A year would not be complete without a list summarizing the sonic triumphs and escapades it saw birthed. Here are my thirty favorite albums from 2018. Enjoy.
30. Kurt Vile - Bottle It In
The singer-songwriter returned in 2018 with a follow up to his 2017 collaboration with Aussie rocker, Courtney Barnett. While I enjoyed Lotta Sea Lice plenty, I found its overarching themes to be a bit dry and the songwriting to be a bit lackluster from two experts such as Barnett and Vile. But Bottle It In is a return to form for the unique Vile. His drawl-y, laid back, groovy guitar cuts and folk-rooted storytelling is potent as ever. A truly beautiful entry into the artist’s discography, Bottle It In is a must-listen for any fan of folk rock and silky smooth songwriting.
Genre: Folk rock / singer-songwriter
Standouts: “Loading Zones,” “Yeah Bones,” “One Trick Ponies”
Neko Case’s storied career as an artist finds itself here, with 2018′s Hell-On. The album is a reflection on all that Case has experienced thus far, and its delivery is both introspective and cinematic. There are songs here that feel like a stream of consciousness, and others are a bit more straight forward. Still, it demands the attention of the listener, for there are things to pick up on with each listen. What Case, and Hell-On, deliver on the most is catchy and fun ballads that have run through my head like an infectious earworm since its release. “Last Lion of Albion,” “Bad Luck,” and “Curse of the I-5 Corridor,” are standouts in particular.
Genre: Singer-songwriter / folk pop / country pop
Standouts: “Last Lion of Albion,” “Bad Luck,” “Curse of the I-5 Corridor”
28. Car Seat Headrest - Twin Fantasy
I was, admittedly, not the biggest fan of Will Toledo and his project Car Seat Headrest when I first listened to Teens of Denial. I found his songwriting to be a bit uni-dimensional at times, and the sonic palette to a bit bland. But after re-visiting his works repeatedly, I’ve become a bigger stan of Toledo’s. It’s undeniable that his knack for melodies is unrivaled. And I’ve come to appreciate his songwriting more and more with each successive listen. His re-release of the cult Bandcamp hit, Twin Fantasy, is a true success though. The refurbished instrumentation and production is a welcome facelift to this Bandcamp classic. And the bodacious and bright new mixing brings new life into Toledo’s work. The support he has received from Matador Records has resulted in an improvement on all fronts, from the record’s origins. It’s a beautiful, and perhaps nostalgic for some, release from Will.
Genre: Indie rock / singer-songwriter
Standouts: “Bodys,” “Stop Smoking (We Love You),” “Sober to Death”
It was released on 2 November 2018 but it feels like something straight out of the humid heat of July. Another entry into the short and succinct album list of 2018, FM! is short-lived at only 22 minutes. But the album has plenty to offer. Seamlessly flowing from track to track, Vince’s latest endeavor plays out more like a in-studio performance for a radio show (as can be heard by the short radio-esque skits played as outros and intros). The songs are braggadocious. Vince raps over silky smooth west coast hip-hop-inspired beats and punches with flows to match.
Genre: West coast hip-hop
Standouts: “Feels Like Summer,” “Outside!” “Don’t Get Chipped,” “FUN!”
26. Florence + the Machine - High As Hope
Florence Welch is a symbol of freedom for me. Her unrivaled passion for her craft, her presence on the stage evokes images of royalty, and her unimpeachable strength make her one of my favorite vocalists of all time. Her voice fills rooms, stadiums, and the ears of millions. A perfect example of this potency is 2015′s How Big, How Blue, How Beautiful; an album that was cinematic, wide in scope and sound, and an important leap for Florence’s artistic career. But this year’s High As Hope is much more intimate. One could even call it a step backwards for Florence, but I would respectfully disagree with this statement. For me, High As Hope is a logical step forward for Florence. Following a loud and explosive release in 2015, a cathartic climax I’m sure, it makes sense to hear Florence make her descent down an intimate and minimal road. And down this road we see Florence explore and make available her struggles with loneliness, depression, and a myriad of other demons. She trades the titanic orchestral sets for pianos, sparse percussion, and cuts through these thin veils with her meteoric voice. But at the end of the day (and the record), there is an air of hope. Hope drives this record, and it’s what drives Florence, and that is more than enough for me.
