Vinyl of the Year 2017
It’s that time of year once again for a music recap! I know I’ve pretty much abandoned the “First Impressions” thing, but I realized that I prefer to let my opinions ferment for some time and serve them up all at once at the end of the year, so that’s what I’ll be doing instead from now on--and in lieu of those posts being reminders of what albums I like, I made a “Best of 2017” playlist out of selected songs from my favorite records of the year. You can listen to it here on Google Play.
I’ve done my album rankings a bit differently this year as well: I’ve compiled a Short List of every album that had at least one song I liked on it, and I’ll be going through all of them one at a time, getting a bit more descriptive the higher up the list I go.
Here’s the Short List, sorted roughly by release date:
And without any further introduction, let’s do this!
36. Joji - In Tongues EP
Joji is George Miller aka Filthy Frank aka Pink Guy’s moniker for more-serious music, and his record debut is a collection of mellow, lo-fi beats with some shallow lyrics on top. I like some of the sounds on here, especially the ukulele sampling on Worldstar Money, but overall this just sounds like any other amateur lo-fi artist on SoundCloud.
35. Electric Guest - Plural
Electric Guest’s second album features more indie-pop tunes, most of which are completely forgettable in the sea of similar music--but Oh Devil and Back For Me are a couple of rare exceptions that return with the magic and groove of their much-better first record.
34. XXXTENTACION - 17
After hearing about how X seriously abused his ex-girlfriend, I pretty much gave up on liking him and instead hope his mental health improves. The 20-minute album he released is mostly some super-low-effort “I’m depressed” music, but the one stand-out track is Jocelyn Flores, and that’s much more thanks to the potsu song it heavily samples. So at least I can thank X for introducing me to potsu before I never listen to him again.
33. Migos - CULTURE
The Atlanta trap trio climbed to the top of the game with this album, and Bad and Boujee will be remembered for a long time for popularizing their flow and production style (provided by Metro Boomin), for better or worse. T-Shirt is another catchy track with a wonderfully unique flow throughout, but the album pretty much drops off after that for me.
32. SZA - Ctrl
SZA’s debut full-length album is critically acclaimed as a soulful and personal take on modern urban romance and the role she takes in it. I can appreciate the album for that, but it’s not really a concept that I can connect with personally, so this album doesn’t stick with me like it did others. However, the songs with more blatant concepts like The Weekend and Doves in the Wind are more replayable--especially the latter, with its hilarious Kendrick Lamar feature.
31. Mount Eerie - A Crow Looked At Me
I really think this album should be labeled ‘FOR EMOTIONAL EMERGENCIES ONLY’. As the listener, you are taken through what is effectively just cathartic music-therapy for Phil Elverum after the very recent death of his wife, Genevieve. No deepy-contemplated lyrics or music here, just somber mostly-guitar ballads with very straightforward “lyrics” on top about his personal thoughts on various aspects of his life now that she is gone. It’s hardly music, but it’s not for the faint of heart--the first song, Real Death, however, is a good summary of the album’s aesthetic for those who don’t want to sob for 40 minutes.
30. Open Mike Eagle - Brick Body Kids Still Daydream
OME is very hit-or-miss in my opinion: he is capable of some excellent flows and lyricism, and can really knock it out of the park with the right production behind him. This album didn’t completely hit--it was mostly too slow, and I admittedly don’t like it when he sings sometimes--but Tldr (Smithing) and Brick Body Complex both had enough of a driving beat to keep me listening.
29. Pink Guy - Pink Season
I was honestly surprised when the In Tongues EP came out that it didn’t have production nearly as good as Pink Season’s: regardless of whatever offensive thing he raps on top, Pink Guy has several solid beats on this album, especially in the food-based songs where the raps are more typical and less off-the-wall raunchy. Adding a few comedic diamonds in the rough, like She’s So Nice and Small Dick, makes the album worth coming back to every so often.
28. The Shins - Heartworms
The Shins have really carved out their own bubbly-indie-rock niche in music and made themselves comfortable, and Heartworms is no departure from that in the slightest. The result is an album that’s both easy to enjoy but hard to really celebrate. A few stand-out tracks are Rubber Ballz, Name For You, and Mildenhall, which each have a slightly different tone, but belong well within the Shins’ signature aesthetic.
