Hereâs my albums of the year. 2018 has been a brilliant year for music, and so I thought Iâd lay out my favourite albums, and the reasons why theyâre my favourites.
10: Unknown Mortal Orchestra â Sex and Food
Kicking the list off at ten, we have the fourth full-length project from the New Zealand lo-fi psychedelic group Unknown Mortal Orchestra. An album that calls to mind at various points dusty late 70s grooves, 80s synth work and yet very modern production sensibilities, Sex and Food bounces between deeply introspective balladry, and funky danceable beats. A sure step forward for a band that only looks to become more experimental as time goes on.
9: Ben Howard â Noonday Dream
The Devon based singer-songwriter gives a compelling vision of the future of indie-folk with this transient and supremely accomplished set of songs. Taking a further stride away from the straightforward acoustic sound of 2011âs Every Kingdom, Noonday Dream shows an artist unafraid to utilise aspects of electronic and ambient music into his soundscapes, resulting in a transcendent, elegant, and above all beautiful set of tracks. The opening duo of Nica Libres At Dusk and Towing The Line are a particular high point.
8: Thom Yorke â Suspiria (Music for the Luca Guadagnino Film)
Surprisingly his first ever venture into soundtrack work, Thom Yorkeâs masterful score for the Luca Guadagnino film of the same name could be in this list simply on the strength of its lead track; Suspirium is an otherworldly waltz, a spartan piano line presided over by Thomâs instantly recognisable vocals. But it is the deeper cuts for which this album earns its place; Open Again begins with a fingerpicked guitar progression that grows into a monolithic walk to the gallows and then fades out once more. A master at the height of his powers.
7: Sports Team â Winter Nets
Undoubtedly the least well-known name on this list, the debut EP from the London-based indie-pop outfit Sports Team has been one of my most played records yet this year. A cerebral mix of Jarvis Cocker-style lyricism preoccupied with the minutiae of suburban life, and pitch perfect indie rock arrangements teetering on the edge of chaos, this shows talent beyond their years; the only EP on this list, these five tracks managed to catch my attention early on, and have stayed with me through the year. Ones to watch.
6: MGMT â Little Dark Age
A name I would not have expected to see on this list at the start of the year, the comeback from the early 2000s electro-pop group is unexpectedly brilliant. Far from the runaway chart success of singles such as Electric Feel, Little Dark Age is full of tracks that could have been pulled from the dusty archives of pretty much any 80s synth bands, but combined with so many left-field production choices, and lyrics that belie a dark sensibility beneath the bright instrumentation, this album becomes a very mature release indeed. The single, Little Dark Age, is just magic. I canât wait to see what comes next.
5: Car Seat Headrest â Twin Fantasy
Bringing us into the second half of this list is Will Toledoâs project Car Seat Headrest, with a rerecorded, remastered version of his 2011 breakout album Twin Fantasy. Toledoâs DIY ethos calls to mind contemporary Kevin Parker, of Tame Impala, although the two go about their self-imposed individualism rather differently. Toledoâs recordings retain the lo-fi teen emotion of the original Twin Fantasy, while adding the production sensibilities of Toledoâs later Car Seat Headrest ventures, resulting in such a dizzying barrage of pitch perfect indie ballads that display mature, incisive and insightful lyricism. The peaks of the album slip off the rails in the most glorious way, and culminate in simple, honest, and resounding emotional resolutions. Few albums so perfectly capture the teenage experience... a brilliant achievement.
