When I daydream, my thoughts usually think tank around records and shows. What am I really digging right now, what am I looking forward to, and which tickets I need to prioritize. These are all questions I can ponder for hours. Around this time of year I compare last years crop to this one’s and look forward to summer, fall, and winter. 2017 has the luxury of quantity and quality. Last year didn’t seem as strong but looking back on my top 10 the high tier of records were supreme.
Currently I have a list of 25 albums, some unreleased, without any order. Other than two records, everything else on the list is fluid. Obviously 15 of those albums won’t appear on my top ten but will certain get their dues. Compared to last year there are so many phenomenal releases to choose from. I know my friends will post completely different lists from mine on our private feed. I’m sure we’ll even discuss our differences on hierarchy. My close friend Andrew Murray placed higher praise on AMERIKKKAN BADA$$ after posting his initial review stating “it damn well might end up being my favorite of the year.” My opinion is aqueous at the moment but I haven’t revisited the album as much as Andrew. If I did, our positioning would likely aline closer.
Andrew, myself, and seemingly everyone else agrees on Father John Misty’s Pure Comedy too. Without much effort, social media kept me aware of his activities over the last few years. Fear Fun back in 2012 was a solid debut but my interest waned until this year. I couldn’t escape the buzz around Pure Comedy during it’s promotion and release. If it weren’t for Japan, my disinterest would have continued. It’s a throwback to a time when we actually stayed in one small space to listen to music, so it was perfect on my trip. When I arrived at Narita International I had to take a lengthy train ride to Shibuya-Ebisu. Time went by as I took in Japan for the first time with a perfect soundtrack. It’s slow burn in every sense of the phrase but if you have the time to kick back with a record like this appreciate it the privilege.
Looking out from my seat and watching the country go by felt like felling in love. The title track forever ingrained that feeling and associated itself with my memories of Japan. “Leaving LA” felt like an EP within the album. A short film in the movie. It’s a not an album I’d normal rave about but timing created an opening for Father John. Pure Comedy may not make my top 10 but I’ll remember the album when I think about Japan, or this year. There’s nothing extra to impress in the mix, nor an attempt for thrills. Otherwise, the vibe wouldn’t create the serene detachment I felt across the ocean.
These were just two of many of the great releases this year. Kendrick Lamar, by this post’s header, shows just how dominate he’s been this year. While a half year remains, this has been Kendrick’s year and we’ll never forget that. He’s been the dominate rapper of this year and the last few. I don’t want to get into final thoughts about DAMN. until the end of the year; however, it’s already his most iconic. It reminds me a lot of Metallica or Springsteen when they transcended far above relative popularity. Their iconic albums, The Black Album and Born in The USA, respectively, like KDOT helped them dominate sales, charts, and year’s narrative.
1984, you could argue Springsteen had the best album of the year. Those songs capture America during those years of Reagan, post-Vietnam, and the decay of the American Dream economically, socially, and politically. 1991, Metallica brought metal to commercial success and mainstream recognition no one ever though the genre could achieve. The record still dunked on average 5000 units a week last year and is still the highest selling record of the last 24 years. 2017, after being snubbed by Macklemore and finally winning a Grammy for To Pimp a Butterfly, Kendrick took himself to a higher place. TPAB explored modern inequality and injustice for African Americans in this country. Back to the Metallica comparison, TPAB reminds me of Injustice’s stretching the artist’s musicianship and social/political ideas as far as possible. We will never hear another record as unrestrained as those from either artist.
Metallica pondered what their next logical step was after Injustice. They simplified and we all know the rest. Kendrick has accomplished the same. I’ll reserve my final overall thoughts on DAMN. for my end of the year ritual; however, it’s already an iconic album and shaped my memory of 2017.
Let’s not over shadow the first of half the year as we look forward. Code Orange has punished audiences with Forever for six months now. Probably not on many’s list, Oliver Houston came out of nowhere with a debut reminiscent of The Promise Ring and Cap’n Jazz. Japandroids came back with one of their best yet. While a slow burn compared to the rest of their catalog, Wild Heart received due praise for maturing with its audience and perhaps standing as one of the lone pure rock ’n’ roll bands. I never got to review Uniform’s glitch noise monster Wake in Fright. Seeing such frantic fury at The Hideout engraved their place among my favorite active artists. It’s hard to say if they’re even in their prime yet, which says a lot about what’s ahead for them.
