I wish Apple Music could better sort pre-released albums available to subscribers. At least for the purposes of this thought piece. 2017 will go down as one of the best in the decade, at least in the short term. I wonder how we will look back on several mainstream records like Jay Z’s 4:44 or Reputation by Taylor Swift.
Last year I remember reading about these two, untitled at the time, albums and thinking these would get a lot of attention. In the short term I think we’re seeing the decline of Swift and 4:44 didn’t connect with me like DAMN. or All-Amerikkkan Bada$$.
Reflecting in a few years on XXXTentacion’s 17 and Brand New’s Science Fiction could produce polarizing perspectives. I thought very highly of both until some disturbing allegations came forward this year. The State of Florida charged Jahseh Onfroy’s (XXXTentacion) with domestic abuse of a pregnant woman. The details are disgusting.
For years I knew Jesse Lacy, Brand New frontman, had nudes leaked on IsAnyoneUp back in the day. I didn’t want a virus searching for that shit, but take my word for it. Lacy’s shit was out there. To learn he was soliciting nudes and sex from minors and exploited them like a true predator taints everything he’s done. I feel the same way about Tim Lambesis and his crimes.
Looking back can’t only seem negative. I’ll remember this year for a wealth of good albums. I don’t want to spoil what those are quite yet. Check back for that next Friday. Looking forward to 2018, there’s already some hints of the best we’ll hear. Obviously by the banner at the top of this post Of Mice & Men sit at the top of my most anticipated albums right now.
Since their last project the band and founding member Austin Carlile parted ways. Admittedly at this concerned me at first. Carlile had an incredible stage presence and channeled that vibe into OM&M’s albums. Cold World may have been 2016’s most disappointing album. Definitely their most subpar project. They wrote full on Nu-Metal songs which reminded me why bands like Limp Bizkit died out.
Carlile’s role diminished along with a pish posh of dabbling in different styles. They got away from what made them special early on. Hearing them live translated directly into their albums.
Carlile’s well documented health problems forced him out of the band. He’s also stated he couldn’t write music with them anymore since he couldn’t make what he wanted. Obviously alarmed by that I took his side until I heard “Unbreakable” Of Mice’s first single without Austin. It’s the best song they’ve made since “The Depths” in 2012.
Bringing in Aaron Pauley a few years ago sneakily and profoundly strengthened the band’s status. He’d already been a great frontman in Jamie’s Elsewhere singing beautifully. Adding him completed the band and letting Aaron lead Of Mice just showed he’s more skilled and equipped to front the band going forward.
They’ve released “Back to Me” “Warzone” and “Defy” since then and look to release Defy early next year. It’s early but this is definitely one I’m penciling in for top 10 next year. I sense this one returns Of Mice back their volcanic sound from earlier this decade.
Clearly I’m elated for new Of Mice but every year has its surprises. I’ve also got ensnared by Pianos Becoming The Teeth’s complete stylistic departure on their “Charisma” single.
I noticed they started zagging away from their tortured and cathartic style with a glimmer auspiciousness on The Lack Long After, a pedestal 4th wave emo album, with their Touché Amoré split single. “Hiding” elevated the trajectory of the band forever.
I remember an ex-girlfriend unsettled by it when I played it for her. Sure, the lyrics were “sad” as she put it but stylistically “Hiding” laid out how PBTT’s sound would evolve for the next five years. Gentler vocals in favor of screaming. Guitars almost about to buckle, teetering towards losing control to their abrasiveness. It’s a beautiful song, despite the subject matter. Fast forward to “Charisma” from Wait For Love and one finds a band undeterred by calamity.
The last 67 seconds has an existential effect on me. I see every horrible event pass by like I’m watching a movie of myself while the last pre-chorus drums up until the chorus finally breaks. I see every event I hope comes to pass in my life: love, companionship, fatherhood, leaving this world peacefully surround by those I love. Reminds me of the moment Jack Shepard has at the end of Lost. Perhaps a bit morbid but hey my blog. Wait For Love comes out February 16th.
On the same release day The Plot in You follow-up one of my favorite albums from 2015. Dispose continues the rebirth from last time. Getting off Rise Records unleashed whatever creative barrier they seemed impaired by. I got to see them in July 2016 headline and execute a setlist worthy of an hour. It’s only gotten better with new singles from Dispose. “Feel Nothing” trims the aggressiveness from “My Old Ways” and retains the sonic weight. I’m still really impressed by how heavy they sound with one guitarist and bass player. Unlike some people.
The video for “Not Just Breathing” continues to perpetuate their brooding aesthetics. Relationships with woman seems so fleeting for TPIY mastermind Landon Tewers.
These are just some of the bands I’ve followed for years. Some bigger names like Frank Ocean, Cardi B, Nicki Minaj, and several more have albums coming next year. Who knows when they’ll see the light of day but Ocean’s projects tend to dominate headlines. Stay woke on this since whatever he puts out sprouts unexpectedly. Kevin Shields of My Bloody Valentine says he’s working on new material. Who knows when or if it happens but I’m keeping tabs on MBV anyways.
Other releases I’m looking forward to include Pinegrove’s next project, which may sit in limbo after band leader Evan Stephens Hall put things on ice. I honestly had to Google “sexual coercion” ignorant as I was about it. Whatever happened I hope both parties can find peace with each other, if that’s even possible.
Sadly we’ll all remember this year for how many powerful men in our society proved themselves unworthy of such might and privilege. Out of the abhorrence however woman have come forward about the abuses they’ve had to endure and empowered themselves. Women seizing this moment strengthens all of us. It’s a hellish mess but it needed to happen sometime. Hopefully we can all look back some day and remember this year as the time misogyny, abuse, and terror towards women began to fade. I hope so if I’m here twenty years or more from now reading back on this.
Perhaps we’ll see this autonomy reflected in the music next year. I’m hoping we’ll see it in every scene for empowerment purposes, as well as a reflection of the times we live in. Join me again next week for the beginning of my top 10 albums. I’m starting with 7 through 10. The following week 4 through 6, and right after Christmas my top 3 albums. I’m ecstatic to share my comprehensive argumentation of these records that defined my year musically, and to some degree personally.
Disaesthetic 