Genre: Chamber pop / art pop
Standouts: “Sky Full Of Song,” “Hunger,” “June,” “No Choir”
25. Mount Eerie - Now Only
Phil Elverum has endured more than one can even begin to dream of. 2017 saw Elverum face the loss of his wife, it saw him begin to face single fatherhood. From that turmoil came A Crow Looked At Me, a beautifully tragic album that gave us a close up look at Elverum’s grief and loss. That album was succinct, precise, and to the point. Now Only is much more a stream of consciousness, a rambling of sorts, and it plays out much like Elverum is writing an epilogue to A Crow in real time. The song structures are varied, and some draw on into the ten minute range. It takes effort to really let this album sink in and marinate, and once it does it pays dividends.
Genre: Singer-songwriter / indie folk
Standouts: “Tintin in Tibet,” “Distortion,” “Crow, Pt. 2″
24. U.S. Girls - In a Poem Unlimited
In a Poem Unlimited is a beautiful art pop record, filled with enveloping and gorgeous layers of instrumentation. It’s refined, it’s sharp, and its sound is unlike anything this year has seen. Art pop, folk pop, disco, soul, synth pop, and baroque pop are all genres that blend together and come through in U.S. Girl’s most refined piece yet. And if there’s anything that sticks out especially, it’s the record’s production. It is just so polished. Of course Meghan’s vocals are as cutting as ever, but it is the record’s beautiful construction that keeps me coming back to this one. Songs like “Velvet 4 Sale,” and “L-Over” are particular highlights for me. I recommend this to anyone who wants a diverse sounding record, or a record to just fall into.
Genre: Art pop / synth pop / psych pop
Standouts: “Velvet 4 Sale,” “Rosebud,” “L-Over,” “M.A.H.”
23. Jonny Greenwood - You Were Never Really Here (Original Motion Picture Soundtrack)
Radiohead lead guitarist Jonny Greenwood first grabbed my attention, when it came to his work aside from Radiohead, with his score for Paul Thomas Anderson’s Phantom Thread last year. Gorgeous string arrangements and orchestral builds are swapped out for synthesizers and heavy percussive elements on this latest soundscape however. And while I loved Greenwood’s work with PTA, this latest project sees Greenwood using these tools expertly. His soundtrack is one of the best of this year, and it adds to the immersive world that Lynne Ramsay built in You Were Never Really Here. Dissonant and sharp guitars, thunderous and warping synths pierce your ears and create a sense of unease, matched when experienced while watching the film. And while some scores and/or soundtracks fail to stand on their own without their cinematic partners, Greenwood’s work here is more than enough on its own.
Genre: Film soundtrack / experimental
Standouts: “Tree Synthesizers,” “Sandy’s Necklace,” “Dark Streets (Reprise)”
22. Kali Uchis - Isolation
Colombian soul singer Kali Uchis made her full-length debut this year with Isolation. A diverse roster came together to collaborate on this project; the likes of Steve Lacy, Boosty Collins, Damon Albarn, Thundercat, and Tame Impala’s Kevin Parker appear on this record in some shape or form, and those are but a few to name. This amalgamation of artists and minds makes for a sonically diverse record, one that spans genres and emotions. And through it all Kali Uchis shines through as an up-and-coming talent. Still, there is plenty of room to grow, as the lyricism and songwriting on some tracks falls a bit flatter than others. But overall this record is so unique it stands above its contemporaries.
Genre: Neo-soul / contemporary R&B
Standouts: “Just A Stranger,” “In My Dreams,” “Feel Like A Fool”
21. Sons of Kemet - Your Queen Is a Reptile
London jazz unit, Sons of Kemet, delivered a revolutionary jazz record this year. Politically-fueled, unapologetically cultural, it is based in African music and African history yet brimming with ingenuity. Thunderous horns, bombastic drums and chaotic wind sections grow and pulse through this record. Broken up are these progressions by spoken word passages, which add depth and prose to the record. Your Queen Is a Reptile is surely a classic, and a definite listen for any jazz enthusiast.
Standouts: “My Queen Is Ada Eastman,” “My Queen Is Harriet Tubman,” “My Queen Is Angela Davis”
20. MGMT - Little Dark Age
Perhaps best known for their indie breakout hit Oracular Spectacular, with late-2000s anthems like “Kids,” “Time To Pretend,” and “Electric Feel,” MGMT was considered by some destined to fail to meet their success of 2007. Little Dark Age dispels these notions, with dark and gloomy pop cuts as well as a purposefully occult themes. MGMT never wanted to make mainstream pop music, and released Oracular Spectacular as an odd protest to such desires observed in their fans. This devotion to the subversions of mainstream pop followed them through their discography post-Oracular, but hits its peak here with Little Dark Age.
