My favorite albums of 2017 so far

I’m not 100-percent sure, but I’m fairly certain that I’ve listened to more new music in 2017 than I have in any other year.

My New Year’s resolution was to listen to at least one album I had not heard before per week. I’m cruising along and already past 40 albums, so barring a monumental collapse I should hit my target.

About 90 percent of my first-time listens this year have been new music.

In no particular order, these are the releases from this year that I’ve enjoyed the most.

White Reaper – The World’s Best American Band

Truly, this is good, uh, rock’n’roll music. The second album from Louisville-based power-poppers, White Reaper, is one of the year’s most fun releases so far. It’s unabashed, straight-forward rock influenced by The Ramones, Cheap Trick, Big Star, The Replacements and The Exploding Hearts. There’s genuine guitar heroics, and the hooks are plentiful.

Vince Staples – Big Fish Theory

Vince Staples released his second consecutive instant classic LP this year. He continues to rap about depressing realities over severe-sounding beats in a way that’s fun, mostly thanks to gallows humor punchlines and a rapid pace. Not a single song surpasses the five-minute mark and most are shorter than three minutes.

Jay-Z – 4:44

I expected this corporate partnership release to be as uninspired as Magna Carter Holy Grail or Kingdom Come or The Blueprint 3, and was floored to hear an album that can comfortable mingle in the upper echelon of Shawn Carter’s discography. Certainly not better than Reasonable Doubt or The Blueprint , but it compares favorably to The Black Album and American Gangster. The No I.D. production sounds amazing. It is warm, slightly opulent and gives the album a cohesion lacking from some of Jay’s lesser works. The tabloid-fodder infidelity confessions are what’s drawn the most coverage, which makes sense because I can’t recall Jay-Z ever sharing this much of his personal life, but equally interesting are Jay-Z’s thoughts on race and black unity, which I don’t recall ever before being quite so explicitly dissected on an album by HOV. Strictly speaking, these aren’t Jay’s best bars. His flow sounds off, and the rhymes aren’t always particularly clever. But, it is some of his most interesting and personal work ever.

Kendrick Lamar – Damn. 

Kendrick Lamar continues his streak of dominating the rap game. His flow continues to be a dense labyrinth of internal rhyme and references, but in a way that’s more approachable than To Pimp a Butterfly. The album is a little less focused than some of Kdot’s other releases (I can’t picture a U2 feature on any of his other albums), but not every album needs to be a Statement.

Ty Segall – Ty Segall

Ty isn’t reinventing the wheel here in any sense. He’s even done a self-titled release before. But this might strike the best balance among the prolific garage-rockers prodigious-but-disparate strengths. There’s straight-ahead rockers, Sid Barrett-esque psyche-pop and a really sweet love song. Unlike some past releases (looking at you Manipulator) this album is a tight collection. This really is a virtuosic display of everything one of rock music’s best working songwriters does right.

(Sandy) Alex G – Rocket

This album is equal parts hummable alt-country and industrial freakout. I prefer the warmer, mellow first half of the album. “Bobby”, “Poison Root” and “Proud” are fine, extremely pleasant and slightly weird pop songs with warm twang. That may sound like faint praise, but it’s meant as a rousing endorsement. That basically describes most of my favorite Wilco songs, after all. The string-filled melodies are made all the more remarkable because they share an album with “Brick”, which has more in common with Death Grips than a lot of songs on Rocket.

Charly Bliss – Guppy

Guppy is an entirely transparent attempt to replicate the soaring buzz of ’90s alternative-rock, and it accomplishes that modest goal with aplomb. Lead singer Eva Hendricks sounds downright effervescent, but her high, perky voice fits in with songs that are all forward momentum and chugging guitar. “DQ” is on my shortlist for songs of the year, and one that I’m sure will be in my rotation for years to come.

Los Campesinos! – Sick Scenes

The hyper-literate twee punks I’ve loved for a full decade now have grown into a wonderfully dependable, mature indie rock band. As always, these songs are lyrically captivating. Gareth never stops being Gareth whether that means setting an almost literary scene, capturing a particular brand of malaise, whip-smart punchlines or super-specific sports references. Musically, this album includes some of the most energetic songs LC! has put out since the absolutely transcendent Romance is Boring. There’s also “The Fall of Home” which is just heart-achingly gorgeous. All snark is set aside to explore the sensation of seeing the places we come from crumble after moving on to some place ostensibly better.

