Ten years later: The study of culture through the eurythmic of a record needle

Thanks to my post-beatnik mother, I fell in love with music in the car's back seat. A younger version of myself started singing along to a handful of cassette tapes that repeatedly played in the stock stereo system in a strawberry-red Plymouth Horizon. Neil Young's Unknown Legend and Tom Petty and the Heartbreakers were my three-year-old self's favorites. I would demand those tapes be played while my hippie mom and I would sing the lyrics together. Five years later, I had started to develop my taste, which in retrospect was one of the first and perhaps most important steps into my self-identity and personal individuality, with the allowance purchase of an Abby Road on CD. 

My ninth birthday life changed immensely as I was gifted a Sony boombox complete with AM/FM, Cassette, and CD, with about 15 Beatles CDs and a Jimmy Buffett greatest hits album. After some juvenescence deep in the throws of Beatles academy, I found my way to popular contemporary acts of the era: Tool, Korn, Marilyn Manson, and Sublime, all of which were exalted by the monochrome and strictly prohibited parental advisory decal. My appetite for the art of music had been awakened, and I indulged in the gluttony. I spent every last dollar on CDs and tapes, carefully avoiding cashiers who tried to enforce the parental advisory sticker and cleverly rearranging the packaging to hide the forbidden stamp from my mother.

In 1999, a monumental change came into my life with the birth of Napster and an internet-connected family computer. My scope and music consumption exploded with the plethora of available content and my introduction to hip-hop. I rode the Bermuda sloop, flying my jolly Rodger flag well into my 20s, spending almost no money on physical media each year, listening to more music than I had the year before, opening my ears to new genres, new ideas, and occasionally falling into the Dunning Kruger traps of becoming an arrogant music snob.

Fast forward 12 formidable years, overwhelmed by the magnitude of music, I began keeping a written record of the music I had consumed, a habit that has since become my life's work. The very same year, deep in the depths of a long depression, I was given an object of significant value. An object belonging to my mother that had been obtained 33 years earlier with saved High School graduation money and loved intensely through her formidable years, bringing her joy and getting her through periods of sadness. A Technics SL-D2 turntable and a collection of about 100 LPs that had been carefully hidden away from 20 years of dust, my humble return to the consumption of physical media. In 2013, needing a defining characteristic of my personality and 25-year-old self-identity, I challenged myself by listening to 365 albums, carefully documenting each with a rating from 0-10. This challenge persists now ten years and several thousand albums later.

All of us who deeply enjoy music have found our way to the things we love, partly by the people who inspire us, those who help us find our way to the music we love. I would not be where I am without the influences that have helped show me the way, that has laid the path, muses perhaps. Mom, Grayson, Lore, Bill, Jake, Sam, Alex, Tam, Kenzie, Charles, and Craig, I love you all; thanks for the inspiration.

So many things have changed in the last ten years, from the introduction of widespread music streaming to the revival of vinyl records, The end of genres, and the beginning of others. I decided to review some of my top albums from the past decade because I feel old and will soon lose all vitality when understanding and appreciating contemporary music.

While my entire list can be found here, I wanted to share some of my favorites from the last decade:

2013:

Arcade Fire - Reflector

Kanye West - Yeezus

Blood Orange - Cupid Deluxe

Darkside - Psychic

Death Grips - No Love Deep Web

James Blake - Overgrown

Atoms For Peace - Amok

Devendra Banhart - Mala

Queens Of The Stone Age - …Like Clockwork

Junip - Junip

Autre Ne Veut - Anxiety

Daft Punk - Random Access Memories

Janelle Monáe - The Electric Lady

John Grant - Pale Green Ghosts

Thao & The Get Down Stay Down - We The Common

2014:

Wild Beasts - Present Tense

Young Fathers - Dead

St. Vincent - St. Vincent

Adult Jazz - Gist Is

Sturgill Simpson - Metamodern Sounds In Country Music

Chet Faker - Built On Glass

FKA Twigs - LP1

Clipping - CLPNG

Spoon - They Want My Soul

Shake Graves - And The War Came

Bombay Bicycle Club - So Long I'll See You Tomorrow

Angel Olsen - Burn Your Fire For No Witnesses

Kishi Bashi - Lighght

Strand Of Oaks - Heal

Primus - Primus And The Chocolate Factory

2015:

Joanna Newsom - Divers

Alabama Shakes - Sound & Color

Alex G - Beach Music

Modest Mouse - Strangers To Ourselves 

Youth Lagoon - Savage Hills Ballroom

Kendrick Lamar - To Pimp A Butterfly

Tame Impala - Currents

Young Fathers - White Men Are Black Men Too

Dan Deacon - Glass Riffer

Dawn Richard - Blackheart

Houndmouth - Little Neon Limelight

Mac Miller - Good AM

Leon Bridges - Coming Home

Father John Misty - I Love You Honeybear

Until The Ribbon Breaks - A Lesson Unlearnt

2016:

Radiohead - A Moon Shaped Pool

Kanye West - The Life Of Pablo

Adult Jazz - Earrings Off

Childish Gambino - Awaken My Love

Anderson. Peak - Malibu

Bon Iver - 22 A Million

Blood Orange - Freetown Sound

David Bowie - Blackstar

Devendra Bandhart - Ape In Pink Marble

Cate Le Bon - Crab Day

Glass Animals - How To Be A Human Being

James Blake - The Colour In Anything

Sturgill Simpson - A Sailors Guide To Earth

Xenia Rubinos - Black Terry Cat

Michael Kiwanuka - Love & Hate

2017:

Kendrick Lamar - DAMN

Fleet Foxes - Crack Up

Grizzly Bear - Painted Ruins

Vince Staples - The Big Fish Theory

Feist - Pleasure

Big Thief - Capacity

Rostom - Half-Light

St. Vincent - MASSEDUCATION

Chad VanGalen - Light Information

Kaitlyn Aurelia Smith - The Kid

Brockhampton - Saturation 1,2,3

Blackbear - Digital Druglord

Mac Demarco - This Old Dog

Perfume Genius - No Shape

Back - Colours

2018: 

Janelle Monet - Dirty Computer

Son Lux - Brighter Wounds

J. Cole - KOD

Oneohtrix Point Never - Age Of

LUMP - LUMP

Tierra Whack - Whack World

Rainbow Kitten Surprise - How To: Friend, Love, Freefall

Young Fathers - Coco Sugar

Nas - Nasir

Kids See Ghosts - Kids See Ghosts

Sons Of Kemet - Your Queen Is A Reptile

Rosalia - El Mal Querer

Leon Bridges - Good Thing

JUNGLE - For Ever

Superorganism - Superorganism 

2019:

James Blake - Assume Form

Orville Peck - Pony

Tool - Fear Inoculum

Jamila Woods _ Legacy!Legacy!

