TOP 20 ALBUMS OF 2015 - pt. 3 (5-1)
5. Oneohtrix Point Never - Garden of Delete
Garden of Delete is one of the strangest albums of 2015. Its weirdness grabs hold of the listener and never lets go. This won’t come as a surprise to anyone familiar with Daniel Lopatin AKA Oneohtrix Point Never. His knack for creating intricate, diverse electronic music spans multiple albums, with GoD being his most adventurous to date. Lopatin has referred to it as a “rock album,” but anything resembling a genre convention is nowhere to be found. Upon first listen, the album’s bleak, alien soundscapes invite the listener to continue out of a certain morbid curiosity. From the hyper, progressive “Mutant Standard,” to the relatively calm, yet eerie “Animals,” each track offers a completely different sonic experience. Despite this diversity, the entire record is built upon the concept of calculated insanity; there is a meticulous overarching theme of organic and synthetic sounds working in unison. If more producers possessed this level of brave creativity, the world of electronic music would be infinitely more interesting.
Highlights: “Sticky Drama,” “Animals,” “I Bite Through It”
4. Unknown Mortal Orchestra - Multi-Love
It can sometimes be difficult to discern exactly what genre Unknown Mortal Orchestra is aiming for. Multi-Love further complicates things, but that’s hardly an issue. Elements of psychedelic rock, pop, funk, and soul are fused together in what sounds like the soundtrack to an unreleased art house film from the 1970s. Ruban Neilson’s vocals across the album are awash in effects that also add to the grainy, underground feel. In the hands of a less-talented group of musicians, this concoction could be disastrous, but UMO was able to produce an undeniably catchy set of tracks. Topically, the album centers around the polyamorous relationship between Nielson, his wife, and another woman (Multi-Love). Thus, many of the songs touch on the intricacies of this unique relationship, yet are also universally relatable. Lines such as “Multi-Love/Checked into my heart and trashed it like a hotel room,” and “If we were just strangers, then we would fall in love again/Abandon extreme wealth and casual cruelty” showcase the strength of Nielson’s writing. All of this culminates in a weirdly unforgettable experience.
Highlights: “Multi-Love,” “Can’t Keep Checking My Phone,” “Puzzles”
3. Injury Reserve - Live at the Dentist’s Office
In the two decades since the advent of jazz rap, few hip-hop groups have mastered the sub-genre. Live at the Dentist’s Office proves that Injury Reserve is fully capable of filling that void. Within the album’s very first moments, the listener is greeted by an instrumental that oozes a kind of futuristic classiness. A repetitive sample glides into an uplifting horn loop, introducing a similarly pleasing drum pattern. The trio’s two emcees, Ritchie with a T and Stepa J. Groggs, explode onto the silky smooth beat with irresistible charisma, dropping countless quotable lines (ex. “It’d be easy to make ignorant music that threatens lives/Never been the type to preach, man, that ain't cool/Life's a chess game, you better calculate your moves/I truly recommend you don't step to my groove/It'll be extremely painful for you”). The track exudes an air of care-free, feel-good, no-bullshit rap music. With the exception of a few tracks, this is the blueprint for the entire album. When they do stray from the formula with songs like “Washed Up” and “Ttktv,” they succeed at creating mellow, melancholic detours. The vibes that this album establishes are huge; every rap fan owes it to themselves to give it a listen.
Highlights: “Whatever Dude,” “Washed Up,” “Ttktv”
2. Tame Impala - Currents
Tame Impala are the undisputed kings of modern psychedelic rock. Currents is their magnum opus, a colorful foray into much more expressive pop territory. Instead of doing away with their iconic sound altogether, the band refocused their efforts and evolved it. This change of pace is marked by the prominence of Kevin Parker’s vocals in the mix and the shift from largely acoustic to more synthetic instrumentation. The result? Simply put, the catchiest, most well-written pop and rock record of 2015. Nearly every song features genius guitar, keyboard, and/or vocal melodies, as well as compelling lyrics that tell the tale of Parker falling out of love and trying to find his way. When he sings, “I know I always said that I could never hurt you/Well this is the very, very last time I'm ever going to... But I know that I'll be happier/And I know you will too... Eventually,” there is palpable emotion behind his words. All of these elements work together in wonderful harmony, allowing the listener to vicariously experience everything Parker sings about. This is made especially clear by the strongest theme of the record; the band implores the listener to recognize their own downfalls and mistakes, yet accept the permanence of such issues. By doing so, one will grow and transform as a person. It’s a beautiful declaration of humanity, of the ubiquitous and undeniable imperfection of our species.