Smidley – Smidley

 

 

I’m not a huge fan of Foxing, but Conor Murphy’s side project was unexpectedly winning. Lightly psychedelic indie rock will always be in my wheelhouse. “Hell” is one of the year’s better side one track ones. It sounds both dark and jaunty in a way that recalls The National, has group vocals that make me think of Local Natives (which isn’t something I’ve done often since 2012} and there’s some trumpet that somehow sounds perfectly in place. “No One Likes You” and “Pink Gallo” make good use of Murphy’s unique voice and are very good and just slightly odd. “Milk Shake” is an interesting, bare bones acoustic take that surprises with its vulnerability, but really shouldn’t considering singing in an emo band is Murphy’s main hustle. For me, the standout track is “Fuck This”, and it’s really what pushes Smidley’s eponymous debut onto this list. It’s essentially a perfect instant classic. A springy, midtempo number with a seesaw melody and shouted chorus that features multiple lengthy crescendoing chants of “Fuck this, fuck this” will always, and I mean always, have a spot in my heart.

The Sadies – Northern Passages

The Sadies are absolutely crackerjack musicians, and that shines through on every track on Northern Passages. They sound equally comfortably on the rave up “Another Season Again” and the sleepy, Kurt Vile-assisted “It’s Easy (Like Walking)” and both songs are positively delightful. Not since The Band have Canadians so effectively mined American to thoroughly winning effect. I think this album has largely gone overlooked, and it might be because The Sadies have served as a backing band for the likes of John Doe and Neko Case in the past. If you’ve got a soft spot for countrified rock, you owe it to yourself to listen to this album.

 

My favorite albums of 2016

There was an awful lot of music I liked this year, but not a lot of complete albums that I loved.

Even as someone who is totally nonplussed by Raidohead and can’t seem to find the appeal of Queen Bey, this was a great year for music.It seemed like there were always several good albums to parse through every month, and it was easy to do because the music was quality and there weren’t many totally transcendent albums taking up my time with repeat listens.

It took a lot of thought and pointless delineation for me to figure out which albums I would name as my favorite of the year, but the cream and the chafe must be separated, and I want to crank this list out while it’s still 2016, dammit.  So, here they are in descending order. I know it takes away some drama, but why bury the lead? If you want to stop reading by No.6 or so, it’s fine, I understand.

1. Car Seat Headrest-Teens of Denial

This was one of the few albums I got hung up on this year, and  I can’t tell if it’s because I’m a sucker for hooks and derivative guitar rock, or if it’s because it was such a sprawling statement of disaffection that it took me a while to digest it all, but I do love it. The lyrics are funny without being totally detached, Will Toledo sounds like the exact middle ground between Ray Davies and Julian Casablancas and every version of guitar-driven indie rock is represented on this sprawling album.

2. Angel Olsen-My Woman

The interesting folkie from Asheville, N.C. with the distinctive voice made a truly great album. “Shut Up and Kiss Me” alone justifies the album’s existence, but it’s joined by eight other excellent songs(“Intern” is fine, but vestigial. On a hip-hop album it’d be “Intern (Intro)”). I’d even argue “Give It Up” and “Not Gonna Kill You” are event better than “Shut Up…”. While I’m particularly keen on the album’s tighter, rocking first half, but the more ethereal, ambient second half is great too, and it includes the album’s emotional center, “Sister”, which clocks in at seven minutes and change

3. Kanye West- “The Life of Pablo”

West’s slightest and sloppiest offering since 2007’s Graduation is excellent. Production, as always, was immaculate, and “Real Friends” and “Wolves” are some of the most emotionally stirring work Kanye has done. TLOP wasn’t a grand statement like My Beautiful Dark Twisted Fantasy, and it contained a variety of sounds that kept in from having the cohesion granted by Yeezus’ uniformly abrasive texture. This album has been accused of feeling like a greatest hits compilation because of that lack of a through line. But in the same way you can be conditioned by a mix tape to sequentially connect two totally unrelated songs, eventually the album’s structure feels surprisingly comfortable. It easily stands among the year’s best releases.