Logic’s Everybody briefly dominate rap for a few days. Pitchfork and some others had some unfair criticisms citing crammed and coercive agendas. Pay attention to “Take It Back” and judge for yourself. To me, they either didn’t listen or simply if Logic was Kendrick they’d be giving him domes. Real Estate pushed out their 4th album earlier this year. This took some time to grow on me. Japan and summer kicking off really help feeding into them again. Atlas left underwhelmed after Days became on of may favorite albums of this decade. I melt into whatever seat when I hear “Holding Pattern” come on. Pretty song for riding trains in Japan, smoking cigarettes at the cafe, or cracking open a cold one with the boys.
We can digest the rest of Volumes’ Different Animals with a revamped line-up. I’ve peaked at a few early reviews and none of the pieces I read have the same familiarity with the band as I. “Finite” focuses on Myke Terry’s clean vocals. Clearly they’re honing in on his talent as the band reaches a wider audience now. I haven’t had enough listens yet but it’s a transitional album for them. They’re building towards the next project. This incarnation hasn’t spent enough time together developing continuity and their djent hip-hop hybrid style.
Different Animal doesn’t have cohesion but rather a collection of good ideas. Will they lean toward a certain style or can they concoct a fully concentrated album? I think they’re pretty close. I’d like to see more tracks like “On Her Mind” featuring guys like Pouya, who can rap, along with “Finite” and “Feels Good” which keep the integrity of the band’s base sound while continuing to enhance their catchy emotive choruses with Terry’s clean vocals. Half the album I also find pretty forgettable. The challenge for them lies in putting together a comprehensive record where all the songs work together.
No one seems aware Us and Us Only are finally releasing a full length. They’ve been pushing bandcamp since 2010 but seem to have a legitimate operation running now. “Bored of Black” polishes those effort into their best material yet. Cigarettes After Sex debuted their first LP. Big Thief quickly followed up last year’s Masterpiece with their second album. Seems everyone has caught on now, so I don’t expect to see them for $10 ever again. It’s been a great half year and unfortunately can’t keep up with all these great releases. I hear singles off most of the records I add to my library but can’t seem to get around to going through a full album.
The Dirty Nil’s Minimum R&B deserves a full listen at some point. “Fuckin’ Up Young” has those Weezer Blue Album, bros chanting together, choruses along with keeping the rock in the garage. Occasionally going to the dive. BROCKHAMPTON’s Saturation seems fire according to vibes I see online. Their mixtape last year reminded me of Odd Future as a collective with more ambitious ideas. I found Oso Oso’s The Yunahon Mixtape through The Ringer but haven’t finished the whole thing yet. I’ll save it for a beach day.
The rest of the year has a lot on the horizon. Of Mice & Men could potentially wreck my list if an album drops later this year. The Contortionist may end up as the year’s most disappointing album. I love this band. Intrinsic was the best album of 2012 for me. I get what they’re going for on the new single. The first few minutes start strong and remind me of 10,000 Days era Tool but turns bland quickly. I’ve read a lot of comments over at The Circle Pit and other Facebook accounts and pages rave about how pretty it is. While true, it sounds as interesting as the new Linkin Park abomination. They also push back on criticism with the obligatory “sorry it’s not heavy” which isn’t even the problem. That transition occurred back on Intrinsic which was one of the reasons I loved the record. Hopefully the rest of Clairvoyant won’t sound as straight forward or dryly repetitive.
There’s still plenty of albums to come this year. Sheer Mag’s debut album comes out July 14th. Downtown Boys’ 3rd full length drops in August. I’ll be hearing Haim’s new album all summer long when my roommate get’s the LP. The first single sounds pretty good, but I’m not crazy about heighten production. Remove the echoing strum and leave the keys, perfecto. I’m probably in the minority with that opinion. Ride will release it’s first album in over twenty years.
Some familiar faces will potentially be back too. Apparently there’s a Kanye album on the cusp but it’s unclear what to expect. A$AP Rocky seems due for his next album cycle to start. Seems like there’s word all over the place Jay Z will have something new as well. There’s no really proof I’m aware of but it’s been almost five years since Magna Carta, which I’d forgotten about until writing this.
I look forward to the rest of 2017 and can’t wait for whatever surprises are still in store. Something unexpected will eventually drop unannounced on streaming services this summer or fall. Someone I didn’t mention, Frank Ocean or Tool perhaps, will overwhelm us and help shape how the year will be remembered forever.
Disaesthetic 