Danny Brown - ?uknowwhatimsayin?

Sudan Archives - Athena

Tei Shi - La Linda

Vagabond - Vagabond

Big Thief - UFOF / Two Hands

Alex G - House Of Sugar

Billie Eilish - WHEN WE ALL FALL ASLEEP WHERE DO WE GO

Michael Kiwanuka - KIWANUKA

Devendra Banhara - MA

Flume - Hi This Is Flume

Clipping - There Existed An Addiction To Blood

2020:

Fiona Apple - Fetch The Bolt Cutters

070 Shake - Modus Vivendi

Glass Animals - Dreamland

Magic Oneohtrix Point Never - Magic Oneohtrix Point Never

Adrianne Lenker - Songs / Instrumentals

Moses Sumney - Grae

Car Seat Headrest - Making A Door Less Open

Son Lux - Tomorrows 1,2,3

Childish Gambino - 3.15.20

D. Smoke - Black Habits

Nas - Kings Disease

Fleet Foxes - Shore

Slyvan Esso - Free Love

Laura Marling - Songs For Our Daughters

Lianne La Havas - Leanne La Havas

2021:

Spellling - The Turning Wheel

Low - Hey What

Darkside - Spiral

Lump - Animal

Dave - We're All Alone In This Together

Jorja Smith - Be Right Back

(—-__—___) - The Heart Pumps Cool Aid

Genesis Owusu - Smiling With No Teeth

Arca - Kick 1-5

James Blake - Friends Who Break Your Heart

Injury Reserve - By The Time I Get To Pheonix

Tyler The Creator - Call Me If You Get Lost

Royal Canoe - Sidelining

Sturgill Simpson - Dude And Juanita

Floating Points / Pharoe Sanders - Promises

2022:

Alex G - God Save The Animals

Big Thief - New Warm Mountain, I Believe In You

JID - The Forever Story

Nilüfer Yanya - PAINLESS

070 Shake - You Can't Kill Me

Weyes Blood - And In The Darkness Heart Aglow

Back Country, New Road - Ants From Up There

Kendrick Lamar - Mr. Morale And The Big Steppers

Terence Etc. - VORTEX

Jakob Banks - Lies About The War

FKA Twigs - Caprisongs

Billy Woods - Aethiopes 

On Man - On Man

Steve Lacey - Gemini Rights

Obongjayar - Some Nights I Dream Of Doors

2023:

Overmono - Good Lies

Kelela - Raven

Oneohtrix Point Never - Again

James Blake - Playing Robots Into Heaven

P.J. Harvey- I Inside The Old Year Dying

Lil Yachty - Let's Start Here 

Christine & The Queens - Paranoïa, Angels, True Love

Lankum - False Lankum

Current Joys - Love And Pop

JPEGmafia & Danny Brown - Scaring The Hoes

Caroline Polachek - Desire, I Want To Turn Into You

Slausen Malone 1 - Excelsior

Yves Tumor - Praise a Lord Who Chews but Which Does Not Consume; (Or Simply, Hot Between Worlds)

Anna B. Savage - in/FLUX

I need to take a moment to segue from the central theme of this piece and mention that this year I listened to not 365 albums but 500, and wanted to share an individual and deeply personal review of my favorite album of the year:

Lonesome Dialtones

I fought the idea of this being my #1 despite my love calling it early on in my deliberation. It was hard to admit because I was part of this music and didn't want to shamelessly promote myself or my best friends. But the truth is that despite my involvement, it's something I absolutely love and the album that touched me the most this year. I feel weird about reviewing such an album, but here we go:

The bandleader and primary songwriter, Grayson Low, captured an entire era of feeling and being in the 2020 pandemic era, to the point where it's hard to indulge in this music without transcending to a much darker time and tone of this young decade. 

The production is second to none on the Lonesome Dialtones. Young Blake applied a fresh, dynamic, and immensely flavorful approach to the recording of this outstanding album. Taking all of the unique and, at times, subtle contributions of the collective and depicting each member with the utmost fidelity.

The percussion from a brilliant Colorado drummer turned educator, Sam, is phenomenal, playing on a limited set with minimal miking. Sam is also a prevalent writer of some of the songs on the album.

The backing vocals from Bessie are the most haunting and beautiful things a person has laid their delicate ears upon. Dancing beautifully with the vocal melodies of Grayson and bringing the tone and depth of this music to another level.

The synthesizer bits and interludes are something to behold, thanks to Jake and myself, who make Øidwar. The synthesizer's presence cuts through and sets this album aside from many of its kind, reminding the audience that this isn't generic or name-brand but something else.

Most of this heartwarming, honest, and soul-crushing album was written in lockdown and recorded in seclusion in mosquito-ridden mountains of southwestern Colorado, in the unique and self-governed community of Crestone.

Each song consists of a heartfelt story of a dear friend or a painfully honest perception of the tangible reality of love and loss. Likely, my implicit bias makes this music ride so heavy on my soul, but it's worth a serious listen. It is unique in every aspect and, without question, my #1 after a decade of intense study.

Ten years later, a dichotomy of loving and hating my journey plagues me with overwhelming questions about myself. Am I forgetting every piece of music that moved me over the last decade because I move so quickly from one album to the next? Am I buying a vinyl record to only spin once before filing it away on my Ikea cube shelf, bolstering my ever-growing collection? I'd like to know if I can listen to my entire physical collection before I die. Is there still merit to my self-imposed journey that has taken the driver's seat to my entire life and consumed most of my waking thoughts? Is my love of music still as it was, or have I become jaded by overexposure? These bedeviling questions live in my psyche as I peer backward into the infinite abyss of the thousands of albums I have loved and consumed like a glutton. 

I don't want to discount my journey; I'm very proud of the remarkable feat of the last ten years. I have an acute understanding of music trends and the evolution of music. I am well-versed in a wide range of music genres, artists, and styles. And while I couldn't see my Fridays without spending hours digging through releases and reading stacks of reviews, I wonder if this will eventually end. I wonder when I will resign to exclusively listening to the music that brings nostalgia. I don't know where to go from here; I suppose I keep going….