Genre: Gothic pop / synth pop / psych pop
Standouts: “Little Dark Age,” “When You Die,” “Me and Michael,” “She Works Out Too Much”
19. Adrianne Lenker - Abysskiss
Big Thief’s frontwoman, Adrianne Lenker, adds to her solo career with Abysskiss. Recorded within the approximate span of a week, the record has an air of urgency but is patient in its delivery. Lenker is reserved, yet determined in her delivery. The album is much like tramping on a trail or wandering through a city unknown. It winds, it hypnotizes. I found myself ensnared by Lenker’s finger-picking and her hauntingly beautiful voice. Fans of Big Thief will love this solo effort by Lenker, and I hope many others can find and appreciate its beauty in minimalism.
Genre: Folk / singer-songwriter
Standouts: “terminal paradise,” “womb,” “cradle”
18. Young Fathers - Cocoa Sugar
Scottish trio Young Fathers came out swinging with Cocoa Sugar. Blending a multitude of genres, Young Fathers have released their sharpest record to date. Its inclusion of neo-soul, conscious hip-hop, gospel, electronica, and R&B make for a sonic experience rivaled by few. The album builds and builds this chaotic wall of sound, finally reaching its release with tracks like “In My View,” and “Lord.” But the album is a engaging listen throughout.
Genre: Indietronica / neo-soul / art pop / experimental hip-hop / gospel
Standouts: “Fee Fi,” “In My View,” “Lord,” “Border Girl”
DAMN PEGGY! 19 tracks. 47 minutes. This album slaps. Baltimore rapper/producer, JPEGMAFIA, has come out with one of the most experimental and abrasive rap albums of the century. Using sounds unnatural and inorganic to human ears, Peggy is creating songs unlike any of his contemporaries. It is difficult to put into words just how experimental and “out there” this album is. His songwriting is excellently woven into these instrumentals and samples, making for catchy cuts and oddly comedic one-liners. There is a real texture to these songs, and the dynamic swells of sound make for a transcendent and mind-numbing experience. Veteran isn’t just one of the most creative rap albums I’ve ever heard, it’s perhaps one of the best rap albums I’ve ever heard.
Genre: Experimental hip-hop
Standouts: “1539 N. Calvert,” “Thug Tears,” “Baby I’m Bleeding
16. Jon Hopkins - Singularity
In the same realm of immersive listens, I don’t think there is one album this year that can reach the same heights (both literally and figuratively) as Singularity. This album feels like the genesis of a brand new world, like the exploration of the unknown reaches past our galaxy. It’s an odyssey of sound, an insurmountable summit of synthesizers, strings, percussion and much, much more. The album opens with the title track, “Singularity,” which sets the stage for what the album is meant to accomplish. The winding synths and electric drum beats create an atmosphere similar to the cold and unforgiving nature of space. Seamlessly, the album bursts into the song “Emerald Rush,” which slows things down at first, allows the listener to breath and grab hold of their whereabouts. But this feeling of ease and calm is sliced by the thunderous and monolithic bass-heavy bursts at around the 1:33 mark. From there on out the song becomes a tribal experience. The drum beats creating an almost religious evocation, of a religion foreign to Earth. “Neon Pattern Drum,” continues this ethereal theme and the song is a sonic representation of its title. Once again, tribal synths and drums entrap the listener, banishing them to a realm of neon and galactic enterprise. Jon Hopkins has created something truly special with Singularity. Its atmosphere and reach are indescribable.
Genre: Ambient / tech house / IDM
Standouts: “Singularity,” “Emerald Rush,” “Neon Pattern Drum,” “Feel First Life,” “C O S M”
15. Julia Holter - Aviary
While JPEGMAFIA may have released the most experimental hip-hop album of 2018, I firmly believe that Julia Holter released the most experimental and dense album of 2018. Emphasis on “dense.” Let me repeat. This. Album. Is. Dense. Blending more genres than I can even think of, Aviary is layered and complex. Much like a tasting menu at a prestigious restaurant, Holter’s work demands patience and attention. But if you put in the time - for Pete’s sake this album is an hour and 30 minutes long - you will be rewarded. Holter crafts a universe of her own, and only she knows (or maybe doesn’t) how to traverse it, we are but left to helplessly follow in the hopes of finding our eventual way. And that’s what makes this album one of this year’s best. Julia doesn’t compromise here, and has the courage to craft an expansive and broad experience. In a year where succinct and short albums seemed to grab hold (e.g. Be the Cowboy), Aviary separates itself as a cacophonous cloud of grand and classical influences. Holter’s talents as a composer and multi-instrumentalist are present throughout the journey as well; she’s able to create a scape of her own, but one that reminds me of a futuristic world, one akin to that of the world of Blade Runner. The mixing draws up sour string arrangements and heavenly synths, her howling voice and earth-shattering basslines to great effect. She even sings in multiple languages, including: English, French and Latin. It’s mysterious. It’s frustrating. It’s painfully poetic. It’s a juggernaut of an album. But it is unapologetically beautiful in its own right.