4: Father John Misty â Godâs Favorite Customer
It will come to no surprise to those of you who know me that Josh Tillman has made his way into this list; I have been following Father John Misty since last yearâs existential crisis of an album, Pure Comedy. But Godâs Favorite Customer is an entirely different beast- aside from the single, Mr Tillman, the typical luscious arrangements of a usual Father John Misty album are conspicuously missing here. Gone are the chamber pop orchestras and parlour ballads; here is FJM with an acoustic guitar, a monthâs stay in a hotel room, and some utterly shattering songwriting. Tillman has abandoned his lofty perch overseeing the human condition in favour of personal, painful lyrics that dissect a failing relationship in real time. Many of these songs are addressed to, or from the perspective of, Joshâs wife, Emma, and the narratives are as autobiographical as ever. But the key here is that Tillman has ceased to be just an observer of the phenomena he comments on; in Godâs Favorite Customer he has no choice but to experience them from the inside, and it makes for devastating listening in places. However, Misty has not abandoned all hope; closer We're Only People (And There's Not Much Anyone Can Do About That) ends the album with a remarkably beautiful and optimistic look at humanity, and leaves you ready to emerge from the hotel room, blinking against the sunlight, into the outside world.
3: Blood Orange â Negro Swan
London born producer, multi-instrumentalist, and general prodigy Devont Hynes, has outdone himself on his fourth project under the moniker Blood Orange; Negro Swan represents exactly the kind of progressive song writing Hynes is so sought after in the pop world for, and brings together a beautiful collage of sounds and textures to produce an album that is so of the moment, it feels like a time capsule of today. Swan embraces diversity, revelling in a celebration of sexuality and identity that feels almost carnival-like in its embrace of so many aspects of modern R&B and Hip-Hop. On what other album can you find Puff Daddy monologuing about his own fear of being loved? This whole project is filled with moments such as this, with trans black activist Janet Mock providing a loose narrative thread tying the album together. But for me, the true highlight of this album is Hynes himself; a young black artist showcasing a striking talent that simply refuses to obey the laws of genre or society. The musical prowess on show is undeniable; in particular, Hynesâ guitar work is so accomplished, tracks such as Charcoal Baby are sheer joy to listen to because of it. The vocals on this record are equally impressive; comparisons will undoubtedly be drawn to Prince, although personally I see Hynes as akin to Frank Ocean, both showcasing a new vision for R&B in the 21st century, and Swan feels in many ways a sibling to Oceanâs 2016 album Blonde, in its transient nature and almost soundscape-like mixture of sounds and feelings. Negro Swan is a glorious celebration in which all expression is embraced, and no identity is off-limits. This is what all modern R&B should aspire to.
2: Arctic Monkeys â Tranquility Base Hotel & Casino
Those monkeys, eh? Four years after their last studio effort, with each member having done something entirely different (and accomplished, see Alex Turner with The Last Shadow Puppets, and Matt Helders on the latest Iggy Pop record) with their sabbatical, no one quite knew what shape their return would take. Recorded in London, Paris and Los Angeles, the sixth album from the band synonymous with early 00s indie could have taken quite a number of directions; furthering the slick arena rock of AM, delving deeper into the baroque pop offering the Last Shadow Puppets pursue, or perhaps even a return to their raucous indie rock roots. Naturally, they did none of the above. The first sign of their step in a different direction was a video they posted in mid-April, announcing a return with an eerie synth line and a fuzzy guitar lick; in hindsight it was the perfect segue into the TBH&C era, both a nod to the leather-clad rock of AM, and yet the space-age synths and fictional space resorts of Tranquility Base. And when the album did come? Oh boy. Iâm not sure a release in 2018 divided fans quite like the Monkeysâ did. Iâve heard it variously described as âsheer geniusâ, âderivative retro nothingâ and âf*cking lift musicâ. It really was that polarising. Iâm sure that from its spot on this list you can guess which camp I fall into. From the go, the surreal lyricism of Alex Turner is front and centre, and the record is all the better for it. From surreal references to Kubrick film techniques, and obsession with sci-fi jargon, to ridiculous pastiches of Hollywood clichĂ©s, critics werenât short of liner notes to unpick. But the key for me was the way that the album, as all great sci-fi does, comments on modern life through the lens of futurism, while also keeping you scratching your head the whole time. Furthermore, the actual songwriting is as good as ever, with Turner making a tune about a less than perfect review for a taquiera on the moon into the rhythmic centrepiece of the album. I do have to confess, I am slightly biased; Iâm a lifelong AM fan, and I did see this performed live, which only deepened my admiration of it but truthfully- listen to this album. Then listen some more. And then some more again. Because when it clicks, you wonât experience anything else even remotely like it all year.