50 albums of 2022 that are better than Beyonce

I have been avoiding negative reviews in my writing, as there is enough negativity among us humans. So this is an exception to the rule, a direct response to the zeitgeist gatekeepers who listen to music and write reviews(which I sometimes agree with). Recently as a kind, we are accepting the previously unacceptable, settling for the mediocre, and allowing the middling to be the new normal. I think Beyonce has made some breakthrough music during her career. I'm a massive fan of Lemonade and Beyonce's self-titled album. However, Beyoncé's Renaissance is okay, maybe even fine but very far from groundbreaking. My issue lies with the lack of appreciation for pioneering artists unerringly setting the stage for the future. Does the "independent" music community genuinely agree that the mainstream, generic, and perhaps most antiquated artist of her genre is the best this year offers? I guess the answer is yes. I wholeheartedly disagree; it's mid. Thus I'd like to share fifty albums that I find to be more substantial, original, groundbreaking, and creative than Renaissance. 

50. Metro Boomin - Heroes & Villains

49. Mount Kimbie - MK 3.5 Die Cuts / City Planning

48. Sam Gendel - blueblue

47. Sun's Signature - Sun's Signature

46. Sudan Archives - Natural Brown Prom Queen

45. Zola Jesus - Arkhon

44. SYD - Broken Heart Club

43. Silvana Estrada - Marchita

42. Rome Streets - KISS THE RING

41. Nas - King's Disease III

40. Little Simz - NO THANK YOU

39. Flume - Palaces

38. Earl Sweatshirt - SICK!

37. St. Paul & The Broken Bones - The Alien Coast

36. Yeah Yeah Yeah's - Cool It Down

35. Black Midi - Hellfire

34. Rosalia - Motomami

33. Alabaster dePlume - Gold

32. Domi & JD Beck - Not Tight

31. The Weeknd - Dawn FM

30. Florist - Florist

29. Danger Mouse & Black Thought - Cheat Codes

28. The Smile - A Light For Attracting Attention

27. Young Jesus - Shepherd Head

26. Pusha T - It's Almost Dry

25. Sault - Earth

24. Jockstrap - I Love You Jennifer B

23. Elucid - I Told Bessie

22. Black Flower - Magma

21. Björk - Fossora

20. Gabriels - Angels & Queens

19. Sam Gendel - SUPERSTORE

18. Jack White - Entering Heaven Alive

17. Amir Bresler - House Of Arches

16. Dawn Richard & Spencer Zahn - Pigments

15. Obongjayar - Some Nights I Dream Of Doors

14. Steve Lacey - Gemini Rights

13. On Man - On Man

12. Billy Woods - Aethiopes

11. FKA Twigs - Caprisongs

10. Jacob Banks - Lies About The War

9. Terence Etc. - VORTEX

8. Kendrick Lamar - Mr. Morale And The Big Steppers

7. Back Country New Road - Ants From Up There

6. Weyes Blood - And In The Darkness, Hearts Aglow

5. 070 Shake - You Can't Kill Me

4. Nilüfer Yanya - PAINLESS

3. JID - The Forever Story

2. Big Thief - Dragon New Warm Mountain I Believe In You

1. Alex G - God Save The Animals

Rap: A rant, a love letter

A great deal of the older generation has zero tolerance for rap or hip-hop; it's an understandable stance given rap's inception truly began in 1977. By the time the Sugarhill Gang hit the radio, most(not all) baby boomers had already given up on experimenting with new genres of music, not to mention the social divide of culture and skin color of the time. 

Perhaps another distaste of the hip-hop genre is the feeling of exclusivity like we don't belong or can't relate to the lyrics. I think this is more of an issue in the early 80s and 90's when the scene WAS exclusive. The larger that hip-hop tree grows, the more inclusive it becomes. There is a facet for everyone now, even if that small corner is guys rapping about American history in Hamilton or clever Lil Dicky rapping about saving money. Perhaps Macklemore rapping about thrifting is your flavor, or Matisyahu rapping about orthodox Jewish spiritualism might be your jam. Perhaps you're like me and have a love for it all. There is something for everyone in this ever-expanding genre. It's a beautiful time, and we should keep our minds open to things we don't understand.  

Some take issue with how hip-hop music is made, using samples of recorded music chopped and reshaped to suit the rap cut. At the core, this is not a new concept. Every piece of art and music is rooted in that which came before it, borrowing ideas, methods, and perceptions to create something new. Since the foundation of music theory, humans have found a limited number of consonant notes and combinations of those notes. So is anything new? Original? Or is it all just a rearrangement of something that already exists, interpolated, renditioned, or maybe sampled? Take "Avalon," composed in 1920 by Buddy DeSylva, Al Jolson, and Vincent Rose; this piece has over 300 interpolations, renditions, or covers. Another great example is "My Favorite Things," with over 1000. How many versions of Beethoven's 9th exist? How many of those conductors have taken creative liberties? If the issue is credit, on the other hand, we live in the future, and "sample clearance" is a colossal money exchange; artists are paid fairly for the use of their music when used in a sample. Ask Steely Dan how much they've made from the Kanye use of their snippit.

Another argument against rap music is the violent, misogynistic, homophobic, or explicit lyrical content. While I don't condone homophobia, misogyny, or violence, It is important to note that, like all other lyricists, rappers write songs about what they see and experience. I would say that the content of the rap lyrics speaks more to the cultural climate than the lyrics. Generations of African Americans have experienced violence and mistreatment and have been disenfranchised and commodified. Why wouldn't you write songs about those traumatic experiences? As a listener, why wouldn't you buy that record that contains experiences you can relate to or helps you understand the hardships of other cultures? There is merit to rap lyrics despite the explicit nature, the rhyming patterns, the flow of words within the given beat structure, the timing of sentences, and the poetry. Rap is an objective art form PERIOD.

All of these words are not to convince those who dislike hip-hop to go out and buy a Kendrick Lamar album. It's to defend my absolute love of the genre. To articulate why it exists, why it's important, why your kids love it, and why hip-hop and rap are so much more than Hamilton tickets. I wrote this because I am experiencing a deep love and admiration for an incredible year for rap music, perhaps the most profound year since I've been paying attention.

I find the history of rap and hip-hop an exciting study, and there has never been a better time than now. The over-saturation of streaming programming has yielded a plethora of hip-hop/rap documentaries and biopics. Even the amount of books on the subject is rich and available. Something that keeps coming up in my studies is this ten-month period where some of the genre's most influential hip-hop albums were released. While I think there is plenty of review of this period, I did feel it was necessary to touch down on this because I am under the opinion that we are currently living in a similar run of rap music. Each of these albums holds a special place in hip-hop history, a new sprout on a young sapling that has grown into mighty branches of a gigantic and beautiful tree. Between November 1993 and September 1994, these eight albums were released: 

-A Tribe Called Quest - Midnight Marauders

-Wu-Tang - 36 Chambers

-Snoop Dogg - Doggystyle

-Ice Cube - Lethal Injection

-Nas - Illmatic 

-Outkast - Southernplaylisticadellicmuzik

-Beastie Boys - Ill Communication

-Notorious B.I.G. - Ready To Die

Now here we are nearly 30 years after that incredible run, and something strange and wonderful has happened in hip-hop and rap; it has dug its way from the underground and has become the most popular genre listened to in the US. The genre seems to have a renaissance where the abstract is taking hold, and the anarchy is consuming itself by rules absent at its inception, I call it future music. This idea may not make sense, but one album from last year sums this idea into a perfect package: 

Injury Reserve - By The Time I Get To Phoenix.