4.G.L.O.S.S-Day of Trans Revenge

An absolutely furious onslaught of frenzied hardcore couldn’t be more topical. It’s scant run time barely exceeds seven minutes, but that’s just the right amount of profane rage to take in at one time. This is as loud, fast and vicious as you could ever want punk to be.

5.Martha-Blisters in the Pit of My Heart

I don’t know that I’ve seen anyone be as high on this album or heard someone gush about it the way I’m about to. This is without a doubt the catchiest collection of songs I heard all year. It is absolute bubblegum power pop, and that’s OK because it’s executed to perfection. Every song has at least one hook that burrows deep into your brain before re-emerging as a half-hummed melody days later.

(Tie)6. Chance the Rapper- Coloring Book/ Noname-Telefone

Gypsy first popped up on my radar during her excellent verse on Chance’s Acid Rap track “Lost”, so it felt right to have them tie for this spot. The classic backpack-sounding beats on Noname’s album are intensely comforting and perfectly compliment the dense, monotone and slightly cerebral rhymes that Telefone has in spades. Coloring Book is the sort of joyous explosion that only Chance could pull off. Both are tremendous works. It was a big of a letdown after Acid Rap, but “No Problems” is  a hell of a song, and if it leads to a joyful, vaguely psychedelic movement in hip-hop, I’d be pretty happy.

8.Mitski-Puberty 2

This is a quarter life crisis captured in a recording studio. In the same way Coloring Book could only come from Chano, I couldn’t imagine anyone else making dour expressions of self-doubt and existentialism seem so funny and fun. For me, this album is at its best when Mitski bangs out slightly abrasive pop-rockers. “My Body’s Made of Crushed Little Stars” and “A Loving Feeling” are two of my favorite songs from this year.

9.Kaytranada-99.9%

This is everything I loved about Settle by Disclosure, including an AlunaGeorge feature. This album is a little stranger and much funkier. I can only listen to it in the car if the speed limit is 55 MPH or higher.

(Tie) 10. Bon Iver- 22, A Million/ Katie Dey-Flood Network

Both of these albums are deeply weird, spacey works by interesting and supremely talented singer songwriters, both of them include songs with inscrutable titles and both are among this year’s absolute best music releases.

 

 

 

 

 

My favorite songs of 2016

I have been woefully negligent of this website, and while it pains me to disappoint my three regular readers, I’ve been busy, injured, the down arrow on my keyboard doesn’t work and there haven’t been many releases I’ve felt positively compelled to write about.

However, I thought it would be worth recording my thoughts on my favorite songs of the year, and since I’ve been so derelict in my blogging duties, I’m going to run down my 40 favorite tracks from 2016.

These aren’t going to be particularly deep insights, but here they are along with the required Spotify playlist in no particular order.

  • “Have You Ever?”- Twin Peaks

    This is probably my most listened to song of the year. It’s a perfect homage to ’60s rock while also being shout-along barroom perfection.

  • “Real Friends”-Kanye West

    The non-Chris Rock parts of “Blame Game” are my favorite Kanye song. Introspective Kanye is best Kanye,

  • “You Can’t Fire Me, I Quit”-Tacocat

    A funny, insightful and ridiculously catchy song about an unexpected breakout and the anti-climax of not getting to exercise any righteous fury.

  • “Sex & Drugs”-A Giant Dog

    The jauntiest tune on a lively, awesome rock album filled with them. Naturally, the very next track is titled “& Rock & Roll”.

  • “Oh Sarah”-Sturgill Simpson

    This song embodies everything that was awesome about Simpson’s self-produces, excellent psych-country album from this year. “Oh Sarah” is sweet, it’s deeply personal, Simpson’s voice sounds fantastic and the instrumentation is varied in a way that is simply absent from a lot of modern country.

  • “Fool”-Frankie Cosmos

    I always forget she’s Kevin Kline and Phoebe Cate’s daughter, but always remember she’s an expert at crafting quirky, wonderful guitar-driven pop.

  • “Cherry”-Chromatics

    I involuntarily head bob when I hear this song. It hasn’t happened in public yet, thankfully.

  • “Back Into It”-Islands

    My dad injured is back in a severe car accident this year, haven’t gotten around to showing him this song, which is simple joy of a rock song.