These are albums that I discovered in 2018, but werenât released this year⊠they deserved recognition along with the rest of these projects.
5: Frank Ocean â Endless
Frank Ocean is one of, if not the, best and most innovative artists working in modern R&B. That much is undisputed. But until 2018, despite being a huge Frank Ocean fan, I had neglected his 2016 visual album, Endless. Perhaps this was due to laziness, not having Apple Music, or perhaps it was because for me it was vastly overshadowed by the release of the seminal Blonde a few days later. Or maybe I simply thought a visual album wasnât worth my time. Whatever the reason, I was a fool to overlook it. Endless is an ethereal journey through Oceanâs psyche, with a vast soundscape of beautiful, flowing synths and guitars. Furthermore, Endless features some of Oceanâs best rap work since Channel Orange. A truly beautiful project, and Higgs is, for me, Oceanâs most devastatingly sad track⊠further evidence that Frank doesnât put a foot wrong.
4: Leonard Cohen: Songs Of Leonard Cohen
In 2016, the music world lost one of its most treasured talents, in the form of Leonard Cohen. However, although I have always been aware of Cohenâs work (Hallelujah, his inspiration of Nick Cave, The Last Shadow Puppetsâ Is This What You Wanted cover), I had never taken the time to sit down and immerse myself in his work. Well, I was very much missing out. His cinematic, confessional storytelling, and his instantly recognisable voice and manner, mean that his songs are almost exactly the type of ballads I love, and Songs is his finest work. From start to end, you see the world through Cohenâs eyes. A poet.
King Krule (real name: Archy Marshall) is a divisive artist; many see him as a visionary, however he is also, to many (including my dad) just âthe one with the awful voiceâ. To me, Krule is a fantastic lyricist and producer, with an instantly recognisable sound. From the moment you enter The OOZ, you are in Marshallâs world, a London of grimy concrete and eerie loneliness. However, there are moments of beauty among the sluggish, smog-filled music; Slush Puppy, despite descending into madness near the end, is a really quite endearingly desperate performance. Cadet Limbo also shows off Kruleâs more jazzy influences, and is all the better for it. A view into the future of singer-songwriting.
2: Father John Misty: I Love You, Honeybear
Josh Tillman has already featured on this list once, and itâs no secret I think heâs one of the best artists working today. However, until this year, I had never given his 2015 romantic opus, Honeybear, a proper listen. I was turned on to Misty by his 2017 work Pure Comedy, and after an existentialist view on all of Humanity, a romance album seemed like a step back, so I didnât give it the time it deserved. How wrong I was. Honeybear is a beautiful, tender, and being an FJM record, deeply satirical and funny, look at love, relationships, and society. It features lush, beautiful arrangements, and gorgeous melodies, all delivered with Mistyâs characteristic tongue-in-cheek smirk. Not one track on the album is dead space, and there are several high points, right from the start. Favourite for me is I Went To The Store One Day, which is a simple, yet incredibly beautiful and moving ballad to close the album. Stunning stuff indeed.
1: Everything Everything â A Fever Dream
Iâve known of Everything Everything for quite a while now, but in early 2017 I was gifted tickets to see them on their A Fever Dream tour, and it absolutely blew my mind. EE have crafted brilliant electronic indie music in the past, with catchy melodies and odd, skittering rhythms. However, A Fever Dream builds on this in the best possible way, building on their electronic sound and adding an even more fiercely of-the-moment view on songwriting. One of the highlights for me was Jonathan Higgsâ vocals, which electrified the music with a fierce intellect, and sparkling melodies. An ecstatic blend of so many musical styles, which results in a fantastic album. A masterpiece for today.