So all this blabbering to get to the meat of this review. This collection of rap albums from 2022 has me mesmerized, impressed, and joyful:

Billy Woods - Aethiopes

One half of the duo Armand Hammer, New York's own Billy Woods, has been on the scene since 2004, hiding from me in the underground. I discovered this with the help of a musical muse; neither of us has heard anything quite like this. Sampling from the most abstract, unknown jazz albums, along with exciting flows and subtle slapping beats, nothing quite like this out there. Future music.

ELUCID - I Told Bessie

The other half of the duo Armand Hammer and the Baader-Meinhoff phenomenon in action; This album has a special touch and is a bit more palatable and traditional than the Billy Woods, as mentioned above. The beats and flow are unique, making it quite a fun listen. The production has a light touch that calls to the idea of minimalism. 

Benny The Butcher - Tana Talk 4

One-third of the trio known as Griselda, Benny deals in some of the coldest and grimmest bars of the New York underground. This album exists in the intricacies of the daily struggle of street life, bad luck, and hard-earned life lessons. Featuring P. Diddy and J. Cole

Black Thought/Danger Mouse - Cheat Codes

Thirty-four years after the foundation of the Roots, Black Through has solidified his lyrical prowess time and time again; this work is no different. Each verse is full of complex ideas and references that challenge the listener to be more educated in the realm of hip-hop and rap culture. Danger Mouse's production makes this contender for one of the best rap albums of the 2020s

Denzel Curry - Melt My Eyez See Your Future

This artist has emerged from the gen z underground and found his way to the light of the mainstream. This album plays as a traditional rap record, is easy to listen to, and subconsciously has you bobbing your head. Forty-five minutes full of unique flow timing and prominent features makes this my favorite release of his discography.

Earl Sweatshirt - SICK!

A 24-minute lockdown creation,  unlike his previous releases, has all of the fantastic nuggets of rap flow on the top, easy to digest and understand. Former Odd Future alumni continues to show his magic on his 5th studio release. Short, sweet, lovely production and slow flow make this a bit of 2022 rap caviar.

Leikeli47 - Shape Up

Leikeli47, the only female on this list, holds her own with some of the most rigid bars on this entire list. In Shape Up, Leikeli distinguishes between hard-hitting lyrics and magical R&B fairydom. Many low-end frequencies take home on this record—my favorite one of her releases.

Pusha T - It's Almost Dry

This album is a direct sequel to the 2018 masterpiece: Daytona, building on the same themes and ideas with complex sample production and traditional composition. Produced in full by Kanye West and Pharrell Williams, maybe the best depiction of modern mainstream rap today. Another short and sweet album leaves little but the point it's scratching at in its short 35-minute runtime.

JID - The Forever Story

I'm late to the JID story, as this is my first introduction to this 31-year-old prodigy. Top Notch production aligns with the sharp lyrical flow from the Atlanta native; the yield is fun and almost-educational experience. This album is stuck on replay, for each song is full of ideas, nuance, and feature support. I am on my 17th listen through this album and am still unfolding parts of the sonic soundscape, lyrics, and deeper themes. While cleverly rapping about serious issues, JID takes it all in stride with a lighthearted, almost comical approach. "I got the shit you could play for your momma," he proudly belts, then quietly whispers, "I got the shit you could play for them hoes" this nearly sums up the duality and cleverness of this LP. The 59-minute record flies by with so few dull moments; for me, it's tied for the best Hip-Hop album of the year, only contending with the goat himself, Kendrick Lamar.

Kendrick Lamar - Mr. Morale & The Big Steppers

Kendrick returns with the first LP since 2017's Pulitzer-winning album DAMN. The album was prefaced with an iconic video-accompanied single, The Heart Part Five. If you've made it to this point in your life and you haven't listened to the prior Kendrick discography, stop what you're doing right now and start at the beginning. While studying this album, I wondered how many people, at the time, were aware of the cultural impact of the Beatles, David Bowie, or Miles Davis. How many people thought to themselves, "The future of music will never be the same." With no ego and some subjectivity, this is the case here. The game has been changed, and the cultural impact will continue to reveal itself. MMATBS seems to play as a personal concept album, full of left turns, consistent themes, top-tier production, and gorgeous lyrical flow. Each song ebbs with avant-garde musical stylings and delightfully flows with clever lyrics that, after twenty listens, leave me with still so much to unpack. This album feels more like a Radiohead, Frank Zappa, or Sun Ra; the utmost complexity, packaged in a palatable, digestible bowl, one only needs to bring their open-mindedness as the metaphorical spoon. Kendrick reminds us that he is not a god but merely a man that faces the same bullshit that all of us do. The man's lyrics suggest he struggles with cancel culture and perceived lack of redemption, The hypocrisy in neo-liberalism, and the work needed for personal fidelity. Every aspect of the album seems more personal than anything in his previous work. It's hard to find the words to accurately convey this album's brilliance; It's a masterpiece.

P Power

Each Friday, I dig my way through new releases, using a myriad of websites and muses to guide me. Week to week, a few releases tickle my fancy or completely blow my mind. Most of the time, there is one stand-out AOTW(Album Of The Week), and most other releases of that day are mediocre to good, occasionally a grower. I hardly ever find more than three weekly albums that move and shake me. Last Friday’s releases were a huge exception. Each of these albums is packed with the use of complexity, be it; lyrical originality, production micro detail, or unique psychedelic soundscape, perhaps all of the above.

Sudan Archives - Natural Brown Prom Queen

I have been a massive fan of this artist for nearly five years. Brittney Parks plays a Sudanese fiddle in front or behind a complex and dynamic auditory terrain. This high-energy exploration of feminine power spans 53 minutes and accompanies a range of genres. The lyrical density requires my further study and attention.   

Sampa The Great - As Above, So Below

The 28-year-old Zambian poetry flow master returns for her third studio release. While evolving her lyrical confidence, Sampa taps American rappers Denzel Curry and Joey Bada$$. African polyrhythms with the beautiful nuance of tribal chanting and the occasional trap drum drive the production of this record. Subwoofers love this album. 

