Discover Top Posts Tagged with #charlift

THE 50 BEST ALBUMS OF 2016 (PART 2 OF 2)

By Connor Hanna

It all comes down to this. These are the rest of the years’ best albums and each of these 25 offered something special to be remembered for years to come. Each one deserves a listen and has the potential to be anyone’s favorite album of the year. 2016 was awesome for music and these are the very best the year had to offer.

#25. Moth by Chairlift

Recently, indie-pop group Chairlift called it quits, making Moth the final album from the little band who could. Bummer, but they went out swinging because Moth is by far their best album. While Something launched the group into the attention of mainstream artists like Beyoncé, Moth fine tunes their formula for something weirder but no less catchy. “Polymorphing” would not get out of my head this entire year and the jingles that accompany Caroline Polachek’s vocals in “Ch-Ching” still grace my dreams. It’s an album about love, the transformation of admiration into deep feelings and Chairlift have the songwriting chops to ensure Moth never devolves into cheese. Capturing the beauty of love is tough without being eye-rollingly corny, but Polachek’s vocals soar with beauty, unfazed and locked in with serious conviction. Moth is pure love in music form.

#24. You Want It Darker by Leonard Cohen

We lost too many legendary artists in 2016 (more on that later), but around release of Leonard Cohen’s 14th album You Want It Darker, the enigmatic singer/songwriter proclaimed he was “ready to die”. Sad, for sure, but his acceptance of death painted this final and possibly best album with a level of wisdom most old-timers could only dream of. “Treaty” plays as one of the most heartbreaking songs of the year as Cohen seemingly comes to terms with a relationship that has long since dissolved. Acceptance and meditations on the past are the theme here and playing as his last album, one gets the feeling he wanted to shed all the emotions before dipping out of this cruel world. Leonard Cohen will go down as one of the all-time great singer/songwriters and it’s hard to think of a better way for him to go out.

#23. Coloring Book by Chance the Rapper

After years of teases, Chicago native Chance the Rapper finally released his feverishly anticipated third mixtape Coloring Book. Anticipation could have sank this record, with Chance mentioning it should have a place at the Grammys on Kanye West’s “Ultralight Beam”. Turns out that Coloring Book is the gospel-fueled rap album West promised and failed to deliver on his own album this year (though, that doesn’t make that album bad as you’ll see soon). Chance the Rapper is one of the most exciting rappers in years and he hones his craft further here. Pop hits like “No Problem” keep the fun going while “How Great” sounds like a sermon Chance and Jay Electronica decided to release, attempting to unite everyone in spiritual power. Coloring Book isn’t the greatest album ever made like the hype would have you believe, but it’s considerably uplifting and impeccably crafted. Chance continues to hone his craft and Coloring Book is another evolution for an endlessly promising artist.

#22. blackSUMMERS’night by Maxwell

You’d be forgiven to have forgotten about Maxwell like I did. The once immensely popular R&B singer was relatively quiet in the seven years since his immensely popular 2009 album BLACKsummers’night. On his follow up, the similarly titled blackSUMMERS’night, Maxwell delivers a traditional R&B album that’s a triumph for it’s adherence to the singers of old rather than that of modern-day acts like Frank Ocean or The Weeknd. This album is nothing but a warm, loving embrace of smooth R&B music that’ll probably be the soundtrack for countless sexy times for years to come.

Maxwell is timeless here and while the longevity of this album is a question that’ll be answered with each passing year, blackSUMMERS’night comes off like an album that begs to be remembered through the association of loving feelings. Hell, Michael Jackson influences come through on songs like “Lake By the Ocean” and damn it if it’s not a song that’s simply impossible to not love. This isn’t an album bogged down by trashy sexual desires; instead, it’s a loving ode to the best love has to offer.

#21. Starboy by The Weeknd

Moving into full-blown pop territory, Beauty Behind the Madness was a successful shift for Abel Tesfaye that moved him into the frontlines of the mainstream. Arriving only a year later, Starboy distances The Weeknd further from the sounds he introduced in his mixtape trilogy. This isn’t a detriment. While the drug-fueled debauchery of House of Balloons still remains his most thematically rich album, Starboy is a refined take on his brand of pop that builds on the successes of his previous albums.

Lyrically, Starboy is typical Weeknd; debauchery looked through a self-aware lens. However, The Weeknd’s massive rise is reflected just by looking at the tracklist for Starboy. It’s a lengthy project with not one, but TWO features from the legendary dance duo Daft Punk. The ambition of the project makes way for some of Tesfaye’s catchiest songwriting yet. Songs like “Secrets,” “Attention” and “Reminder” display a confident, if not damaged, view of Tesfaye that continues to make his music so great. Starboy isn’t the boldest album in The Weeknd’s discography, but it’s certainly one that moves him forward into exciting pop territory without compromising the artistic vision found on his greatest works.

