AOTY – Page 4 – Disaesthetic

Best Albums I Didn’t Notice Last Year

Best-of-16-I-Missed

Evan Stephens Hall of Pinegrove

Every year I put together a seemly irrefutable list of my top 10 albums. Last year wasn’t too different. I wouldn’t change my top 2. The Hotelier and Fit for a King will always represent the ying and yang of 2016. Looking back I would definitely amend some of my other choices with albums I found this year. I always miss an album or two each year but I overlooked several great ones in 2016, some of which would make my top 10 now.

It’s common to dismiss or ignore albums during their release and only later acknowledge their greatness. Pinkerton was labeled one of the greatest flops. Decades later it’s one of their most influence records. It took the world twenty years to figure out Meshuggah become the most influence metal band at the turn of the 21st century. Sometimes it takes us years to catch-up with genius ahead of its time. Took me a year discover the following gems.

I happened to stubble upon Totorro through Xavier, a nice fellow who liked the band I was in. He snapchats whatever he’s vibing to. I caught a melody of “Chevalier Bulltoe” and I’ve been hooked since. Come to Mexico wouldn’t have made my top 10 last year however they deserved recognition then and now. I’ve read comparisons to Chon and Dredg on Bandcamp but they remind me of a happier Penpal. Obviously instrumental bands have higher musical proficiency, but Totorro’s ability to layer multiple sounds, without feeling cramped or overwhelmed, distinguishes them.

Architect’s All Our Gods Have Abandoned Us stayed in my gym playlist all year round. Certainly a better album than the bottom tier of from last year’s top 10. “A Match Made in Heaven” has remain in my rotation since I’ve heard it. The last minute’s airy and open breakdown pushes me through the wall during my cardio workout. Through each song the guitar tone carries such incredible weight without losing any clarity through muddying down-tuning. “Downfall” and “Nihilist” exhibit these hues best.

I’m fascinated by how much they’ve already accomplished yet only now have they connected with me. Forming in 2004, they have six other studio albums, none of which I could say anything notable about. The death of lead guitarist, founding member, Tom Searle last summer pushed out every emotion, every ounce of will the band had in the studio. The result bares their best and most meaningful work to date.

I’m pretty fortunate to have opened on a bill headlined by Fallujah a few years ago. Probably a hundred people or less showed up but I remember my excitement playing with a unique band who had just put out The Flesh Prevails. There wasn’t anything quite like it. Coming from the bay area during a metal renascence explains their unique concoction of spacey lucid sounds detailing their extremely nerdy brand of death metal. On Dreamless Fallujah perpetuate these glorious elements to new heights.

The solo on “The Void Alone” sounds like traveling through space discovering the new frontier, three trillion light years away. Andrew Baird’s drumming on “Scar Queen” leads every direction and motion of the track. It’s one of the most impressive performances I’ve heard in years. Honestly reminds me of Brandon Trahan’s brilliance on “Orphans” in 2010. The usual suspects of course throw in their generic criticism of “do something new” but if more of the same means more excellence, I’m in.

As years go by, trends in “The Scene” oscillate, existence of bands fleeting, but Dance Gavin Dance stay rock solid. A decade later on their seventh album they’re arguably better now than ever. It’s also the most stable line-up going on three albums now. Since parting ways with Kurt Travis in 2010 I stopped paying attention. Thanks to some friends Mothership pulled me back into the fold. Tilian Pearson appears fully integrated after two studio albums. Instant Gratification resembles some of DGD’s raw past with cohesion where Acceptance Speech seemed disjointed in comparison.

Every recording and writing element came together on Mothership. Never a better produced DGD album with seemless unison between each song. There’s a boogie groove I haven’t felt from them since Happiness during the “Inspire The Liars” bridge which funks like a get down club. My favorite “Betrayed by The Game” soars vocally and sonically through Will Swan. The main hook flutters beautifully along with Pearson’s memorable callback lyrics. Seeing them in March further imbued me to these songs. Next month I will see them perform Mothership in it’s entirety. I’d put it within or at least very close to my top 5 last year.

How I missed Pinegrove in general is beyond me. I owe all my gratitude to my Bro Gang brother Jake. He showed me Cardinal on the way to meet up with fellow Bro Gang lifer Greg. At first I didn’t think much of them until an epiphanous moment hearing “Cadmium” in my car. I felt their volition and jubilee. There’s something very comfortable about their sound and Evan Stephens Hall’s twangy vocals. Obviously that description could dismay some after this past week’s comments from Hall; however, I’m going to let whatever happens with his situation play out. I don’t feel any different about their music.

Seeing them perform plenty of Cardinal material reinforced my affection for the album. Experiencing “Size of The Moon” live had a profound effect on me. It reminded me of all these silly arguments I’ve had with people. You lose time and occasional bonds over stupid pointless shit that should have never mattered. I’ve become somewhat afraid of meeting new people from fear ranging from embarrassment to loss. Maybe I’ve lost some passion, maybe I’m afraid to lose more, but this coming year I’m looking to get outside my comfort level more. I’m tired of the seclusion over the past 2 years. I want to meet someone. Have those experiences again. Share time with someone, not just myself.

Look forward to my most disappointing albums of 2017 next week. New lists every Friday until December 29th.