Genre: Idk... to many (art pop / classical / avante garde)
Standouts: “I Shall Love 2,” “Colligere,” “Les Jeux to You,” “Words I Heard”
14. Big Red Machine - Big Red Machine
The works of Justin Vernon and Aaron Dessner are enough draw the attention of many indieheads. From Vernon’s ventures as Bon Iver and Volcano Choir, and Dessner being a member of the acclaimed rock outfit, The National, there are enough accolades between the two of them that any sort of joining of forces would result in a sure fire classic. And that’s exactly what Big Red Machine is, in the most un-classic way possible. Songs from the record have been floating around the Internet for some time now, with Vernon and Dessner playing some songs live at festivals like Eaux Claires. But it wasn’t until this year we formally received notice that a record would be surfacing. The self-titled debut is much more akin to the sound of 22, A Million or Sleep Well Beast. Fans of traditional National, or older Bon Iver, may be disappointed to find the album relies on synths and motherboards instead of solely guitars, drum and bass. But behind all of the bleeps and bloops are notes of the artists’ original sounds. “I Won’t Run From It,” sound like it could have appeared on Bon Iver, Bon Iver, and “Forest Green,” could have easily been on High Violet if Vernon’s vocals were traded in for Berninger’s. Big Red Machine is a leap forward for the two artists, and it marks a pivotal point in their careers, one should not miss out on this project.
Genre: Folktronica / indie rock
Standouts: “Forest Green,” “I Won’t Run From It,” “Hymnostic”
13. St. Vincent - MassEducation
A complete re-imagining of her own Masseduction, Anne Clark is always at the forefront of the music sphere. She’s an elite guitarist, a visionary songwriter, and a fashion icon on top of all that. To re-record, re-imagine, and re-produce your own album is already a bold task, but for Anne it must have just been a logical step forward for her. Where Masseduction was experimental, sour, and sharp-edged, full of futuristic progressions and dystopian engagements, MassEducation is not. It is slow, intimate, subdued and minimal. Featuring mainly piano and acoustic arrangements, Anne has created a beautifully classic sound.
Genre: Singer-songwriter / acoustic
Standouts: “Slow Disco,” “Smoking Section,” “Los Ageless,” “New York,” “Pills”
12. Ought - Room Inside the World
Montreal post-punk outfit, Ought, add to the post-punk front this year with Room Inside the World. An album that’s groovy and hypnotic, Ought have improved upon their works of past with this entry. Lead vocalist, Tim Darcy, has a unique voice that cuts through the colorful palette of guitars, keys, bass, and percussion. The record chugs along with a deliberate nonchalant vibe, up until the release during the album’s midway point in “Desire.” A strong contender for song of the year, “Desire” marks a pivotal point in the album. It takes the build up of the previous four tracks, and adds to it with its own two minute and forty second build up, crescendoing to a beautiful arrangement of Darcy’s own voice backed by an array of singers. Room Inside the World is a passionate piece, one that is even better when experienced live. A solid post-punk entry deserving of every listen.
Genre: Post-punk / art rock
Standouts: “Desire,” “Disgraced In America,” “Into the Sea,” “These 3 Things”
11. Against All Logic - 2012-2017
Nicolas Jaar’s debut project on the Other People label is a beautiful house record. Seriously, this album is a broad soundscape, utilizing horns, deep and guttural synth blares, percussive snaps, soul and R&B samples, and disco and funk flavors. The songs fade in and fade out beautifully, creating a sonic cityscape and sweaty, club atmosphere. Jaar opens with the stunning “This Old House Is All I Have,” a jammy and soulful house cut. Tracks like “Cityfade,” and “Some Kind of Game,” blend funk and disco seamlessly with the digital character of boiler room house. Where Hopkins uses Singularity to imagine a space-filled void, wrapping the listener in stars, comets and cosmic gas, Jaar opts for a more down-to-earth approach. Synthesizing an urban, concrete-jungle type of space, Jaar masterfully pulls the listener into the middle of New York streets, Berlin clubs, and French dance houses.