Okay, finally the main event. My album of the year 2018 isâŠ
1: IDLES â Joy as an Act of Resistance.
Here we are then. Number one spot. And again, if you know me, you know there could never really have been any other album here. I first discovered IDLES earlier in the year, riding off the success of their breakout debut album Brutalism, an unstoppable punk locomotive of an album, with guitar and bass lines that are so, well, brutal, that they break down the door and hold you at gunpoint until you sit up and pay attention. This band is the perfect voice for austerity Britain, more mature than Slaves, more relevant than Sleaford Mods, and yet they walk an incredibly fine line. Itâs almost impossible to define until you hear a band that possess it, but they simply make. So. Much. Sense. Joe Talbot talks with such a fiery intensity that itâs impossible not to listen, and an eloquence that is so often missing from punk. Heâs so likeable, and oddly enough for punk, easy to listen to. However, donât mistake that for the album lacking brutal riffs. Because it has those in spades. From the opening bass rumble of Colossus, JAAAOR picks you up by the scruff off your neck, and doesnât put you down until the last manic notes of Rottweiler fade away. This is a rock record that defies rock, a punk record that doesnât define itself as punk, and a political statement that bases its politics on the phrase âLove yourself.â This provides an infectious alternative to the toxic masculinity of so much mainstream rock, and a uniquely vulnerable take on an incredible variety of issues. Beginning with an immediate left-footing with Colossus, the album the catches its witty and caustic stride with Never Fight A Man With A Perm, going from strength to strength the whole time. Iâve never quite identified with a track lyrically as much as Iâm Scum, a rallying call for liberals everywhere: âI'll sing at fascists 'til my head comes off, I am Dennis Skinner's Molotov / I'm lefty, I'm soft, I'm minimum wage jobâand erupting into the chant of âthis snowflakeâs an avalancheâ. It goes on to postulate about not caring about the next James Bond, as âwe donât need another murderous toffâ. The next track is the joyous Danny Nedelko, an ode to Talbotâs friend, and frontman of Heavy Lungs, Danny Nedelko. Itâs a quite magnificent celebration of immigration and diversity, and embodies the sentiment of the album as a whole quite simply with a roar of âUnity!â. Potent stuff. The next highlight (or rather lowlight) for me is the one-two punch of June and Samaritans. June is a singularly moving ode to Talbotâs stillborn daughter, building all the time to a non-existent crescendo, and repeating the six-word mantra âBaby shoes, for sale. Never worn.â Incredibly painful, raw and poignant; you feel as if youâre witnessing a moment that you really shouldnât be, a would-be father grieving at the bedside. It then transitions into Samaritans, an anti-toxic masculinity manifesto, furious in its denial of male stereotypes: âMan up, sit down, chin up, pipe downâ, and building relentlessly to sheer ecstasy of the decree: âI kissed a boy and I liked itâ. Powerful, powerful stuff. Track eight, Television, is pinned down by a juddering riff complimented by the incredibly able drumming of Jon Beavis (a very much unsung hero of the group), and a wonderful self-love mantra. Moving on, Great is an anti-Brexit track than manages to reveal the hypocrisy of nationalism without ever moving into preachy politicism, which is Talbotâs greatest strength; he can make any point sound like the simplest and most honest declaration ever. Gram Rock and Cry To Me are witty, and the least overtly political tracks of the album; but even these apparent low points arenât by any means stale, quite the opposite. Every moment of this record fizzes with energy. Finally, Joy rounds off with the magnificent Rottweiler, a searing discrediting of the UK media, ending in the wheels coming off as the tension built throughout the 42 minutes comes to a chaotic end, with Joe yelping âUnity!âover and over. I have one final thing to say about Joy; itâs production is pristine throughout, with clarity in even its most chaotic moments. This is my record of the year, because I feel no other record held my attention so completely, and was so representative of the sentiment of this year. Pure joy.
Well then, thanks for sticking with me. 2018âs been a belter of a year for music, and I canât wait to see what 2019 brings.