27. Portugal. The Man - Woodstock
It must have been one hell of a year for PTM since they’ve gone from a lesser-known indie-rock group to Top 40 hitmakers, since it’s been weird to hear Feel It Still on the radio even as a fan of theirs. Besides that song and a couple others though, Woodstock just feels like a more popped-up and watered-down version of the slightly-less popped-up and watered-down Portugal that I grew to like when Evil Friends released.
26. Alt-J - RELAXER
The indie-rock powerhouse returned this year with a woefully underwhelming third album, stuffed with nicely-composed but lullaby-worthy tracks following in the wake of the more ambient sounds from their second record. In Cold Blood is by and large the standout track, bringing back the punchy rock feel and dynamic shifts that made An Awesome Wave so catchy and groundbreaking. Deadcrush also lends to this with its tough drum beat, but beyond that, a strange and ill-fitting attempt at garage-rock, and a much gentler cover of House of the Rising Sun, this album can be missed with no regrets, even for an Alt-J fan.
25. San Fermin - Belong
The eight-piece baroque-pop outfit came to my attention when opening for Alt-J live, and their infectious stage presence and unique ensemble led me to find their studio recordings, which were good in concept but unfortunately poorly-mixed for the most part. Their newest record, however, seems to be mixed and recorded much better, with songs like Dead and Cairo bringing that live energy properly into my earphones. Many tracks are good enough but a bit poppy and smooth for my taste, like Belong, but overall this is a great album for anybody who wants more horns and violins in their pop music.
24. N.E.R.D. - NO ONE EVER REALLY DIES
N.E.R.D. finally explains their name on their latest album, which still brings the experimental genre-mixing hip-hop that got them their initial fame, but the experiments seem to be overcooked a bit: there are some interesting samples and beats here, even going so far as combining an 80s new wave style beat with a Future feature on 1000, but most of the songs drag the beats out too long for me to stay interested. Lemon is an exceptional standout track, with one of the bounciest beats of the whole year, and Rihanna with an unprecedented rap feature.
23. Mac DeMarco - This Old Dog
The New York indie-rocker popularized his own “slacker rock” genre with his excellent album Salad Days, and This Old Dog proves that Mac is still the master of his own domain. He branches out his song foundations on this record to include acoustic guitar and piano, among other things, but maintains the psychedelic guitars and wavy synths that characterize his style. His lyrics also get more somber and personal than usual, a rare side to Mac’s music that slows it down a bit too much for my liking, but not enough that this album should be ignored.
22. Gorillaz - Humanz
Pretty much all of the singles from Humanz were great examples of genre-defying instrumentals with fitting rap features on top--Vince Staples does an awesome job on Ascension, DRAM gives Andromeda a nice bit of depth, and Let Me Out is a wonderful gospel-rap-fusion track with Pusha T and Mavis Staples (and the album’s De La Soul and Danny Brown features are good too). Unfortunately, the rest of the album is overloaded with production so all-over-the-place you can never stay immersed for more than a little while before you’re either bored or confused.
21. Smino - blkswn
The underground St. Louis rapper’s debut album is full of wavy beats that have a neo-R&B feel to them, similar to Chance the Rapper or Noname’s recent work, and flows in his own slightly-off-kilter sometimes-singing-sometimes rapping style. The whole album is definitely worth a listen, but most of the tracks are a little too off-balance in their beats and rhythms to really stick; the flow overtakes the underlying rhythm and makes it sound messy. Some tracks, however, like Blkoscars, Innamission, and Spitshine, strike a much better balance--and the soulful final track Amphetamine makes a wonderful closer, especially with Noname’s feature.
20. Vallis Alps - Fable EP
The Australian electropop duo released another EP that is wonderful in every sense of the word, with the only true crime being its short length. As with their self-titled EP, Fable is loaded with glittering synths and Parissa Tosif’s beautifully-airy voice on the high end, with driving percussion in varying amounts to balance it out and change the tone. Sometimes the composition is a little samey, like the repetitive chords in East and Fading, but that doesn’t stop me from coming back.