Santigold - Spirituals

The softly spoken powerhouse innovator returns for her senior studio album Spirituals. It’s quite a heady take on dance pop, with beat-driven, synth-pulsing cuts. Not an album that immediately jumps off the vinyl, but there is a reward to those patent enough to dig deep. Dance flows through this recording like a broken disco, muted and melancholy. This chanty dream dance-pop album may not find its way to any of my favorite lists, but it’s fun and does fit this theme.

Jockstrap - I Love You Jennifer B

This debut LP from the UK duo is the most experimental and my favorite last week. The angelic bird voice of Georgia Ellery soothes my anxious brain, pulling me from consciousness. At the same time, the micro-detailed psychedelic production from Taylor Skye stimulates the playhouse portions of my psyche. Each song smoothly transitions from the organic to the mechanic, from harps and acoustic guitars to broken synthetic bleep bloop. This album checks almost all the boxes of the original, one-of-a-kind albums I chase.

A Triplet

A fantastic wave of alternative neo-soul that began its arc in the 2010s has reached a mesmerizing and unique crest and has begun crashing into the rocks of abstract creativity. What started with acts like Sharon Jones, Charles Bradley, or Leon Bridges has slowly evolved into more experimental acts like Moses Sumney, James Blake, Genesis Owusu, or even Tyler The Creators' 2019 album Igor. While the genre's core remains, the sonic landscapes seem to be changing into something of their own, something that my ears find pleasant and original. This year I have fallen in love with three examples, each with as many differences as similarities, yet all rooted in the same pot.

Obongjayar - Some Nights I Dream Of Doors

The Nigerian-born, London-based artist Obongjayar (Steven Umoh) has made his debut with Some Nights I Dream Of Doors after years of supporting features for some of London’s best up-and-coming artists. Umoh creates haunting, rhythmically driven, intense music that draws heavily from his Nigerian ancestry and his love of futuristic hip-hop and neo-soul. This album will defiantly make my top 20, likely my top 10 of 2022.

Jacob Banks - Lies About The War

Also Nigerian-born and London-based, Jacob Banks is perhaps the most derivative of the neo-soul genre, although far from generic. Lies About The War is Bank’s second LP. Building his art around his tear-inspiring baritone register, Banks delves into gospel, blues, hip-hop, and even bits of reggae. Most pleasing to my inner tempo, most of the songs on Lies About The War sway to a 6/8 time signature. While employing several southern gospel or neo-soul troupes, Banks avoids mediocrity with unique vocal melodies and unexpected heavy synth crescendos. This album also will find its way to my top lists.

Terence Etc. - VORTEX

Terence Nance is a musician, filmmaker, writer, and director from Dallas, Texas. VORTEX, on the surface, is genre agnostic; its exceptional composition and conceptual album structure span an unusual spread of sonic soundscapes. Hip-Hop, Musical-Theater, Alternative-Rock, R&B, Orchestral, Funk, and Soul make themselves home on this mind-bending narrative of an album. There are moments on this album that seem to be a bizarre take on Hamilton, while others feel like island Calypso. In attempts to unfold the many layers of origami that constitute this music, I’ve wondered if this is the album of the year.

Nilüfer Yanya - PAINLESS

Nilüfer Yanya - PAINLESS

The third LP from the English songwriter passes the ultimate test of repeated play; In the car, on headphones, while sipping morning coffee. This album is a symbiotic parasite, rooting itself into the core of your rhythmic nature and taking over the senses until you find yourself dancing around the coffee table or tapping your finger on the steering wheel.

PAINLESS was an unexpected drink of water in a desert walk with only a few prospect albums on the horizon. It swooped in and climbed its way to being one of my favorites. I would describe the sound as Indie rock, quite heady at times but never leaves you without a groove to bob your head along to. While some of my recommendations are more for eclectic fans, I find this one to be pretty universal. The track “Try” plays in my head most days

Black Flower - Magma

Black Flower - Magma (2022)

The five-piece Belgium natives return for their fifth album with a brain-melting eight-track masterpiece that runs 45 minutes long. To put this album in the jazz, world music, or psych genre boxes would be a disservice to anyone reading this, So I seek only to liken it to its roots and draw parallels to things I know. It feels like a Jethro Tull, Mort Garson, Badbadnotgood supergroup, instrumentally magnificent, yet doesn’t dottle on any one groove or idea. The Jazz flute, heavy-handed synth, and phenomenal drumbeats drive the album, while the bass holds rhythm, leaving only room for sax solos and unique percussion. The sense of space and imaging in this recording had me diving into their previous releases(also excellent). My two favorite tracks are the ever-so-engaging album opener “Magma” and the knob turning psychedelic journey “Deep Down Dive”

*Highly recommend night listening with nightly vices.

Spellling

Spellling - The Turning Wheel:

I've been pondering how to write about this album for a while now; I feel unworthy. It feels like something I shouldn't even be sharing, something so beautiful that it's perhaps best-kept secret. I hope my writing can do this magnificent piece of art justice.

Oakland CA-based Chrystia "Tia" Cabral uses the cleverly misspelled stage name Spellling to paint her experimental-progressive pop music. Self-produced with 31 collaborating musicians, all orchestrated by 30-year-old Tia(An 80's psychedelic Disney princess) to create what can only be called a masterpiece. The Turning Wheel is divided into two parts: Above & Below. Above being the lightheartedness of being, dancing in the warm sun at the brightest time in the day. Below explorers the darker sides of the same feelings, consumed yet emancipated by inner-dimensional existence and experience. This album has a range of deeply layered instruments from piano and guitar to banjo and string quartet and everything in between. The musical flavoring goes from classical show tunes to 80's synth or future pop with a brilliant blend, making each song quite palatable, exciting, and ever revealing. With such heavy themes, top-notch songwriting, instrumentation, and with such a profound concept, this album has broken and warmed my heart with each listen. Without a doubt my favorite album of the year.

When this album first came out in June, I failed to give it my best attention upon first listen and moved on. With a much-appreciated correction from a music muse, I was able to revisit this album in a different headspace, in a different light. Now it has been nearly a month, and I can't stop listening to it, and when I'm not listening, it's banging in my head. To quote my best friend, "Spellling is a magical-yet fragile-soul fairy from another planet desperately pleading for us to save ours…and discovering her identity in the process."