Genre: House / boiler room house
Standouts: “This Old House I Have,” “Cityfade,” “Rave on U,” “Some Kind of Game”
10. Father John Misty - God’s Favorite Customer
Father John Misty’s Pure Comedy (2017) was one of my favorite albums last year. No album so poignantly critiqued the state of affairs the country sees itself in, what the world sees itself in. No album so vividly expressed the frustration, sadness, hopelessness, and abandon that many of us - including myself - have felt since that fateful election of November 2016. But what strikes me so powerfully now, is the knowledge that J. Tillman wrote Pure Comedy well before the 2016 election cycle. Certainly, it was not difficult for anyone to picture the road we as a country were headed down, but for Tillman to so succinctly capture those emotions before we felt them, that is something truly special.
Gone were the intimate and personal ballads found on Fear Fun or I Love You, Honeybear. Pure Comedy opted for a more meta-analysis type of song structure, critiquing society as a whole and all the populations that inhabit it. It chose to express a different type of love, a love for mankind as a whole. It had a much broader array of instrumentation as well; strings, horns, orchestral units all culminated to form a cinematic, almost theatrical sound. These elements made for an expansive and full-breadthed listen. So when it was announced that Tillman would follow up this masterpiece of a project immediately in 2018 with God’s Favorite Customer, I was intrigued to see where he would take us.
Back are the familiar song structures and instrumental arrangements found in I Love You, Honeybear and Fear Fun, back is the personal and introspective songwriting. It is (in a sense) a return to form for Tillman, or rather, Father John Misty as a character. But now, there is a sense of discomfort and dismay in Misty’s voice and delivery. It is an exploration of turmoil and it is unfamiliar to us, since Misty often comes off as confident and saturated with cynicism. This darker road we’re led down opens us to the struggles of an artist trapped behind a character. While Tillman may not consider his moniker a trap all of the time, the lifestyle his art brings has certainly caused him his fair share of hardships. And it is this honesty that is so potent to me. A beautiful, beautiful addition to an already superb discography.
Many disregard Misty because of the veil he portrays so often. A veil of cynicism, pretentiousness and superiority. But what I think many fail to realize and account for is that the veil is just that: a veil. Any character or performance can run the well dry, but I believe Misty is only reaching his peak at this moment. What keeps me invested is knowing that behind that cynicism, Josh Tillman is a deeply caring, professional and upstanding artist. His continued philanthropy is a testament to this love. And perhaps that is why God’s Favorite Customer struck such a strong chord in me. Hearing that this man has faced some of his darkest times, and yet still finds the strength and courage to help others, it is inspiring. So while you are free to judge Father John Misty the character, I think Josh Tillman deserves more than a fair shake for having helped so many of us during such dark times.
Genre: Singer-songwriter / chamber pop / piano rock
Standouts: “Hangout at the Gallows,” “Mr. Tillman,” “Please Don’t Die,” “We’re Only People (And There’s Not Much Anyone Can Do About That)”
9. Mid-Air Thief - Crumbling
This album and artist are shrouded in mystery, as far as I can tell. There is not much I can find on Mid-Air Thief and his work that isn’t written in Korean. Regardless, one thing remains clear, Crumbling is perhaps the most gorgeously textured album I’ve ever heard. It mixes elements of folk, synth pop, glitch pop, and bedroom pop to create a warm and inviting sound unique to itself. At times the album sounds like something one would hear during a Studio Ghibli film, and at others it sounds like the soundtrack to a crisp autumn afternoon. Crumbling is bubbly, sincere and vulnerable. It sounds like looking through old photo albums, it sounds like walking through the park on a warm summer day, it sounds like sharing a meal with those you love. There’s no other projects I can really compare this album to for you, and ultimately I think that’s a good thing. You just have to listen to this one for yourself to truly understand what I am talking about.
Genre: Synth folk / synth pop / glitch folk
Standouts: I mean, the whole album... but “Why?” “Gameun Deut,” “Curve and Light,” and “Crumbling Together,” for sure.
Much like hallucinating on psychedelics or living through a fever dream, Freedom is a euphoric and shimmery listen. The off-kilter structure of many songs, the groovy basslines and percussion, topped off by Damon McMahon’s sensual voice sends the listener into a trance. The album builds and builds, creating an ethereal sonic atmosphere, wrapping the listener like a ghostly blanket. It draws the listener in and traps them in a haze of memory, emotion and soul.