  • “Unforgiving Girl(She’s Not)”-Car Seat Headrest

    Teens of Denial was not a lean, taut effort, and this is often cited as one of it’s shaggiest and expendable songs.  I love its improvised vibe, call-and-response lyrics and  varied styles. It sounds like live rock music.

  • “Door”-Nice As Fuck

    Drums, bass and Jenny Lewis come together for an excellent piece of post-punk dance music.

  • “Piano Player” The Hotelier

    Don’t judge an album by its cover, these songs are equally appealing as Goodness‘ NSFW cover art was repellent.

  • “Vroom Vroom” Charli XCX

    This song has some of the corniest white girl rapping this side of Fergie, but Charli kills the hook as she’s wont to do, and the SOPHIE production gives her both some of the sweetest and most aggro music she’s ever worked with.

  • “No Matter Where We Go”-Whitney

    I was a big fan of the Smith Westerns up to their third album and was sad when they disbanded. This whispy, summery rock scratched an itch I thought was here to stay.

  • “Strive”-A$AP Ferg

    I’d take Ferg over Rocky any day.

  • “(Girl we Got A” Good Thing”-Weezer

    The best song on Weezer’s best album in  more than a decade is a beach-ready ode to a promising relationship just starting to bloom. It’s a Blue Album type song with some Maladroit-esque guitar shredding and melody changes reminiscent of Pinkerton. Just a phenomenal track.

  • “Can’t Get Enough of Myself (Feat. B.C.)-Santigold

    In my perfect world, this song would’ve dominated Top 40 radio in spring.

  • “Audrey’s Dance”-Xiu Xiu

    I once saw Xiu Xiu open for Swans. For some reason, it was just a buff silver fox type and a machine that made pulsating sounds. This is much better

  • “We The People…”-A Tribe Called Quest

    RIP Phife Dog. Q-Tip’s flow has always been one of my favorites.

  • “Big Body”- ScHoolboy Q

    Blank Face had a lot of dark moments, but oddly the Tyler, The Creator-produced song was the party jam with a Dogg Pound feature.

  • “Learn in School”-Muncie Girls

    This is a damn fine self-empowerment punk anthem about carving your own path.

  • “Ice Cream and Sunscreen”-Martha

    It’s clear from the opening guitar strums this song is an ascendant bottle rocket destined to explode, but it is still so very satisfying when it does.

  • “To Be A Ghost”-Jeff Rosenstock

    I love that a kiss off to the internet includes a gut-punching lyric about police brutality. That a song this incredibly cynical has a soaring chorus is a testament to the weird lane in which Rosenstock operates very proficiently.

  • “Lump Street”-Frightened Rabbit

    Icy synthesizer backs much of this depressing look at a pair of ragged, impoverished lovers. Cancer and violence metaphors abound. Still, things finish with a triumphant sprint celebrating flourishing love despite a total lack of nourishment from the environment.

  • “Have a Heart”-Cymbals Eat Guitar

    Remember that catchy Goteye song? What if it was about a lifetime of personal shortcomings before finding love and becoming a better person? Listen and find out.

  • “Casket Pretty”-Noname

    This already sounds classic.

  • “Pain”-LVL UP

    Tell your friends it’s Neutral Milk Hotel, and they’ll probably believe you.

  • “Jet Fuel Can’t Melt Steel Beams”-Camp Cope

    A pitch black comedy of a song about a woman disillusioned by sexism becoming a conspiracy nut.

  • “Fear O The Light”-Katie Dey

    A woozy cacophony, lots of reverb and chipmunk vocals somehow make a very compelling pop song.

  • “Here in Spirit”-Jim James

    I’ve never been a big My Morning Jacket song, but James’ newest solo album struck a chord. This song’s piano and hip-hop drumbeat particularly got a hold of me.

  • “Home”-Common

    Wish I could tell 14 year old me that both Common and Weezer would one day put out quality albums in the same year. This is the most engaged Common has sounded in years, and the beats are gorgeous.

  • “Come Down”-Anderson.Paak

    This puts the jam in “James Brown pastiche”.

  • “Dumb Baby”-The Coathangers

    This sparse punk number simply rocks. Like the rest of  the one-time The Black Lips sister band’s 2016 release was thoroughly enjoyable, and for me this was the stand out track.