#20. Faraway Reach by Classixx

The debut album from Los Angeles bred DJ duo Classixx was among 2013’s biggest sleeper hits. Hanging Gardens found a sweet spot between pop-fueled dance music and instrumental grooves. It’s an album that still holds up and despite some minor filler, is still one of the best dance records of the 2010s. On their sophomore record, Faraway Reach, Classixx stick to their formula and continue to do what they’re so great at: writing catchy hooks and making songs with some of the grooviest, prettiest production in the genre.

Faraway Reach is a fun record. T-Pain shows up on “Whatever I Want” and weirdly meshes well with Classixx, creating a song that I’ve yet to get out of my head all year. This is a largely pop-focused album, with features from How To Dress Well and Michael Angelekos of Passion Pit singing some of their best songs in some time. There’s still room for Classixx’s production flourishes as the instrumental “Pure Distraction” steals the show with it’s groovy beauty. Classixx gave us more of the same with Faraway Reach, but with a tighter focus on their biggest strengths. It’s everything a sophomore dance record should be.

#19. Still Brazy by YG

When YG dropped his debut album My Krazy Life, it was one of the biggest surprises that shouldn’t have been a surprise. YG’s love for West Coast sounds and the pairing with producer DJ Mustard produced sparks that made the album a total party. But while it was fun, the stuff YG rapped about was gritty as hell, reveling in a dangerous gang-bangin’ lifestyle that put the horrors of such in full view. Still Brazy is even better and, like the best sophomore albums, refines and improves the music.

YG details brutal stories on tracks like “Gimme Got Shot” that show a rapper who’s not only a party starter, but a storyteller who’s seen and done some shit. “FDT” is an immediate standout and after the presidential win of Donald Trump, continues to be a rallying cry for those concerned with the controversial approach to politics the president elect has displayed. Still Brazy is a continuous blast of dope ass West Coast bangers, but there’s a depth that moves it beyond the status of a simple party album.

#18. Wildflower by The Avalanches

Did anyone really think we were going to get another Avalanches record? Since I Left You is a masterclass in dance music, using a plethora of samples to drive home the feel-good tunes. That record felt like the best party you’ve ever been to. Not one where frat dudes puke out windows while cops bust the place because neighbors called in a noise complaint. This was the party with the best of friends coming together, staying up late at night to chat and laugh about the best of memories. In the 16 years it took to get a follow-up, Since I Left You has gotten better with each listen and rightfully established itself as a hipster-must-listen.

Wildflower has a lot to live up to and The Avalanches don’t settle for more of the same. The sampling is still fantastic, giving songs like “Subways” and “Because I’m Me” the same charm that attracted us all to the group in the first place. Bands who return after a decade-plus hiatus don’t always succeed, opting to play it safe and failing to do anything new and exciting. The Avalanches dish out a hefty amount of risks, bringing contemporary musicians like Danny Brown and Toro Y Moi into the fray. The result is an album that may not be as timeless as Since I Left You, but it feels remarkably of its time. Wildflower is fun, weird as shit and a solidification of The Avalanches’ timeless sound.

#17. Opus by Eric Prydz

A two-hour trance epic is a tough thing to pull off. If songs follow the same pattern, you run the risk of stagnancy real quick. Switch things up too much, the album can be a disjointed mess that deviates from what the artist does so well. Legendary trance producer Eric Prydz is a man who is a master of his craft and his albums have typically been super long affairs. Opus is ballsy title to give an album. If it doesn’t succeed at delivering the musician’s best work, the number of people crying foul would be unfathomable. Looking at the album’s tracklist was troubling at first: what the hell were these under-four-minute songs doing on an Eric Prydz album? Why are there songs we’ve heard to death on here? Is this just an album where Eric Prydz is throwing all his shit to record and hoping we buy it?

No. No. Absolutely not. Opus is without a doubt the best release from Eric Prydz and certainly lives up to its title. It feels like an accumulation of everything that makes the genre work and everything Prydz has been working toward. My recommendation: split the album into two halves and listen to either half when on a long drive. This music demands attention and the feeling of driving to such entrancing music ranks as one of my most memorable music listening experiences of the year. Opus is a monster of an album, but it’s a monster of an album that doesn’t demand anything but your pure enjoyment. EDM gets a bad rap sometimes and that’s unfortunate. The genre can generate a feeling that nothing else can; a pure euphoria associated with the simplest of life’s pleasures. Opus is proof that the right EDM artist can produce an artistically astounding monster epic that can soundtrack life’s best or worst moments with equal joy.