19. Lorde - Melodrama
Lorde needs no introduction at this point, and her newest album chronicling a relationship and subsequent breakup brings more of her personal side out, which is a welcome change--but the tone of the album is much more poppy, and most of Lorde’s characteristic darkness is washed out. Tracks like Homemade Dynamite and The Louvre show how the production behind her has improved and diversified, filling in the gaps in her old minimalist music quite nicely, but it is a balance that not a lot of the album strikes.
18. Foster the People - Sacred Hearts Club
Foster the People went much more electronic for their newest installment, bringing to the front lines what was once just some background effects. In many ways the change is great for the dancey energy of the band’s music, like in Doing It For the Money and Pay the Man, but other times it just makes the songs less interesting. The rare punk-rock track Lotus Eater also brings the band’s typical energy with a welcome new style that I hope to see more of in future albums.
17. Sufjan Stevens, Nico Muhly, Bryce Dessner, James McAlister - Planetarium
Stories of eponymous Roman myths with Sufjan’s poetic twist are sung through several effects on top of grandiose and often-overwhelming production throughout this technically-huge album. The main setback of this record is its length and overindulgence in its composition, like a musical all-you-can-eat that just keeps coming (and it’s a slight thorn in my side that the track order seems meaningless). In moderate doses though, tracks like Jupiter and Mars serve up lots of beautiful soundscapes with interesting dynamic shifts throughout.
16. 21 Savage, Metro Boomin, Offset - Without Warning
The back end of 2017 saw the release of several collaboration albums between various trap artists and producers--and this surprise Halloween-themed album is the only one worth coming back to. Metro Boomin provides beats that are as spooky as they are sticky for 21 Savage to rap on, but Offset is the true star of the album, bringing crazy flows that amplify the groove of the whole record, especially on Ric Flair Drip and Ghostface Killers.
15. Tame Impala - Currents B-sides & Remixes
The remixes on this album are okay, but it mostly has this rank because of its bonus material from my 2015 Vinyl of the Year. The three tracks sound from a time between Lonerism and Currents, where real drum beats dominate the driving percussion but synth leads take over the instrumental. List of People (To Try and Forget About) and Taxi’s Here are both excellent tracks that are better than some that actually made it to the real Currents, but I’m happy they hold their own separately, too.
14. Fleet Foxes - Crack-Up
Fleet Foxes continuously push the boundaries of folk music to new heights, and this album is no different, featuring an impressive amount of dynamic switches (especially in I Am All That I Need / Arroyo Seco / Thumbprint Scar), strange time signatures, and of course the characteristically-angelic harmonies and ambient guitars. Third of May / Ōdaigahara is the best blend of complexity and accessibility that Fleet Foxes has yet produced, with the rest of the album leaning a bit heavy toward the former, but I’m excited to see what they’ll do next.
13. Father John Misty - Pure Comedy
The ex-Fleet Fox brings another dose of well-composed irony to the record press, this time focusing the negative energy of Americans everywhere in 2017 into a concentrated mass of pure sarcastic cynicism. The theatrical compositions Father John is known for get even better on this record as he places it in the modern age by singing about having VR-sex with Taylor Swift and updating his status one last time before dying. The result is a wonderfully relatable and over-the-top message about the folly of man and just how funny it can all be sometimes.
12. Jaden Smith - SYRE
I still can’t take Jaden seriously after this album came out, but the production on it is so good it makes me almost wish I could. Lido’s beats and instruments, especially in the opening medley BLUE, are impressive enough that they bring up the album quality by themselves, and while Jaden’s lyrics range from platitudinous to cheesy to insane, his flow is usually a pretty good fit with the beats, so not all is lost--though he could stand to use the triplet-style a little less.
11. Richard Dawson - Peasant
If Lord of the Rings is high fantasy and Game of Thrones is gritty low fantasy, then Peasant is scraping the bottom of the barrel. Dawson’s folk songs each discuss a different story from 6th-century Britain, most dealing with brutal subjects like a child prostitute or a poor beggar losing his dog. The compositions are also period-authentic with amazingly erratic guitar work and some modern production scattered throughout, for a wonderfully unique and just-accessible-enough blend of old and new.