  • “No Problem(Feat. Lil Wayne and 2 Chainz)”-Chance The Rapper

    It just sounds like Chano has fun making music.  A great chorus and interesting guest spots from Lil Wayne and 2 Chainz make this one of the most memorable songs of the year.

  • “Trying to Lose Myself Again”-Bleached

    Just a gnarly rocker from the band I like to imagine as what would happen if HAIM spent time in the Thunder Dome instead of California.

  • “Ready for the Magic”-Honeyblood

    If you like Bleached and the Coathangers, you’ll like Honeyblood.

  • “Ivy”Frank Ocean

    I didn’t appreciate this hazy, perfect crooning about growing old and growing apart until I listened to the Katie Dey album. Somehow it calibrated things just right and made me open to a shoegaze R&B marriage.

  • “Patriot”-Crying

    Chiptune and cheesy, ’80s guitar licks are somehow a perfect match. Haven’t seen this hyped anywhere outside of Stereogum, where this album was super revered for some reason.

  • “A 1000 Times”-Hamilton Leithauser+Rostam

    If the Walkmen had covered the old folk tune “500 Miles” made famous by Perter, Paul & Mary it would sound a ton like that. I mean that in a really good way. Plus, Leithauser’s voice sounds great.

  • “Gamma Kinfe”-King Gizzard & the Lizard Wizard

    Including  cut off of an infinitely looping concept album was pretty difficult. If thise sounds good to you, listen to the whole thing.

  • “A Loving Feeling”-Mitski

    I now realize how badly I need a Mitski version of 69 Love Songs. Her hilarious and profoundly sad take on love, lust and relationship power dynamics is 92 seconds of absolute bliss.

My favorite songs of 2016 so far

Sort of skipping writing much of an intro to get to the embedded playlist. Decided to piece together 20 of my favorite songs from this year, which is a bit more expansive than what I’ve done in the past.

Big takeaway for me is that this year has been uncommonly for Side one track ones in my opinion.

Also, tremendously happy to unironically and unabashedly include a great Weezer track.

Favorite albums of 2016 so far

The year is about halfway over, and there’s been the requisite wave of blockbuster releases over the last couple of months ramping up toward summer, so it’s time for the customary roundup of my favorite releases from this year.

These are going to be presented in no particular order, because I want to give the albums time to organically grow in my estimation and jockey for sweet, sweet supremacy in my end of the year list.

  • Teens of Denial by Car Seat Headrest

OK, so the no particular order caveat was a bit of a fib. This is my favorite album of the year so far. It contains some of my favorite songs of 2016 and those songs boast a ton of simple but insightful acerbic couplets. Will Toledo and Co.’s first major label album also draws from a ton of interesting inspirations without being totally beholden to its influences. It’s a wonderfully arch, well-thought-out rock album with plenty of roughness around the edges.

  • Life of Pablo by Kanye West

At this point, I think there’s three or four versions of this album lurking on my iPod. It’s not Kanye’s best album, but it continues in the wonderfully weird vein of Yeezus, and anytime a major pop star wants to advance the cause of weirdness, I’m on board. It’s also chock-full of interesting sounds and good ideas. Even the de facto bonus track , “30 Hours” is an interesting examination of a disintegrating long-distance relationship with frigging Andre 3000 providing  guest vocals. Plus, it presaged some of the year’s best and worst biggest hits by featuring Chance the Rapper and Desiigner doing what they do. Sort of feels indespinsible to this year’s pop culture landscape.

  • Lost Time by Tacocat

I was lukewarm about this album at first, but it’s grown on me. It’s a collection of hooky punk willing to take on some weighty topics with tongue firmly planted in cheek. Sure there are songs like my beloved “Horse Grrls”and the fantastically buoyant “I Hate the Weekend” but wanton internet misogyny, controversial next-day contraception and the literal end of the world all feature prominently in this album. I’m not sure if it’s as good as NVM, but it’s some of Tacocat’s catchiest work.

  • Coloring Book by Chance the Rapper

I just realized that this will be my third consecutive entry, where I kick things off by pointing out an album is inferior to one of its predecessors, but it bears saying, Coloring Book is no Acid Rap. It’s still a very fun, vibrant, positive statement from a singular, captivating artist, but it suffers from some bloat, and for someone whose stage name includes the title “the Rapper”, his virtuosic bar-spitting prowess really isn’t on display. Even if it isn’t necessarily the album I want it to be, I think it’s the exact album Chance wanted to make and it’s a blast of free-wheeling gospel-tinged positivity all the same.