#16. untitled unmastered by Kendrick Lamar

Kendrick Lamar has become one of the most reliable guys in hip-hop. Each one of his releases have ranged from fantastic (Section.80) to bona-fide hip-hop classic (both good kid, m.A.A.d city and To Pimp A Butterfly). Each release tightens Kendrick’s grasp on the genre and even when he releases an album of unfinished demos, he still manages to wipe the floor with just about everyone. Untitled remastered is Kendrick’s roughest, most immediately flawed release, but that doesn’t stop it from being a must-listen that’ll make any Kendrick fan giddy.

Thematically, Kendrick doesn’t deviate from topics found on other releases, displaying an open eye for the world around him and the hardships in American society. Kendrick is at his lyrical best through the album of and while the eccentric production spirals each song into a surreal abyss, untitled unmastered never loses focus for a second. Songs like “untitled 02,” “untitled 03” and even the Cee-Lo Green featuring “untitled 06” represent some of the best songs in an already astounding discography. Sure, untitled unmastered doesn’t have the polish of Kendrick’s previous two masterpieces, but it’s incredible that he can drop an album of rough demos and shit on most rap releases in the process.

#15. My Woman by Angel Olsen

I must admit, when every critic under the moon was singing their praises for Angel Olsen’s debut album Burn Your Fire For No Witness, I found it to be a solid, but unspectacular record. Her songwriting was fantastic, but it was still an indie-rock record that relied too much on promising talent rather than the music at hand. I didn’t hate the record and rightfully placed the album in the lower end of my top 75 records of its year. The biggest concern was that she would continue to pursue an indie-folk sound that we’ve all heard before, risking stagnancy right out of the gate. On her sophomore record My Woman, Angel Olsen attempts to bring a much needed variety to her music and because of this, ends up with an album that wipes the floor with her debut.

The first song on My Woman, “Intern”, will surprise anyone who listened through Angel Olsen’s first record. It’s her first foray into using synthesizers, which she used to apparently “fuck with people.” Touché, but it’s an incredible song, buoyed by Olsen’s stunning vocal performance. My Woman follows suit, not with the synthesizers, but with the overall “I’m getting fucked with” vibe. Influences of glam rock, country pop and grunge are all over the place before “Pops” ends the record with a piano ballad. Olsen is all over the place and it makes My Woman a ridiculously fun listen. Her knack for a solid chorus shines on “Shut Up Kiss Me,” one of the year’s catchiest songs. But it’s the album long cuts “Sister” and “Woman” where Olsen channels her inner Stevie Nicks with astounding results. My Woman is a phenomenal record, one that came out of left field with the immense skill on display. With this record, Angel Olsen established herself among the indie-rock elite and I’m beyond excited to see what she has in store next.

#14. Aa by Baauer

When Baauer hit the scene in 2013 with his viral hit “Harlem Shake”, you’d be hard-pressed to find anyone who thought he had any longevity. The viral song was cool, but it was the kind of simple hit that people obsess over for a few months before hype dies out. Since then, Baauer spent his time releasing music that was decent, but hardly memorable. In a genre like EDM, sustaining that first hit with a fully-realized release is a necessity that clearly didn’t register to Baauer. Three years after that initial hit though, Baauer finally released his debut album Aa. Turns out he was prepping an unexpected, and far more exciting, direction.

Aa is short, clocking in at barely over 30 minutes across 13 tracks ranging from psychedelic wig-outs (“Good & Bad) to infectious Daft Punk-inspired grooves (“Pinku”). Baauer doesn’t settle on one EDM sound and in doing so, Aa turns out to be one of the wildest, experimental and just plain fun EDM records in the past few years. No song is alike, but they’re all boosted by bangin’ beats and fantastic guest performances from artists like M.I.A and Future. There’s an exploration of sound on Aa that demands repeat listens, easy enough considering the short album length. It’s all the more of a triumph when you realize Baauer was at risk of being obsolete for the past three years. Aa not only proves Baauer’s unique presence in the EDM community, but his necessity to the genre as a whole.