And now, on to the Top 10!
10. The National - Sleep Well Beast
I heard rumors that this album would be more electronic before it came out, and I was hoping for more of a 22, A Million-type situation combined with Matt Berninger’s characteristically deep and smooth vocals. That did not happen (yet) but this album is still a great addition to the National’s catalogue, bringing their downtempo slow-burners like Guilty Party alongside more traditional tracks like Day I Die--a welcome change from their slightly-too-mellow previous record. The National also had their own foray into faster rock music with Turtleneck, which gives the album a nice dynamic change.
9. Vince Staples - Big Fish Theory
Quick disclaimer: I have yet to listen to Vince’s earlier and more-acclaimed album Summertime ‘06, so I can’t really discuss comparisons to it--but in a vacuum, Big Fish Theory is a grimy, groovy rap record in all the right places. Dirty industrial beats carry Vince’s top-notch flow while he raps about darker perspectives on fame and his current position. A lot of tracks are repetitive--sometimes making the song catchier and increasing overall bump-ability, other times dragging it out into a monotone--but both are seemingly by design, which shows that the producers really know their stuff, though I hope that Vince branches his sound out somewhat in his next (or previous) records.
8. Sampha - Process
This album is a real masterpiece of electrosoul: lyrically founded on Sampha’s personal struggles and tragedies, and musically ranging between punchy drums and soulful piano, the one-of-a-kind compositions on this album are still seriously impressive, and vary enough that there’s something for everyone to enjoy, from the trap-head to the chorus singer. What’s more, the production fits the mood of each song to the point where you’re joining Sampha on his cathartic journey across the record--and that immersion only makes Process more memorable.
7. Rapsody - Laila’s Wisdom
Rapsody entered my radar with her features on To Pimp A Butterfly and Malibu, and I’ve been waiting for a project from her ever since--and now that it’s here, it satisfies pretty much every expectation I had. The raps are personal and candid but also inspirational and confident, showing how Rapsody lets her past strengthen her present. She also hosts a huge variety of features that all fit very well where they’re placed, including a strong verse from Kendrick Lamar, a couple of choruses from Anderson .Paak, and a slightly-discomforting love rap from Busta Rhymes. The production is also top-notch, making great use of tempo shifts, sampling, and sound effect transitions. The thing that keeps me from really bouncing to these tracks though is Rapsody’s casual, off-tempo flow--it’s enough to make the raps sound more genuine but it also throws off their rhythm. That’s a small gripe for an overall-solid project, though.
6. Everything Everything - A Fever Dream
One of my favorite indie rock bands released their fourth album this year, and it did not disappoint. Like their past records that have a loose theme, this one roughly revolves around the crazy society that seems to have developed in the past year or so (as a lot of music this year also focuses on). Unlike their past records, however, the quality seems to be more in the slow-burner tracks than the energetic ones, which are seemingly more under-written than ever. That isn’t to say I don’t like them, though--the louder songs really punch with amped-up guitars, a driving rhythm section, and the band’s characteristically choral vocals. However, the mellower tracks have much more interesting and introspective lyrics, as well as instrumentals that are unique to the group’s discography and make for a unique tone in each song.
5. Big K.R.I.T. - 4eva Is a Mighty Long Time
There isn’t a lot about this album that really breaks any molds, or pushes any boundaries--it’s just a very, very solid rap project. The production is some of the best on any album this year, and most of it is done by Big K.R.I.T. himself, and his flows are marvelous whenever he raps. Tracks like Subenstein and Big Bank bring the hard beats on the first disc of the double-album without being overbearing, and the second disc has more melodic tracks like Miss Georgia Fornia (with some excellent vocals from Joi) and Bury Me in Gold (a wholesome wrap-up for the whole project). 4eva Is a Mighty Long Time is a mighty long album, though, so anyone listening might want to split it up into its two discs so they’re not too tired of it before it’s even finished (both are self-titled, the first his rap name, the second his real name). Oh, and the two skits are both hilarious.