Overloaded Part 3

Sturgill Simpson - The Ballad Of Dood & Juanita

The alt-country outlaw returns for his seventh release, a concept album short and sweet. The Ballad Of Dood & Juanita plays like a novella, a complete and wholesome story from cover to cover. Musically simple, yet complex in its storytelling and quite soulful. Delving into the roots of country music and Americana, this album evokes artists such as Hank 1, Johnny Horton, or Patsy Cline. This 27-minute piece also guest stars fellow outlaw Willie Nelson and contains the sweetest song a man could write about his dog friend.

Low - HEY WHAT

The 13th full-length album from the “Slowcore” duo is perhaps the most interesting thing I’ve laid ears on this decade. HEY WHAT is very, very special, something that seems beyond comprehension without an adequate study. Immediately this album has such great use of distortion; it straddles the line between beauty and wretchedness. It feels reflective, like a corrupted image of the sunset, just before the Instagram filter. Layers of distorted texture, synthesizer, guitar, and haunting vocals are the only ingredients. The words that come to mind are: horribly beautiful, Tastefully destructive, Wonderfully heartbreaking. Disclaimer for listeners: your speakers are not broken, your tubes are not blown, and the CD isn’t skipping; the sound you are hearing is a duo asserting more control over the soundscape than most artists dare to do. It might be my favorite.

Overloaded Part 2

Two-hundred-and-twenty-two days into this music year, I don’t know how many more slices of metaphorical cake I can eat. 

The Bleachers - Take The Sadness Out Of Saturday Night

Multi-Instrumentalist and producer Jack Antonoff is the hot ticket that I only recently learned about (thanks, Gray.) Jack seems to want to bring dynamics back to music. His production includes Clairo - Sling, St. Vincent - Daddy’s Home, The (Dixie) Chicks - Gaslighter, the last 3 Lana Del Rey albums, and the previous 5 Taylor Swift albums. 

Take The Sadness Out Of Saturday Night is the third release under Jack’s stage moniker The Bleachers. The opening track is immediately captivating, coming in with cello and dissolving into dreamy 80’s pop that makes me nostalgic for a time I didn’t even exist. The rest of the album follows with danceable slow pop-rock songs that play in the shadows of Steely Dan, Elvis Costello, and the Talking Heads. I see you, Mr. Antonoff; you have my attention. 

Dave - We’re All Alone In This Together

Hats off to the only artist I search for by album name, 23-year-old British rapper Dave returns for his second album. We’re All Alone In This Together is yet another stellar quarantine album that exists thematically in loneliness and struggles with mental health. Dave’s diverse rap flow and socially conscious lyrics drive this 61-minute masterpiece, with some expert production from the one and only James Blake. This album goes deeper than I’m willing to go at times; it’s an exercise in the dissolution of toxic masculinity, a brushstroke of complex emotions. Who needs a new Kanye album anyway?  

Overloaded

So I’m losing my mind over the amount of life-changing new releases this year. Instead of consistent, short, and timely music reviews, you get an explosion of obsessive ranting based on the tipping point between depression and periodic creative flow. 

Lump - Animal

Mike Lindsay and Laura Marling return for their sophomore album. While still dancing in the strange universe they have created for themselves, This album exists figuratively during the daytime, unlike their debut. This Electronic folk-driven album spends time in a conscious state, where Lump - Self Titled plays almost entirely in the subconscious. While more organic sounding than their previous release, an attentive listener could extract many bits of micro-detail. 

Darkside - Spiral 

As the leading frontrunner for my favorite album of the year, Dave Harrington and Nicolas Jarr return with the unconventional and psychedelic album Spiral. Coming off of their 2013 electronic/Alternative masterpiece: Psychic, you wouldn’t guess their music would evolve to become such an exercise in World fusion. While both albums possess strings of originality and experimentation, Spiral vibes as a more conventionally constructed album with eastern-sounding compositions. Production is top-notch, guitars and synthesizers are a blended complement to each other, and the strange vocals are exactly what is needed. The final word is DYNAMIC.

Drug Store Romeos - The World Within Our Bedrooms

Bedroom pop: What started with the ease and accessibility of home recording products and software in the mid-2010s, the mainstay genre is now solidified with the restrictions of COVID 19. This album, title indicated, falls right in the coolest part of the bedroom pop genre. This young trio seems to find expression in the spaces between. While minimalist in the front end, the synthetic soundscape exists deeper in the recording and can be extracted on a great sounding system. Traditional live bass, drums, and vocals set this music apart from other artists in this genre. My favorite thing about this project is the intimate touch that could rarely happen in a studio recording. Very refreshing.

Clario - Sling

22-year-old Clario took me by surprise with unexpected expert album production and a tasteful touch in folk songwriting. Seeming to be heavily directed by producer and multi-instrumentalist Jack Antonoff, there is dynamic audiophilia throughout the entire album. While the heartbreaking lyrical content pulls the heartstrings, there is also somewhat of a hopeful tone about the album. It seems to be an album for rain or shine, for early mornings and late nights, a duality I suppose. From viral Soundcloud artist to the big leagues, Clario is someone we should all be paying close attention to.

Jorja Smith - Be Right Back

Grammy-nominated powerhouse, R&B, pop-soul singer Jorja Smith returns with a 25 minute EP that happens to be my most listened to album of 2021, according to Roon. Be Right Back is such a smooth album with the most honest lyrics. In the fading shadow of Amy Winehouse, Jorja shimmers with such intensity. Her voice is one of a kind, and she plays on the outskirts of Soul rooted pop music. This album has excellent repeated playability. Warm your heart with the sweet soulful sounds of the one and only Jorja Smith.

2021, I'm Still Spinning

It is still early in the year, so please forgive my randomness, the fruit of this year's music have yet to ripen. Vindicated and betrayed by music awards for nearly 2 decades now, I care very little but still pay attention. So I eagerly await my disappointment with the Grammys.  Award shows aside, These are the albums my ears have been into recently:

CARM - Carm (2021)

The solo debut project from multi-instrumentalist  C.J. Camerieri. C.J. Is perhaps best know for his trumpet work as a hired gun for Paul Simon, Sufjan Stevens, Bon Iver, My Brightest Diamond, & The National. Carm is very textural, ranging from spaghetti western flavors to electronic and lounge jazz. The album is somewhat instrumental except the songs featuring some of his previous collaborators. Try the track “Nowhere” on your system, you won’t be disappointed.

Mogwai - As The Love Continues (2021)

The older I get, the less I feel the need to blast metal or hard rock into my ears, but with every rule there is an exception. Mogwai’s newest album is currently that very exception, as it is exceptional. This album rocks, it tickles the belly of metal but keeps itself in the heady psychedelic, space-prog, post rock. Probably the hardest stuff I’ve enjoyed since Tool - Fear Inoculum. The Scottish band delivered yet again on this 62 minute album. 