#13. SVIIB by School of Seven Bells

Few albums come with a backstory where tragedy is engrained into the creation of an album. School of Seven Bells had made a name for themselves with fun, shoegazed-infused indie-rock releases that may have not been classics, but were lovely listens. Alejandra Deheza’s otherworldly vocals were always a delight and Benjamin Curtis knew his way around a synthesizer, layering songs with gorgeous atmosphere that sucked listeners into their lovely world. But then tragedy struck. The two had been a couple for years before settling into a respecting band-focused friendship. Tragically, Curtis lost his battle with lymphoma in 2013, leaving the fate of the band in question.

SVIIB had been almost finished before Curtis’ death and in her grieving process, Deheza went through and finished the album herself. This album hurts. It at once beautiful, but tragic. Entertaining as hell, but somber. SVIIB pays tribute to the lost of a love one in a way few artists have put to record. Curtis’ presence is felt throughout and by the conclusion of “This Is Our Time”, the sadness that has dominated the record opens your eyes to the beauty of the album: celebrating the life of someone who was taken too soon while handling their grief. Finishing this album had to have been a taxing process, but it pays off, elevated by the sheer magnitude of emotion on display. I loved few albums this year the way I loved SVIIB. Benjamin Curtis would be proud.

#12. 99.9% by Kaytranada

There’s a moment on Kaytranada’s debut album 99.9% on a song called “Lite Spots” where the song sounds like it could go in any number of directions. Foreign vocals slowly peer through a layer of electronics before the song abruptly shifts into a flickering bass line backed by horns. But this isn’t the true song; the vocals jump back in, acting as the vocal loop as one of the grooviest dance tracks on the album commences. It’s unexpected, but that’s Kaytranada’s specialty. He specializes on throwing you off, building anticipation and delivering something unexpected, but even better than what you envisioned. It’s absolutely mind-blowing that 99.9% is Kaytranada’s debut album. It sounds like someone who is the master of their craft, bobbing and weaving through the genre tropes to deliver a dance record that acts as something more than that: an album bursting with ideas.

No song on 99.9% is the same, but Kaytranada has established a sound of his own that underlines the mix-mash of dance styles. The house bangers are here, such as the above mentioned “Lite Spots” or “You’re the One” that features a beautiful, soulful performance from ex-Odd Future member Syd. Silky basslines propel these songs to house glory, but Kaytranada throws curveballs, delivering one of the best rap bangers in recent memory with the Vic Mensa featuring “Drive Me Crazy”. And of course, the Anderson .Paak featuring “Glowed Up” displays an immense level of talent from both artists. 99.9% has the feel and warmth of a record that one might put on to cheer themselves up. It’s cliché to say, but Kaytranada’s debut is full of good vibes, layered with a masterful level of experimentalism. Once the album ends, you may be compelled to go back through, discovering new things to love with each listen. 99.9% demands repeated listens, but Kaytranada skillful and joyous execution will migrate you to it anyway.

#11. Atrocity Exhibition by Danny Brown

Danny Brown’s unique delivery isn’t for everyone. Any fan of his knows that; he understands this. But since his sophomore album XXX broke into the music collective’s conscious, he’s been everywhere with guest spots on the biggest rap albums in the past five years. His third studio album Old was arguably his best work, but you could hear Danny Brown somewhat compromising his sound for a radio-friendly audience. Beats from trendy producers? Check. Guest spots from the hottest rappers and pop stars in the game? Check. Less abrasive nature? Check, check, double check. Old was awesome, but most Danny Brown fans would say they wanted to see another psychotic piece of fucked up work like XXX. Judging by Atrocity Exhibition, Danny Brown’s abrasive approach was arguably toned down earlier than previously imagined.

Atrocity Exhibition is a fucked up album. Not just in the lyrics, but in the actual sound of the album. This is a nightmare of an album and everything from the beats and insane vocal deliveries accentuate this. Danny Brown raps about his constant drug abuse on “Ain’t It Funny”, treating it like a curse that ruins his life. The production follows suit, hypnotically spiraling out of control along with Danny’s vocals. Every song is so disturbing, nightmarish and insane that Atrocity Exhibition continuously feels like we’re in the nightmare of a really fucked up individual. This feeling extends even into the the posse cut “Really Doe” which features Kendrick Lamar, Ab-Soul and Earl Sweatshirt absolutely killing it with all their verses. Atrocity Exhibition is Danny Brown’s craziest album, but since he’s also one of the most skilled rappers around, it’s also his best.