Genre: Psychedelic folk / folk rock
Standouts: “Blue Rose,” “Time,” “Miki Dora,” “Believe,” “Dracula,” “Freedom”
7. Parquet Courts - Wide Awake!
Politically-charged, funk-woven rock anthems are certainly not a dime a dozen. Smart, catchy post-punk cuts are not easy to execute, especially when trying to interject political themes and commentary on sociopolitical issues. But Parquet Courts, a Brooklyn-based indie rock collective, have certainly accomplished the seemingly impossible with Wide Awake! Providing perspective on violence, agency in the modern age, disparities in our modern economy. The lyrical focus on this album is superb, and there is a clear attention to the writing here. But the instrumentation is equally illustrative. Slick guitar riffs, funky bass lines, snappy percussion, and a myriad of effects keep the songs flowing with character. There’s also an amazing fusion of many genres. Funk, soul, garage rock, post-punk, and jangle pop can all be heard in some form or another on this record. No song sounds like its predecessor or successor, making Wide Awake! one of this year’s best.
Genre: Post-punk / indie rock
Standouts: “Violence,” “Mardi Gras Beads,” “Almost Had To Start A Fight/In and Out of Patience,” “Freebird II,” “Wide Awake,” “Tenderness”
6. Janelle Monae - Dirty Computer
Janelle Monae is an artist unlike any other. A musician, a model, an actor, a producer, and rapper, Monae’s talents and passions have combined to create unstoppable works. From her previous LPs, to her accolades for roles in films such as Moonlight, I was very much anticipating this latest release. It seems Monae is at her most adventurous right now, venturing out into modes and endeavors few other artists would dare explore. And she does so with such poise and strength on Dirty Computer. It is much more poppy and glossy than her previous works, but it is also conceptual and forward-thinking to a high degree. Exploring sexuality, love, individualism, and pride in all forms, the album is an exquisite listen. Songs like, “Screwed” and “Make Me Feel,” are overtly sexual, but backed by tangible passion and pride. Monae’s obvious inspiration from Prince is found on these songs as well, adding to the lust and mystery. The tracks “Django Jane,” and “Pynk” are infectious and inspiring anthems, preaching love for one’s self and hearkening to the struggles of being a minority in a tumultuous America. These are not the only songs with such impacts however. The entire project is a prideful piece of art, worthy of all the accolades it has received.
Genre: Contemporary R&B / synth funk / art pop
Standouts: “Screwed,” “Django Jane,” “Make Me Feel,” “Pynk,” “I Got The Juice,” “I Like That”
5. Mitski - Be The Cowboy
At her roots, Mitski is very much a punk icon. And what is more punk than the subversion of classic musical standards? Mitski opts for a much more brief and precise project with Be The Cowboy. At 14 songs and 32 minutes, it’s an album that sucks you in and spits you out in the matter of mere minutes. Songs average on the 2:30 length, leaving just enough to make you feel full but certainly not enough to leave you satisfied. And that intentional briefness is what kept me coming back to this album. The emotional climaxes that build are abruptly cut off, and I’m left feeling empty and yearning for more. The swells of love and loss keep you afloat for just a moment, only to drag you down and leave you gasping for breath. “Geyser,” opens the album, creating a sense of empowerment and vision. But I soon realized that Mitski is battling herself in this album. She is struggling to move on from the past, but more than certain that she has the power to do so. That’s what I think “Be the cowboy,” means. At least to a degree. That idea of capturing the symbolism and presence of the old gunslingers of the west. That idea of being strong willed and free flows throughout the project. Mitski is no longer apologizing for herself. She channels that energy of the cowboy and has created an album that speaks to the strength within us all.
Genre: Indie rock / art pop
Standouts: “Geyser,” “Old Friend,” “A Pearl,” “Lonesome Love,” “Me and My Husband,” “Nobody,” “Two Slow Dancers”
4. Lucy Dacus - Historian
Virginia native, Lucy Dacus, has had quite the year. From releasing her sophomore full length record, to joining forces with her contemporaries Phoebe Bridgers and Julien Baker, 2018 has proved to be a pivotal moment in the singer-songwriters career. And I couldn’t think of an artist more deserving of such success and praise.
Dacus is so humble and soft spoken, it is a revelation when she belts out on tracks like “Night Shift.” Her presence on stage and on her latest album evoke such emotion and personality, making Historian one of my favorite albums of the decade. From a distance, many could label Dacus as your run-of-the-mill indie singer-songwriter. But from the moment the album kicks off, you realize this is something else entire. “Night Shift,” is a perfect example of Dacus’ mature writing and song structuring, with the songs building with emotion and boiling over after a certain point. Dacus’ soft voice becomes increasingly more powerful as songs go on, and fill the room with energy and emotion.