Highlights: “Let it Happen,” “Eventually,” “New Person, Same Old Mistakes”
1. Kendrick Lamar - To Pimp A Butterfly
On his 2010 debut mixtape, Kendrick Lamar rapped, “I'll make an album that'll put a smile on Malcolm/Make Martin Luther tell God I'm the future for Heaven's talent.” While his releases after the mixtape were spectacular, it wasn’t until To Pimp A Butterfly that he fulfilled that prophecy. TPAB isn’t simply an album, it is a monument of artistic expression that solidifies Kendrick as a colossus, a god of hip-hop. Its themes cover a broad scope of mostly personal, and often sociopolitical issues. In concept, the songs play out like a series of short stories that are each bookended by snippets of a poem. As the album progresses, more and more of the poem is revealed and the overall message is slowly pieced together for the listener; an unprecedented feat of storytelling. The songs themselves are among the greatest Kendrick has ever released.
Sonically, there are very few radio-friendly tracks. Instead, the album features a perfect mix of predominately funk, jazz, soul, and boom bap. Musicians like Flying Lotus, Thundercat, Sounwave, Terrace Martin, and Kamasi Washington all lent their talents to crafting the best possible instrumentals. Kendrick rides every single one with an intensity and determination rarely seen in modern rappers. His voice has a chameleon-like quality to it, shifting drastically to reflect the mood of each track. The song “u” finds him sounding emotionally spent and on the brink of tears, while in its sister track, “i,” he couldn’t sound more passionately joyous if he tried. Also, guest vocalists George Clinton, Bilal, Anna Wise, and James Fontleroy provide seamless, complimentary refrains with every song they’re featured on.
Lyrically, Kendrick is at the top of his game. As aforementioned, there is a poem that underlies the whole album. With each new stanza, the song that follows is linked in some way. For example, “The evils of Lucy was all around me/So I went runnin’ for answers/Until I came home” precedes “Momma,” a track about Kendrick returning to his roots in Compton. The actual subject matter can be broken down into two categories. On one hand, Kendrick is speaking his mind by sharing his own anecdotes. There is an overlying story of him battling his demons, waging a brutal war against temptation. This is most evident in the deeply poignant “u,” in which he essentially self destructs. Every line is more jarring than the last, eventually reaching a heart-wrenching climax as the vulnerable rapper admits, “The world'll know money can't stop a suicidal weakness.” On the other hand, Kendrick is speaking from the perspective of the oppressed, of the average African American. From this angle alone, he offers multiple ideologies in support of his brothers and sisters. “Alright” and “Complexion” are uplifting anthems of unification. Alternatively, “The Blacker the Berry” is an ultra-aggressive proclamation of the countless problems that have arisen as a result of systematic racism in the United States. Lines such as “N*gga, I'm at the preacher's door/My knees gettin' weak, and my gun might blow/But we gon' be alright” are starkly contrasted by ones like “You sabotage my community, makin' a killin'/You made me a killer, emancipation of a real n*gga.”
In the end, it seems that Kendrick’s ultimate goal with TPAB was to emphasize the importance of self acceptance. Despite the album’s harsh emotional lows, he is able to triumphantly rise above negativity towards its conclusion. The song “i” is the embodiment of this. It plays out like an authentic live performance, complete with a slightly rough recording and crowd feedback. This gives the cathartic hook -“I love myself!” - an enhanced sense of sincerity and conviction. Not only does it address Kendrick’s mental problems, but the previously mentioned racial ones as well. He calls off the music at around the three-minute mark as a fight erupts in the audience. In response, he breaks into a sobering, reassuring spoken word piece about the origin of the N word. It effectively diffuses the argument and once again unifies the African American people. Additionally, “Mortal Man” is the 12 minute outro track in which Kendrick “speaks” with Tupac. Before transitioning into the conversation, the track itself focuses on permanence in the music industry. He repeatedly asks the listener, “When the shit hit the fan, is you still a fan?” Once it ends, Kendrick begins by reading the poem that the album builds upon to Pac. Due to the connections that the stanzas have with previous songs, it provides a sense of full-circle finality. Their conversation culminates in the proverbial passing of the hip-hop torch. It’s a remarkable close to one of the greatest albums ever made. Kendrick is firmly established as a worthy contender for any rap fan’s all-time top-five list.
Highlights: The whole damn thing.