#10. Bottomless Pit by Death Grips

In retrospect, it’s kind of stupid that we all bought into the idea that Death Grips had retired. For years, Death Grips has fucked with their fans more than any artist ever. The cancelled live shows, the endless amount of sudden album drops, the giant “fuck you” to their major record label; all of this was an exhilarating ride. Death Grips knew they had their fans by the balls at all times. When they announced their retirement with, fittingly, a handwritten note on a crumpled napkin, it seemed like the journey was over. It made sense; MC Ride, Zach Hill and Andy Morin are statement makers and this was the ultimate statement. Death Grips would exit as quickly as they had entered. And then, seemingly out of the blue, they announced Bottomless Pit, shitting on their plans for retirement almost as fast as they made them. The wild thing wasn’t how “out there” the lead-up for this album was rather than how traditional the release build-up was. Leave it to Death Grips to fuck with us by being normal.

Thank the heavens that they returned because Bottomless Pit is the best Death Grips album since The Money Store. Throughout the album, Death Grips make it evident that they were building towards this moment, a culmination of everything their fans love. Bottomless Pit takes the rock sounds of Jenny Death, the nasty industrial aggression of The Money Store and rough-around-the-edges feel of No Love Deep Web and spins a yarn of its own. Few albums will make you want to cause damage to your home like this. Bottomless Pit is a fucked up, insane record that hits all the notes Death Grips fans want. Songs like “Spikes”, “Three Bedrooms in a Good Neighborhood” and “Giving Bad People Good Ideas” might be the best tracks Death Grips have ever put to record. Every song brings something new to the table while retaining the sounds that make Death Grips records so exhilerating. Bottomless Pit is a stunning return from a group that didn’t leave for long, but were missed anyway. Living a world without their brand of chaos just sounds boring.

#9. Lemonade by Beyoncé

Does anyone remember that it was actually Coldplay that was supposed to be the headliner for the Super Bowl 50 halftime show? Beyoncé came out and shut that shit down, performing her anti-police violence protest anthem “Formation” in a show for the ages. It pissed people off, leading a number of police officers to voice their complaints that it painted them in a negative light. This disregarded the point of the song and performance; it was a call to action from Beyoncé, someone with a big enough superstar status to make change. In the recent years, violence towards young African Americans shot into the public spotlight despite being a problem dating back decades. Beyoncé’s triumphant performance was the defiant middle-finger that made people move towards taking a stand.

“Formation” concludes Lemonade, an album exploring topics of infidelity and societal distrust. Beyoncé’s second album to drop out of nowhere and easily her most defining release, Lemonade made headlines for its “Jay Z cheated” narrative. This narrative of coming to terms with a loved one’s cheating is a mask for an album that continuously relates the idea of betrayal to a larger story. Guest spots from Jack White, The Weeknd and Kendrick Lamar give the idea that this is a badass radio-friendly album, which it is and isn’t. On one hand, the production on songs like “Sorry” or “Hold Up” make them perfect for club bangers, but on the other hand, you have songs like “Freedom” that show a yearning for a world of fairness. Beyoncé’s defiant performance cannot be understated; she’s simply never been better, making Lemonade an album that compares the racism in America to that of infidelity. This is a rallying cry disguised as a badass mainstream pop album that Beyoncé had to have known the country would eat up. Lemonade shows her desire to use her massive stardom to say something we should all be paying attention to.

#8. 22, A Million by Bon Iver

Justin Vernon is a legend. We all know the story of For Emma, Forever Ago; in a heartbroken fury, Vernon isolated himself in a cabin for months and as Bon Iver, put together one of the most heartbreaking and essential albums of the late 2000s indie-rock scene. Any music nerd has some appreciation for it; I mean, how do you deny the power of a song like “Skinny Love”? The follow-up, Bon Iver, Bon Iver, still remains divisive for it’s grander scope and a more positive outlook lyrically. Personally, I love this sophomore album as it shows Vernon crawling out of the wreckage and reintegrating himself into the world. It’s been awhile since the last time Bon Iver put out a record as Vernon seemed busy guest spotting on various albums and hanging out with Kanye West. Hanging out with West brought a shift to Vernon as he began experimenting with confidence, a far cry from the hurt emotions of his debut record.

22, A Million is the furthest Vernon has veered from his indie-rock roots. Abrasive production, soulful samples and the weirdest track names this side of an Aphex Twin record are all staples of Bon Iver’s third album. The first time I heard 22, A Million, I was driving up through mountains, admiring the beauty of the surrounding nature. It fit perfectly, despite how off songs like “10 d E A T h b R E a s T” or “666 (upsidedowncross”) can seem. Electronics have been a staple of Bon Iver releases like Blood Bank and 22, A Million finds beauty through it’s cluttered and not-easily digested nature. Give the album time and you’ll see Bon Iver have created their best album since For Emma, Forever Ago. There’s a confidence here that pushes Vernon to explore new terrain with such beautiful results, it boggles the mind that this ended up being as much of a success as it is. 22, A Million is an epic existential crisis that moves Bon Iver into an unexpected, but gorgeous path. Hopefully it won’t be another five years for another Bon Iver album, but if the wait is that long, we can at least rest easy knowing it’ll be something truly special.