Delving into self love, loss and facing the inevitability of time, Dacus finds herself facing mortality and wisdom at the same time. There is a sense of growth on this album, especially when compared to her debut album. The crunchy guitar lines, the smooth drums and bass, emboldened by Dacus’ one of a kind voice hypnotize the listener. Songs vary in length beautifully as well. Dacus can easily write catchy singles like “Addictions,” but she is more than capable of (and perhaps better suited for) writing expansive and fluctuating ballads that creep towards the six, seven minute mark. Overall, there is a real comfort to this record, and an unparalleled presence that is sure to stand the test of time.
Genre: Indie rock / singer-songwriter
Standouts: “Night Shift,” “Addictions,” “The Shell,” “Nonbeliever,” “Yours & Mine,” “Timefighter,” “Next of Kin”
3. Haley Heynderickx - I Need To Start A Garden
Much like a garden, music is delicate and requires the utmost care to thrive and intrigue. If cared for properly though, the fruits of your labor will be bountiful. Portland-born singer-songwriter Haley Heynderickx understands this dilemma and explores its effects and roots on her debut album, I Need To Start A Garden.
Prior to her full-length debut, Heynderickx had released an EP in 2016 titled, Fish Eyes. The four song venture was bright with intimacy and care. It was like a collection of cacti and succulents, rough around the edges yet beautiful beyond compare. Featuring muted guitar tones, subtle ventures into nature and love, and not much else, the EP was a highlight for me in 2016. Haley’s voice is so pure and emotive, it’s evident her own stories are folded into the weaves of her music.
This is why I was so excited for her full length record this year. When the folk sphere has been dominated by acts such as Fleet Foxes, Bon Iver, and other giants for so long,it is refreshing to hear a new voice in the crowd.
I Need To Start A Garden opens with the somber, “No Face,” a song about self-reflection and self-doubt. And while accompanying tracks like “Show You a Body,” and “Worth It” carry heavy ethos and mystery, Haley isn’t afraid to mix in humor and on-the-nose self-deprecation. “The Bug Collector,” “Untitled God Song,” and “Oom Sha La La” mix up the pace and taste of the LP, trading subtle guitar lines for bright electric rhythms. Haley’s word play and writing talents are evident across the record, but I think these three tracks really display her knack for balancing her lyrics and her esteemed wordsmith-ing.
Much like a garden, music requires the maker to understand the mercurial nature of the process. It doesn’t just happen overnight. No artist better understands these frustrations than Haley. I Need To Start A Garden represents its namesake; its beauty hides behind a veil of minimalism, and its strengths are at times mistaken for faults. Haley’s folk roots give this album space and air to breath, and her ability to tell enchanting stories brings this album to life. If I Need To Start A Garden is any indication, Heynderickx will be back with perennial success.
Genre: Folk / singer-songwriter
Standouts: “No Face,” “The Bug Collector,” “Jo,” “Worth It,” “Untitled God Song,” “Oom Sha La La”
2. Boygenius - Boygenius EP
First and foremost, I understand that this collection of songs is technically an EP, not an LP. But I could not make a year-end list documenting all of the projects that I found transformative without including the Boygenius EP. Six intimate and simple songs, written and recorded in the span of a few weeks, including three of the most inspiring and talented individuals in music right now: Julien Baker, Phoebe Bridgers and Lucy Dacus. The sheer brilliance of this EP is in its simplicity, as well as its spontaneity and the comfort it so easily provides.
The joining of these three musicians and songwriters has been labeled as indie music’s next ‘supergroup,’ and it is difficult to refute such a label when their debut project and respective tour made such a lasting impact on my life, and I’m sure the lives of many others. When it was announced that Bridgers, Dacus and Baker were collaborating on a project together, I had no idea that the fruits of their labor would arrive within the year. But I am oh so glad it did. These artists are not unfamiliar to me, nor are they to each other. Bridgers and Baker have toured together in the past, and Lucy joined forces with Baker for some shows this year as well. However, I had no idea what any sort of project from these three would sound like, let alone how it would impact me.