Bo Hansson - The Lord of the Rings (1970)

Thanks, Sarah Glass for planting this particular seed in my brain. As I found this story so interesting, I feel as I must give you an abridged background: Bo Hansson,  a glorious Swedish musician/ Multi-Instrumentalist, started his career in 1960 with a blues group called the Merrymen, who supported The Rolling Stones on an early Scandinavian tour. By 1966 Hanson had moved on from the Merrymen, and formed a duo “Hansson & Karlsson” Hansson on the Organ, and Karlsson on the drums, they mainly played jazz fusion with some early flavors of progressive rock. Hansson & Karlsson released three albums between 1967-1969 and even gained the attention of Jimi Hendrix, who took time off of his tour to jam with the duo. By the end of 1969 Bo would become a solo artist. 

Inspired by JRR Tolkien’s The Lord of the Rings Hansson began writing demo’s in a friend’s apartment, the writing process would ultimately get his friend an eviction notice.  Hansson finished the writing process in a small cottage on an island off the coast of Stockholm. By December 1970 the project would be complete, and released in Sweden, but wouldn’t get an international release until 1972. 

The 38-minute instrumental album pushes the boundaries of Psychedelic and Progressive rock. It tastes like Gabor Szasbo, King Crimson, and Mort Garson. If there’s any appreciation for the weird albums I blather about this definitely falls within those lines. Bo Hansson would go on to create all kinds of cool music, but this one is quite interesting and definitely worth a listen. Your music system and pattern seeking brain will thank you.

I am very saddened by the passing of the 34-year-old artist and producer SOPHIE. I am very much a fan, and was eager to enjoy her art for years to come. May she Rest In Peace. SOPHIE has several production credits but only has one album. Her music could be described as Independent Electronic, and plays with dissonance to contrast the strange consonants. If you find yourself in altered states on the right night, and you need something off the wall to listen to, spool this one up. 

I wanted to close this random stream of thoughts with a huge thank you to all the people who read this. I’m genuinely surprised and elated by the amount of people that mention this to me at work. Furthermore, I’m so grateful for the positive feedback and the continuing support. If anyone has any suggestions for me to put my ear on, please email me Isaac@crescendoaudio.net. 

Shooting From The Hip

I share my listening space with my juniper bonsai and often my wife and dogfriend Curry. Tonight we sit and listened to the new Tunng album, throwback to the first album review I ever posted. I ponder the merits and discoveries of music in 2020.

Tunng album “Tunng Presents... Death Club” despite pushing the threshold of my favored 38-45m running time, is quite interesting, full of very timbreous (is that a word?) moments and very thoughtful provoking monologues. “Death Club” is quite British. Mike Lindsay being 1/2 of the duo Lump, and the leader of Tunng. Favorite of the year? No. Worth a listen? Yes.

I think it’s important to reflect on the year, my reflection usually are things that happened in my life corresponding with the music I was listening to at the time. My favorite list usually spans from top 10-20. So before I dive into my top albums of this garbage year, I wanted to mention a few albums that I have discovered from the past that I find to be significant.

10CC- How Dare You

This 1976 masterpiece fails to disappoint, filled with both pop, and deep prog rock. My best friend sent this album to me without words or context, like a surprise. It was recorded on analog tapes, so it sounds better than most modern music.

Ray Lynch - Deep Breakfast 

This is a weird new age instrumental album from 1984, very well mixed and mastered, quite trippy. Thanks to chef Amy for the suggestion. This is an interesting blend of classical and electronica, full of popular interpolations. Sounds great on a system.

Tom Petty - Wildflowers

Not a new album, nor a new album to me. The second solo Tom Petty album released in 1994, and produced by Rick Rubin. If you have not jumped down this rabbit hole in the 26 years this album has been out in the world, it is full of beauty and soul. It is stripped down compared to his previous work at the time. There is something about Tom that shines the light into the heart of American Rock-n-roll. Spin It.

Sun Ra - Hartford College Jan 25 1980

Pretty deep into Sun Ra career, this is a live recording from Christmas Day 1980. This album is way out there. He bangs away on a Rhodes piano with what sounds like a soundtrack on Saturn. Some might call this Jazz or Experimental Jazz, I would say it’s simply Experimental. I love it

One thing I feel I must mention: When it comes to Radiohead covers in 2020, the ladies are doing it right. There is, on one end of the spectrum, Lianne La

Havas (organic) on the other is Kelly Lee Owens (synthetic) and for some reason both of them decided on Weird Fishes/Arpeggi as an accompaniment for their original albums. Both songs even play well back to back.

Lianne La Havas -

Lianne La Havas 

Kelly Lee Owens -

Inner Song

These are the 2020 albums that tickled my fancy:

Fiona Apple - Fetch The Bolt Cutters

070 shake - modus vivendi

Glass animals - Dreamland 

Childish Gambino - 3.15.20

Fleet Foxes - Shore

Car seat Headrest - Making a Door Less Open

Moses Sumney - Grae 

Everything Everything-  Re-Animator 

Arca - Kick I

OPN - Magic Oneohtrix Point Never 

Loma- Don’t Shy Away

Aminé - Limbo 

Jónsi - Shiver 

Honorable mention:

Bombay Bicycle Club - Everything Else Has Gone Wrong

Poliça - When We Stay Alive

Squirrel Flower - I was Born Swimming

Jay Electronica - A Written Testimony 

Shabaka & The Ancestors - We Are Sent Here By History

Laura Marling - Songs For Our Daughters

Run The Jewels - RTJ4

Modern Nature - Annual

Chloe X Halle - Ungodly Hour

Tina - Positive Mental Health Music

Khruangbin - Mordechai

Nas - Kings Disease

Sylvan Esso - Free Love

Clipping - Visions Of Bodies Being Burned

Fatboy Slim - Back To Mine

Tunng - Tunng Presents...DEAD CLUB

Adrianne Lenker - Songs

Aesop Rock - Spirt World Field Guide

2020! Not the future we'd all hoped...

We seem to be stuck in a dystopian science fiction film. Sports, movies, tv shows, dining and so many other forms of entertainment are unavailable for the time being, but records are still spinning, tubes are still glowing, and services are still streaming. Most of us with stereos at home are now for perhaps the first time realizing how important a home stereo is. So while your stuck at home working from laptops and booked up zoom meetings, I have a few suggestions to check out.

I wanted to change up the format that I usually apply to an album review because it’s boring. Instead of a breakdown of the album, I’m gonna geek out about a few albums of current and past. I find myself digging into the past as much as I pay attention to current music, and which ever era I’m listening to I find some cool stuff.