#7. Blackstar by David Bowie

David Bowie was a lot of things to different people. He was Ziggy Stardust, Major Tom, Halloween Jack and countless personas over the course of his incredible career. David Bowie could be anyone. He could be a character we all related to or some random character that made some sort of statement. Bowie’s untimely death at the beginning of the year was a tragedy for people that grew up listening to his music and let their true self blossom through his influence. Bowie’s music encouraged everyone to live the life they wanted and be whoever they wanted. Hell, he did it and made looking like a flamboyant crazy ass cool as fuck. To me, Bowie could tap into a person’s inner self without singing anything that would indicate as such. “Heroes” stands as my favorite Bowie and each time I hear him yell “I WILL BE KING” during the album’s jaw-dropping finale, I can’t help but shed a tear or two. The song just hits me.

Bowie died of liver cancer two days after the release of his last album Blackstar. It was a tragedy, but Bowie’s mysticism lived on through the album’s uncanny connection with his death. Blackstar is a dark, often disturbing musing on death and embracing the inevitable darkness. While Bowie’s career ended with this, possibly his darkest album ever, there’s a sense of understanding with the whole proceedings. Bowie’s death gives the album an otherworldly feel, like he’s communicating with us from the afterlife. He must have known his demise was imminent and Blackstar almost plays like his last will and testament. Months after the album’s release, observant music fans noticed that if the Blackstar vinyl cover was placed in the sunlight, stars would appear all over the art. Even after his death, Bowie proved to be an otherworldly figure. Going out with Blackstar was the most David Bowie thing David Bowie ever did.

#6. The Life of Pablo by Kanye West

The lead up to the release of Kanye West’s The Life of Pablo was full of false starts. First, it was titled So Help Me God, then SWISH and Waves before the title of The Life of Pablo was settled on. Just what the hell was Kanye doing? Tracklists were thrown around, constantly taking new forms and new lengths. Missing were singles like “Only One” or “All Day”, two tracks Kanye hyped throughout the year prior. It was a cluster fuck of a lead up, but it seemed that Kanye was creating his album in real time for all of us to see. The album cover made no damn sense but had an aura that was weirdly appealing. After Kanye’s intense and enigmatic rollout for Yeezus, his approach to The Life of Pablo was transparent to the point of being a sort of art project in itself. We all saw the Yeezy Season show at Madison Square Garden, anchored by a Kanye who seemed way more low-key than normal. He was making as little sense as possible, making every tidbit of information concerning his actual album all the more important.

The Life of Pablo is a head-trip of an album that eschews all sense of hip-hop normalcy. The first version was an erratic collection of songs that were rough around the edges, smoothed out throughout the following months of its release. Songs were added, verses were re-recorded and versions of songs we had previously heard in a different manner (“Wolves”) were structured according to fan demand. This shit was bananas and The Life of Pablo captures an artist at a point where he’s just throwing stuff out there to see if it sticks. “Father Stretch My Hands Pt. 1” is possibly the best Kanye song in ages, despite its absolutely ridiculous lyrics that betray the soulful samples on the beat. “Famous” seemingly pissed everyone off with that racy Taylor Swift line and “Freestyle 4” sounds like a manic episode caught on the mic. Each track offers a glimpse into the psyche of one of the most controversial artists of our time and despite its erratic nature, The Life of Pablo consistently thrills because of Kanye’s conviction. Nothing like this should work, but Kanye has made a habit out of making things work when they shouldn’t. With Yeezus and The Life of Pablo representing the craziest albums in his discography, Kanye continues to push the boundaries of modern day hip-hop.

#5. A Moon Shaped Pool by Radiohead

Often hailed as the greatest rock band on Earth, Radiohead stopped being a traditional rock band ages ago. Ok Computer saw them beginning their journey into exploring deep existential questions, creating a world with their sound that sounded like a post-apocalyptic dream. Kid A upped the feeling immensely, bringing listeners into a cold, alien world with a mastery of electronics that no rock band had presented before. Throughout the 2000s, Radiohead made some game changing moves, including the innovative pay-what-you-want release of In Rainbows. Their previous record, King of Limbs, alienated some fans because of it’s inability to innovate like albums before, settling for a brief burst of glitchy electronics under Thom Yorke’s unmistakable vocals. It’s a good record, one that people expected different things from. Same could be said of A Moon Shaped Pool, Radiohead’s most low-key affair yet.