Best of 2017

Best-of-2017

Julien Baker, Kendrick Lamar, and Reba Meyers

The end of the year is upon us and my favorite time of the year begins. I’m excited to dive deep into 2017’s seismic year for music. It’s one of the best of the decade, perhaps on the level of 2012 when Frank Ocean, Kendrick Lamar, The Contortionist, and Japandroids were putting out their seminal projects. I really can’t wait to sharing my take on this year’s offerings. Imagine walking into this hyped gourmet bistro you’ve heard so much about and it exceeding your presumptions. This year has something for everyone. For me it’s a year where the albums I hoped for were above all the expectations I had.

Living in a post-fact world in Trump’s America, after a supposed post-racial world with Obama, I knew music, as always, would reflect the counter reality in the country. In the 80’s you had Black Flag and punk hardcore’s no surrender battle cry to Reagan’s morning in America facade. Earlier this decade, the metal scene I came from rejected the conventional business practices and embraced the independence and freedom of the internet. I’ll remember this year as one where woman said “fuck you” and used the internet, their social media platform, and wealth to stand against misogyny, sexual assault, and unbalance in their respective societies.

I’m still trying to find my own place in it as a man. In one way I fear I may be too ignorant. Of course I’ll never understand their experiences but I know how ignorant I was in the past with my language. What else am I doing wrong? I don’t fear making a mistake, how else does one learn? I’m afraid however of the exile and branding this overzealous society marks you with. I want someone to explain my wrongs and see I’m not an evil person. Champion my growth as a person, don’t banish me from the village.

Now conversely, I couldn’t be prouder as a citizen of the world to see woman, and all victims of sexual assault, come after their perpetrators’ throats, ruthlessly. I’m so proud to see woman continue to rise in music while the market still favors and is dominated by men. I’m excited to share with you Reba Meyers’ incredible musicianship and stage dominance this year. Meyers and Code Orange are must see live music and in my opinion the hottest ticket in the world right now. Just look. Seriously. No wonder they get to play with Gojira. They’re as sick live as The Dillinger Escape Plan or anyone else I’ve ever seen. It’s hard not to bow down like you did to your childhood legends, for me James Hetfield, Dave Mustaine, Dimebag, so many others. She’s in that group now and Code Orange took their place as one of the best bands around.

Women weren’t the only ones scribing about modern society. Kendrick Lamar owned this year, and officially owns the decade. When I think about last decade Thursday, Mew, Jimmy Eat World, Radiohead, Slipknot, Foo Fighters, so many formative bands come to mind immediately. For me it’s hard to say who dominated last decade but without question Kendrick stands above everyone else since 2010. DAMN. made him completely untouchable. Where Tupac Shakur was this mythical figure my biological father introduced me to, K Dot will be same for my children (someday, I hope). He’s a one of the greats and we should appreciate his work while he’s here.

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Past and Present

I’ll also remember this year for exorcising metalcore and “heavy” music predominately out of my system. Before someone says I think I’m above something, let me just say yeah you might be right. I still enjoy a good heavy album. I just recently wrote about one where I pointed out most of these bands struggle writing just one good song, let alone an album. I crave a complete installation. In becoming a vinyl connoisseur this year I expect a full canvas and subtle details to hit me in all the right places when I put needle on wx. If I’m spending on average $20, when I could just stick with my $15 a month for Apple Music. You better not bore me with bullshit and half-assed product. I expect your best and you better occupy my living room as well as your recording space.

Heavy music will always have a place in my life. I went to shows religiously and played with these bands. How I managed an opportunity to perform before Fallujah, Lorena Shore, Wovenwar, and a bunch more is beyond me. Those were fortunate experiences I’ll always be proud of and brag about forever. Once my life changed last year I opened myself to so many new experiences. The music never pushed me away, who I became didn’t identify with heavy music anymore. I can’t go to the gym without it. Veil of Maya, Novelists, and Threat Signal are this years best in the gym for me but I don’t seek out this music outside the gym.

After completing my therapy I didn’t feel the same. I’m not angry, hateful, and thankfully as spiteful as I was. Sure I still have short comings but I’d rather remove myself from my negative emotions and situations. I was at peace for the first time in a long time when I spent time in Japan this past spring. Real Estate’s In Mind or Father John Misty’s Pure Comedy let my mind daze. I marveled at the Japanese country standing still as I sped by seasoned farmers tending to their rice paddies. Men and women driving unfamiliarly small vehicles. School kids making out by the train tracks. These albums were the soundtrack for those trips. Like anesthesia, I sat and saw outside myself. My body was just a vessel for a moment and I flew through the countryside. It was a high without the substance abuse.

In living on my own for about 18 months I’ve had to find ways to enjoy solitude. I’m writing this in a neighborhood cafe by my place. It’s a modest pleasure I’ve always considered a luxury. I made this place my spot when I moved to North Park. The apartment is great but it’s also nice to leave and go somewhere. As Christian Madsbjerg writes in the bible I’m reading “escape the zoo… observe life on the savannah.” Out here I can walk around the savanna I wanted and enjoy how my life looks and sounds. This year Julien Baker, Hodera, Turnover, and so many more resonated with my experiences. I’m excited to share with you what I meant by that last sentence and how these artists stack up as this year comes to a close.

Starting next month I will have a new piece every Friday leading up to my top album of the year on December 29th, right before new years. I’m sharing this post with a wider audience than last year so if you haven’t read my work before check out last year’s list. Aside from my annual top 10 albums I’ve put together new lists. Next Friday I’ll share albums that should have made last year’s top 10. At least I found them this year! See you all then.

Halfway 2017

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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.

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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.