4. Kendrick Lamar - DAMN.
The legend returned this year with an album that is equal parts evocative and enigmatic. Ignoring the lyrics/narrative for a moment, the production is very different from any prior project of Kendrick’s: he brings in instrumentals founded on guitars, ambient and/or erratic samples, and even U2, with the vocal effects varying across the album, matching Kendrick’s own vocal virtuosity. He even tries singing a few times, which is more fitting on some tracks than others. Lyrically, it feels like Kendrick is also getting more repetitive, but he uses that repetition to his supreme advantage when conveying ideas he wants to stick in your head, like his feelings of anxiety with fame and his worst fears throughout his life. The album’s narrative also takes different directions depending on how you listen, which is an amazing feature of this album that shows Kung-fu Kenny’s genius storytelling once again and reminds everyone why he’s staying on top.
3. BROCKHAMPTON - SATURATION trilogy
Out of nowhere, this fourteen-person boyband collective hailing mostly from Texas saturated rap music with three full-length albums in the past six months, and they’re all insanely good. Mostly produced by Romil Hemnani, the instrumentals are incredibly eclectic and use an insanely wide variety of sounds, drums, and effects, that somehow blend really well together into a solid beat. Each of the rapping members of the group then use that beat to its maximum potential with their own characteristic style, akin to boybands of the past: Kevin Abstract gets passionate about his homosexuality and leads the group, Ameer Vann discusses his drug-dealing past to solidify his tough-guy persona, Dom McLennon brings fast, rhythmic, and candid bars, Matt Champion raps with infectious confidence and bravado, Merlyn Wood adds a not-usually-serious energy to the mix, and JOBA is a wild-card that can go from singing beautiful harmonies on one track to screaming about breaking necks on the next. I am confident that this type of prolific, eclectic, and personalized rap is where the genre is headed, especially now that this group is around, and I can’t wait for their next album--already slated for early 2018.
(The albums themselves are pretty similar, but I would rank them 2, 3, 1 (descending), which is really just based on the number of less-memorable tracks they have.)
2. Joey Bada$$ - ALL-AMERIKKKAN BADA$$
Lots of musicians had their take on the current events of the past year or so, but I don’t think anybody had a political message that was as focused, thought-out, and powerful as Joey Bada$$ did on this album. For starters, the instrumentals are really immersive, with triumphant horn sections and choirs leading some of the more confident tracks and grimy samples backing the more passionate and angry beats--and it’s all mixed pretty much perfectly, leading to a combination that keeps you moving to the beat. On top of the stellar production, Joey raps about what it’s like to be a black man in modern America, taking perspectives on fear of the police, gang violence, and hatred of the current government, all with the incredible rhyme schemes and flow that he is known for, even singing a few of the choruses pretty well. The overall theme is a duality between anger and disappointment at the current system and an inspiring call to action to improve the future, which is a large chunk of why I think this album is both firmly rooted in the present and timeless in its quality.
1. Tyler, the Creator - Flower Boy
Tyler has always been one of my favorite rappers in the abstract, with his lyrical schemes, unpolished production, and unconventional narratives being the driving force behind his work--but Flower Boy is a newer, more mature Tyler than the one that’s been heard before. Both his lyrics and his production have stepped up so much on this album that it’s hard to even believe it was all done by Tyler himself. The lyrics are incredibly candid and rooted in Tyler’s own anxieties about fame, friends, and relationships, with his uniquely dynamic, almost chaotic rhyme schemes adding to the fittingly-awkward aesthetic of the lyrics. The production is also butter-smooth and usually based on laid-back, jazz-like piano or psychedelic guitar chords, with soulful vocal performances from Tyler, Frank Ocean, Rex Orange County, and Estelle to name a few--all of this culminating in a sound that’s just as much chill psychedelic rock as much as it is hip-hop. Tyler’s talent and maturity have really bloomed with this album, and its message connected with me personally: in a year that was filled with worries, loneliness, and shifting friendships, I could put this on and find peace in the moment--and that is why Flower Boy is my Vinyl of the Year for 2017.
That about wraps it up! If you liked what you read and are interested in any of these albums, remember you can listen to most of the music I just talked about in my Best of 2017 playlist. I’ll see you again this time next year with another playlist, countdown, and Vinyl of the Year.
Thanks for reading, and happy listening!