  • ★ by David Bowie

When this album came out, it was the middle of a dreary, gray and cold winter. It was my first full winter in the Midwest in five years, and ★’s aural pallet seemed to use the same colors as my surroundings. I thought it was an extremely interesting, sort of haunting piece of spooky art. It was nice to see old man Bowie really going for it with a tight jazz-influenced backing band. Then Bowie died, and the dread, finality and transcendence packed into the songs became that much more profound. Honestly, it’s almost unlistenable now because of how much heaviness was retroactively added to the swan song of one of popular culture’s greatest innovators.

  • Down in Heaven by Twin Peaks

This album is a shambolic, delightful throwback to ’60s music. There’s lyrical allusions to the Zombies’ “Time of the Season” but somehow, the Rolling Stones song it seems to evoke the most is “Beast of Burden”. The shuffling album-closer “Have You Ever?” is a particularly glorious drunk-sounding shout-along.

  • Nice as Fuck by Nice as Fuck

    It hasn’t been out very long, but the debut from Jenny Lewis’ profane new band might be my favorite effort in her oeuvre. On albums The Voyager and Acid Tongue the lyrics suggested Lewis had a thoroughly spacey side, but it didn’t really come through in the music. Nice as Fuck changes that. It is a nine-song collection of artsy dance rock with driving drums and bouncy bass. I didn’t know I wanted Jenny Lewis, Gang of Four, Joy Division and Franz Ferdinand in a blender so badly, but here it is, and it rules.

 Honorable mentions: The Hotelier, Woods, PUP, Whitney, White Lung and A Giant Dog.

My 25 favorite songs of 2015

This is 90 minutes of my favorite music from this year. I tried to pick something from all genres, and let my iPod’s play count be my guide.

This means I am woefully under-representative of country and top 40 pop. Although, Yo La Tengo’s cover of “My Heart’s Not In It” at least approaches country .Also, I really enjoyed that one David Guetta song featuring Nicki Minaj, and Wand is what top 40 sounds like in Hell, so, there’s that.

My favorite take away from making this playlist is that Car Seat Headrest named a song after an alleged subliminal Disney message. I had previously just pressed play and listened to the whole punchy, guitar-driven album, but when searching for a standout track, I realized “psst, teenagers take off your clo” was the title of the song that always warranted replays.

Anyway, without any more rambling preamble here’s the playlist:

 

 

 

Holiday-sized rundown of my favorite albums of 2015

This year saw an incredible slate of releases from a ton of different genres.

So, instead of a typical five or 10 item list, I’m naming an album of the year, and then giving some shine to the glut of great tunes from this year.

My anticlimactic pick for album of the year is:

I Love You, Honeybear by Father John Misty.

I gushed about this album when it came out, and I sung its praises when I did my half-year roundup. Unsurprisingly, I still hold this album in high regards. It’s a collection of excellent ’70s troubadour love songs performed  with a bitingly sarcastic viewpoint. The acerbic observation often turns inward, as Josh Tillman demonstrates he’s not above a world he largely sees as vapid and ridiculous.

 

 

 

Despite all the vitriol and bile evident on songs such as “Ideal Husband” and “The Night Josh Tillman Came To Our Apartmet” the album’s hardly bleak, as the title track, gentle closing ballad and super funny “Nothing Good Ever Happens at the Goddamn Thirsty Cow” underscore the central theme of the album, which is Tillman’s incredulity that a thoroughly modern jackass could find a classically happy love.

On to the other albums I loved this year:

Rose Mountain by Screaming Females

Sore by Dilly Dally

Painted Shut by Hop Along

Feels Like by Bully

Art Angels by Grimes

Sometimes I Sit And Think, And Sometimes I Just Sit by Courtney Barnett

Depression Cherry and Thank Your Lucky Stars by Beach House.

This year was an awesome year for female-fronted rock bands, and that’s without  mentioning  the Waxahatchee album or  the Sleater-Kinney release. I liked both albums, but didn’t particularly love either one.