A Moon Shaped Pool is a very slow moving record, there’s no denying that, but giving it your patience reaps bountiful rewards. On opener “Burn the Witch”, Thom Yorke proclaims that “This is a low flying panic attack”, fitting considering the song sounds like an on-the-record anxiety attack. A Moon Shaped Pool, in all its beauty and grandiosity, is an album that feels just as isolated and emotionally drained as the best works in their discography. Not only does this feel like Thom Yorke’s most heart-wrenching performance yet, but the band brings in songs they’ve been playing live for years in full studio glory that add to the album’s feel of desperation. “True Love Waits” is a song Radiohead fans have waited for years to hear on record and it fulfills all expectations, standing as one of the band’s crowning achievements. Detailing issues with intimacy in heartbreaking fashion, Thom Yorke pleads for his lover to not leave in the chorus. It’s a final reminder that A Moon Shape Pool is an album that observes the most uncomfortable truths with anxiety. Thom Yorke has never sounded so hopeless.

#4. Malibu by Anderson .Paak

The debut album is a funny thing. It can be a compromise that artists put out to get their name out in the open or it can be a promise of a new talented artist. Anderson .Paak’s debut album Venice lands somewhere in between. It’s a solid album, but you can tell there’s songs that don’t fit the vibe of Paak’s raspy, soulful sing/rap style. Paak is at his best when a groove is set with organic instrumentals that leave room for his life stories. Malibu, Paak’s sophomore album, could have gone a number of directions, but settled for one that’s intensely personal and basking in personality. While Venice ushered in his talent, nabbing him a Dr. Dre cosign, Malibu sounds like an album made by an artist who’s already perfected their craft. When this album dropped in the early winter months of 2016, I didn’t expect this to be one of the most re-listenable and relatable albums of the year. Paak’s personal life is put on full display for all to see and he makes it very clear this is the album he’s been wanting to make this whole time.

Album opener “The Birds” is one of the best songs of the year, detailing Paak’s upbringing in sobering fashion. The song details his mom’s struggles with gambling as she tried to raise Paak in house without a father. As someone raised by a single mother who faced poverty and potential homelessness, “The Birds” struck a personal chord right out of the gate. Paak’s a relatable presence, tackling similar subject matter on “The Waters”, an exhilarating foray into pure hip-hop bliss. Malibu is a fitting title for the album as it basks in warmth and positivity, even when it tackles potentially downbeat subject matter. Paak throws in bangers like “Come Down” or “Room in Here” to keep the mood fun without losing any sense of introspection. “Parking Lot” is a blissful, looking at love through a song that was heard in a parking lot. It’s a beautiful track that cements Paak among the contemporary soul greats, but Malibu is so much more than just a soul album. It’s a testament to the power of positivity’s ability to triumph over a past full of struggle.

#3. Blank Face LP by ScHoolboy Q

In the Top Dawg Entertainment crew, ScHoolboy Q has often played second fiddle to Kendrick Lamar. It’s a shame too because despite not being the group’s most lyrical rapper, ScHoolboy Q has always had a knack for sharp storytelling and burying the listener in a drug-induced haze. On his previous album Oxymoron, ScHoolboy Q integrated radio-friendly sounds into his brand of gangster rap. Songs like “Studio” and “Man of the Year” proved to be hits with fans and mainstream audiences alike, but it sounded like an artist compromising his vision to appeal to a broader audience. In the days leading up to that album’s release, ScHoolboy Q hosted a listening party, wandering around the party in a haze that indicated he was high off his ass, not caring too much about the success of the record. His lack of interest was telling; this wasn’t the record he was hoping to make.

Oxymoron was great, but ScHoolboy Q’s newest album, Blank Face LP, is everything the rapper has been leading up to. This new album is a sprawling, psychedelic gangster epic spanning 17 songs and a 72-minute runtime. 2016 was the year of the overlong rap album, but unlike others, Blank Face LP demands a length for ScHoolboy Q to fully tell the story he’s always wanted. Rooted in his past as a member the Los Angeles Hoover Crip gang, Blank Face LP is an intense piece of storytelling that’s powerful, tragic and a total blast to listen to. Songs like “By Any Means” and the E-40 featuring “Dope Dealer” show ScHoolboy Q having fun while also detailing a past full of questionable decisions. He’s never been more personal, shifting the violence in “Groovy Tony” into an almost dream-like descent into drugs to cope with it all. Even with such dark subject matter, ScHoolboy Q keeps Blank Face LP a thrill from beginning to end, urging further listens with it’s diverse range of production and catchy hooks. Despite previously never gaining the notoriety of Kendrick, ScHoolboy Q has released an album that stands tall as one of the very best releases from TDE, let alone one of the best albums of 2016.