Julien Baker, Phoebe Bridgers and Lucy Dacus all have such unique sounds and distinct approaches to music. Baker is often associated with minimalistic arrangements; her debut solo LP featured only her voice, a guitar, a looping rig, and a piano. While her arrangements have grown and been fleshed out a bit more on her sophomore release, her style is consistent. Focusing on emotional releases through the exploration of here darkest times, Baker builds her songs to cathartic releases. Dacus is similar, but often chooses to flesh out her storytelling a bit more, and opts for a fuller instrumentation (e.g. bass, drums, and a second guitar). Her songs drift and sway, hypnotizing the listener until her progressions ultimately erupt. Bridgers is perhaps the most varied in her sound. Using a baritone guitar, an acoustic, slide guitars, drums, bass and synths. Her debut album was a joy to listen to because it flipped conventional indie rock and indie folk on its head. It didn’t revolutionize the sound per se, but her songwriting and humor shine through like few other indie folk records do.
These elements from each artist come together beautifully on the EP. The way each artist is able to harmonize with each other, work off each other and build the others up is incredible. Some songs highlight a different artist in some way. “Me & My Dog,” is a ballad featuring Phoebe on lead vocals and guitar, “Stay Down,” is forwarded by Baker and “Bite The Hand” kicks the EP off with Lucy’s velvety and somber singing. But there are also cuts that serve as vehicles for the three artists’ talents to merge and blossom. “Souvenir,” and “Ketchum, ID” in particular include exquisite harmonies between the three artists and verses are traded back and forth among the singers. This sharing of material not only allows the listener to experience each artist individually, but in a way it is the sonic embodiment of what this EP is all about. It’s about sharing, loving yourself and each other, and not being afraid to find comfort in the shared anxieties that life throws at you.
Genre: Indie rock / indie folk / singer-songwriter
1. IDLES - Joy as an Act of Resistance
I’ve discussed how volatile and fickle heavily-political projects can be in this day and age. It is easy for the project to drown itself in self-righteousness or to lose itself in its own tone deafness. Political narratives in music can also become jumbled and indigestible if done poorly. But this is not the case for Bristol punk outfit, IDLES, and their sophomore record here, Joy as an Act of Resistance.
Tackling UK-centric issues such as the Tory Party’s gaining grip on the nation as well as the recent Brexit controversies, Joy is very much rooted in the chaos and turmoil facing the UK today. However, the album’s messages can find relevance in the United States as well as a myriad of other countries. “Colossus,” the album’s opener, tackles toxic masculinity and its effects on the male mentality. “Never Fight A Man With A Perm,” continues this commentary with sour guitar licks and thunderous drums. Joe Talbot’s - the lead singer of IDLES - shout-like singing cuts through the mix to create a sense of urgency and resistance.
“I’m Scum” slows the record down a bit with rhythmic drums and subdued (for IDLES) instrumentation. It delves into the political and sociopolitical challenges that Britain is currently facing with its continued rise of the right wing party. Lines like, “I don’t care about the next James Bond. He kills for country, Queen and God. We don’t need another murderous toff,” and “This snowflake’s an avalanche,” deliver heavy social punches in such a vivid tone.
Joy’s political tone only continues to grow with “Danny Nedelko,” a ballad of sorts, praising immigrants and all the brilliance and love they bring to their newfound homes (where ever that may be). The song’s namesake is Talbot’s real-life best friend, Danny Nedelko, a Ukrainian immigrant to the United Kingdom. The track speaks on how every day immigrants bring immense value to their communities with lines like, “My blood brother is Malala. A Polish butcher, he’s Mo Farah.” Including the names of famous immigrants to the UK highlights just how one-sided and clouded many citizens’ views on immigrants are.
The album chugs along at breakneck pace, until “June,” the deeply emotional ode to Talbot’s daughter whose untimely passing proved to be a pivotal emotional moment in Talbot’s life. One that sprouted the genesis of this album, and one that will surely be held close for his entire lifetime.
Joy is a straightforward post-punk album with apt commentary that is applicable to any corner of the earth. But what makes this album my album of the year is its delivery of such commentary. Behind the chugging bass lines, the sharp and sour guitar lines, the pounding drums, and Talbot’s gruff voice is a message of love for one another. This juxtaposition only grows in effect with each repeated listen. From the outside looking in, it’s a rough-around-the-edges and jagged punk record. But once you peer deeper into the substance, it’s truly a representation of its title, a reaffirmation that joy is the simplest - and perhaps the most effective - form of resistance to those who work to spread hate and unrest.
Genre: Post-punk / art punk / hardcore punk
Standouts: “Colossus,” “Never Fight A Man With A Perm,” “Danny Nedelko,” “I’m Scum,” “June,” “Rottweiler,” “Television”
kianamaiart
tangentwithtanner
pixelskylines
turnnoffyourmind
gracieabrams
vaporwave
titsay
s-u-f-j-a-n-s-t-e-v-e-n-s