Also, I know Claire Boucher is sort of a genre-hopping, singer-songwriter-producer, but listen to “Scream” and tell me Deafheaven wouldn’t be proud to have provided the instrumentation for that beat. Therefore, based on that stylistic choice and attitude, I’m lumping her in with the rockers.

I recommend just making one really long Beach House playlist using both their albums from this year, getting real cozy, maybe a little drunk, or maybe just taking some over the counter sleep aids and sitting in the undulating, shimmering swells of this music.

Bully, Screaming Females and Dilly Dally all mined similar ’90s alternative rock veins. If you like Hole, you’ll like Bully. If you like The Pixies’ Kim Deal songs you’ll like Dilly Dally and if you like The Smashing Pumpkins but wish anyone but Billy Corgan was in charge, so you didn’t have to hear his voice and songs would be less meandering, Screaming Females are the platonic ideal. Dilly Dally absolutely have a loud-quiet-loud dynamic going on, and their music tends to move in surprising direction.  Alicia Bognanno’s vocals pretty much ensured every review of Bully’s great album included a comp to Hole,but Hole never released an album quite this even, and Screaming Females branched out to some new sonic territory without abandoning punchy, crunchy guitar noises on a characteristically strong album.

Painted Shut came damn close to getting my album of the year nod. The incredible third album by Hop Along is the simple, jangle rock music I love, and Frances Quinlan’s singing is unlike anything else released this year or really any other year. Painted Shut and Art Angels  remind me of each other because both feature wildly fluctuating points of view, focus and scope presented by gutsy singers using their voices in almost every imaginable way.

Courtney Barnett’s debut album paints detailed scenes with lyrics and rocks in a very straight-forward way that belies the sophistication of Barnett’s insightful, funny songwriting. It’s a great paring and an incredibly confident first LP.

The Agent Intellect by Protomartyr

The Most Lamentable Tragedy by Titus Andronicus

Know America by Obnox

b’lieve i’m going down by Kurt Vile

Teens of Style by Car Seat Headrest

Protomartyr continue to make post-punk music that sounds vital and interesting, which is no easy feat. The Agent Intellect also contains the super personal, super sad “Why Does it Shake?” which derives its name from a real question about tremors caused by aging.

Titus Andronicus swung for the fences with a sprawling double-album and mostly connected. The Most Lamentable Tragedy contained some of the best songs in the band’s oeuvre and some really fascinating takes on what it’s like to battle mental afflictions.

I haven’t seen a ton of love for Obnox’s newest album, but it’s weird blend of hip-hop, blues and scuzzy rock with commentary on race relations made it sort of a lofi To Pimp a Butterfly and a totally captivating listen.

Kurt Vile scaled back from his last effort, but Vile is thoroughly hilarious when pontificates on a largely mundane existence and “Pretty Pimpin'” might be his best single ever.

If you like Julian Casablancas, you’ll love Car seat Headrest, who make a fun brand of garage rock I can’t not endorse.

I Don’t Like Shit, I Don’t Go Outside by Earl Sweatshirt

Mr.Wonderful by Action Bronson

Summertime ’06 by Vince Staples

To Pimp A Butterfly by Kendrick Lamar

For me, this was a year that saw a lot of rap releases I liked, but not a ton I loved. Donnie Trumpet was interesting, but really didn’t do much for me. Drake sold a million albums and still, as always, sucked.

Earl Sweatshirt got even darker and more insular, and it really worked. If you want to feel super bleak, look no further than his album from this year.

Action Bronson revealed he apparently listens to more blues and Billy Joel than I would have expected on a super fun, well-made album.

Vince Staples continues to be almost uncomfortably real about his upbringing and proximity to gang violence, but he’s always clever and fairly catchy.

Kendrick Lamar turned out what most people consider to be the album of the year with his politically minded, not particularly commercial release. I actually liked it more than his last album, but I’m still not a huge fan of the re-heated G-funk and Flying Louts aping. Still, the album was pleasantly weird and grappled with some big-picture topics and is definitely worth a spin.

Some albums that just missed the cut: Before the World Was Big by Girlpool, Ratchet by Shamir, Untethered Moon by Built to Spill, Panda Bear Meets the Grim Reaper by Panda Bear, The Things We Do to Find People Like Us by Beach Slang and StarWars by Wilco.