal its pop side, I listened to it as a more of a tapestry. Once I did, even songs like 'Sue Me', her final "fuck you" to ex and father of her youngest child, turned from an offensive aural mess, to a gorgeous display of chaotic, confident anger. With a little patience, the reward of entering Björk's Utopia, not yours, crystalizes.
Honorable mentions + reissues