#2. Blond by Frank Ocean

During Odd Future’s reign in the early 2010s, Frank Ocean always seemed like the odd man out. His meditative R&B storytelling was a far cry from the crazy shit Tyler, the Creator and company were releasing. Right before Frank Ocean released Channel Orange, one of the best albums in recent memory, he penned a letter that had him coming out as gay. This was a shock not because he was gay, but because he was a gay man associated with a group that was often criticized for the use of homophobic lyrics. Odd Future’s aesthetic wasn’t one of hate, but an anarchy-fueled “fuck you” to any sense of good taste. They were purposely trying to push buttons and having not one, but two gay members of the group (Syd being the other member) made everyone reevaluate their stance on the lyrics they deemed hateful. Meanwhile, Frank Ocean disappeared from the spotlight without any word of new music over his four-year absence. We all heard the title Boys Don’t Cry floating around, but this ultimately wouldn’t become the title of his next album.

Out of nowhere, Frank Ocean dropped Endless, an aimless visual album that would have been disappointing if it had been the true Channel Orange follow-up. Instead, it was a contract lifting album that paved the way for his true artistic follow-up, Blond. Rather than being another album of surreal pop music (though it is that in a sense), Blond is a slower, deeper affair than Channel Orange. Only once does the music resemble something of a grandiose R&B epic. “Nights” shows Frank singing from the perspective of someone wanting more from a mundane life, capped with production reminiscent of his monster epic “Pyramids”. It’s possibly the best song of the year, but it doesn’t accurately represent the sound of the album. Songs move in an out in a dream-like haze as Frank Ocean distorts his vocals, sings his ass off or brings one of the numerous contributors in to add to the background of the songs. At the center of everything is Frank Ocean’s beautiful and heartbreaking vocals, continuously adding to his mystique and making Blond another one of the best albums in recent memory.

#1. We got it from here...Thank You 4 Your Service by A Tribe Called Quest

During their prime, no hip-hop group was better than A Tribe Called Quest. Q-Tip, Phife Dawg, Ali Shaheed Muhammad and Jarobi White introduced the concept of using jazz styles into mainstream hip-hop to accentuate their socially conscious lyricism. Jarobi would leave the group after only their first release, leading Q-Tip and Phife to carry the group with their stunning flows and personality-fueled bars. The Low End Theory and Midnight Marauders are two of the best hip-hop albums of all-time because they never lost a sense of fun amidst their unique brand of hip-hop. The group would eventually call it quits after their 1998 album The Love Movement due to conflicts regarding Q-Tip and Phife Dawg’s relationship. This split was so infamous that it spawned a phenomenal documentary in 2011 that got everyone talking again. Would we ever see another album from the group? We all hoped, but 2016 saw the tragic passing of Phife Dawg who died of complications stemming from diabetes. This solidified the popular thought the group would be gone for good until Q-Tip dropped the ball, stating the whole group, including Phife Dawg, had recorded a ton of new material. In the months following Phife Dawg’s death, A Tribe Called Quest came together to mourn and honor their late friend by performing and releasing music for the first time in 18 years.

We got it from here… Thank You 4 Your Service is the best album of 2016 for reasons that transcend its initial blast of “oh shit, it’s a new Tribe album finally”. For many, 2016 represented a low point in American history as racism and violence became more than social concerns; they became an epidemic, exacerbated by a divisive political candidate hit with claims of racism and intolerance. Regardless of your thoughts on our new president elect, the week of his win was a weird time for the American public. To many, this was a huge blow and people were overcome by fear for what was in store in the next few years. At the end of the week (and on the night of my birthday I might add), A Tribe Called Quest returned with an album that took on our political climate, the entire group back together to display their wisdom and calm everyone down. It’s a socially concerned album, but one that looks towards a positive future while calling for unity on our own social level. We don’t need to base our treatment of others on stupid politics that have let us down for decades. A Tribe Called Quest bring everyone into the Tribe for one last blow out and at the center of it is Phife Dawg, rapping with pure glee from the afterlife and a final reminder of a hip-hop legend. We got it from here… may forever represent a dark moment in American history, but it serves as a reminder that we’re still here damn it and it’s time to make the best of it.

Thank you for reading and I hope you check out at least one of these fantastic albums! 2017 looks to be an even better year for music and I’ll be there every step of the way.