I wanted to share a 60’s and 70’s artist Mort Garson who did a bunch of cool stuff but specifically a 1976 album called ‘Plantasia: Warm earth music for plants and people who love them’ This album isn’t audiophile and it’s not for everyone, but it’s unique and beautiful and it’s a ton of fun. Garson used early moog modular synth equipment to achieve the sounds on Plantasia. It reminds me a bit of the A Clockwork Orange soundtrack. There is an air of classical with the synth of the future. Check it out it’s streaming wherever you get your streams, and available on vinyl.

So far this year a few 2020 albums have tickled my fancy, seemingly a harder task than it was this time last year.

I must preface with a story about a a well respected, yet rather harsh online music publication Called Pitchfork. Launched in 1995 and gained a reputation by its extensive coverage of indie music, I personally didn’t come across Pitchfork until around 2008, while thirsty for something other than my Rock-n-roll repertoire.  I began to use it as a resource to find fresh new stuff. Even still Pitchfork and I had a rocky relationship as it constantly ripped apart music that I was into, and tipped the scale of  aggregate websites I followed like Metacritic, and BestAlbumsEver. Yet I continued to follow them as a resource for discovering new music, all the while growing to appreciate their love or hate for an album. While reviewing 1000’s of albums since it’s inception, pitchfork has only awarded 12 10/10 scores upon release. I don’t want to downplay the other high ranking albums but for this purpose I want to note three of those albums. Radiohead - Kid A, Kanye West - My Beautiful Dark Twisted Fantasy(MBDTF) and to my main point Fiona Apple - Fetch The Bolt Cutters, Released in 2000, 2010, and 2020 respectively. Kid A, and (MBDTF) both turned out to be telling and extremely influential to their respective decade ahead. The 2000’s ushered in a new era of rock, a shift to alternative and independent, while the 2010’s shifted the popularity of music towards Hip-Hop and rap. Pitchfork isn’t the end all say all about music, however when the award a 10/10, people like me geek out.

Fiona Apple: Fetch The Bolt Cutters

Fetch The Bolt Cutters is a stripped down homemade masterpiece mainly made on Apple’s(the tech company) GarageBand, and recorded in her house. I would wager that this album like the other 2 this album is a sign on what’s to come this decade, perhaps not in genre but in how albums are made. While recording studios and venues were closed, musicians across the globe have been taking their shot at self production and home recordings. Fiona was ahead of this rush, she has been social distancing since the mid 2000’s see social anxiety. Fetch The Bolt Cutters(I’ve been here too long) explores themes of isolation and self understanding. The album sounds very raw and captures so much of that from Fiona, she even features her dog friends on some of the tracks. This album is definitely worth a listen, it’s available on streaming and vinyl. 

The full list of pitchfork 10/10 albums:

(1996) 12 Rods - Gay? 

(1996) Walt Mink - El Producto

(1997) Amon Tobin - Bricolage

(1997) Radiohead - Ok Computer

(1998) Bob Dylan - The Bootleg Series Vol. 4: Bob Dylan Live 1966, The "Royal Albert Hall" Concert

(1999) Bonnie Prince Billy - I See Darkness

(1999) The Flaming Lips - The Soft Bulletin

(2000) Radiohead - Kid A

(2002) ...And You Will Know Us By The Trail Of Dead - Source Tags & Codes

(2002) Wilco - Yankee Hotel Foxtrot

(2010) Kanye West - My Beautiful Dark Twisted Fantasy

(2020) Fiona Apple - Fetch The Bolt Cutters

Jamila Woods – LEGACY! LEGACY!

At this point in the summer last year I was stuck on the 5 Kanye Wyoming albums, released a week by week in June. Not a single other track in modern music was doing it for me, so I would listen non stop to the playlist I made for myself entitled “Kanye Summer Jams” Each week that passed and each new album would be added to the bottom of my playlist, then played on repeat for the whole summer. A year has passed and most likely another 1-3% of hearing loss, brings me to my present obsession. A cosmos away creatively, politically, and musically from Kanye West, wonderful Jamila Woods stems from the same city of Chicago. Woods is first and foremost a poet with a similar background as Noname, Chance The Rapper and several other young Chicago poets turned artists. Born in late 1986, Jamila grew up in Chicago involving herself in theater and the arts, earning a BA in Africana Studies and Theater and Performance art from Brown University. Woods works are focused on themes of Black ancestry, black feminism, identity, and self-love. Jamila Woods is an activist and advocate for art and young artists, she sits as the Associate Artistic Director of Young Chicago Authors and has several published works as a poet. I, as most of the world watching music in 2015 heard Jamila’s amazing voice on “Sunday Candy” from Donnie Trumpet & The Social Experiment free studio album release. Woods went on to release her first solo work “Heavn” in July 2016 which earned acclaim in small circles. Woods is a master at Contrafactums, taking lyrics the audience is familiar with (Like Dawson’s creek theme) and substituting one text for another without a change in melody or music. Her touch is beautiful, empathetic and ambitious. Neo-soul, Funk, R&B, Afrojazz come to mind with an unmatched soulful voice and intelligent witty lyrics.

LEGACY! LEGACY! A homage to the artists of inspiration and legacy. “I was looking through the lenses of these different people, their work, things they said,” Woods said in 2019. This collection of songs is well thought out in concept, production, and clever lyricism. Some of the artists in which the songs are titled are obvious but others were only revealed to me via her quasi bibliography in the liner notes of the vinyl. LEGACY! LEGACY! is timorous and unconventionally not over-produced, the sound is funky and soulful. The lyrics are powerful with whit, modern references, clever observation of the present, and homage to the art of the past.

The album begins with
“BETTY” as in funk musician Betty Davis, opening with groovy piano and Jamila’s vocals, evolving into a beat-driven uplifting track. The lyrics point to her sense of self-worth and originality despite the hardships she endures as a woman of color. This track sets the pace of the album, it’s inspiring and a captivating opener.
“ZORA” inspired by author Zora Neale Hurston is a textural track with panning drums and bass, magnificent breakdowns, and careful vocal harmonies. Lyrically this track is full of contrafacta and poet cleverness. “I tenderly fill my enemies with white light” encompasses the feel of the track. This was my favorite cut upon first listen, it’s somehow new and familiar in the same breath.
“GIOVANNI” based on a poem ”Ego Tripping” by Nikki Giovanni a fast-moving bass and drum set with panning tremolo piano track along with mid-track guitar work. with heavy R&B energy and a bit of soft rap and powerhouse vocals.
“SONIA” poet Sonia Sanchez. A stripped-down mellow texture of synth bass and an 808 behind a ¾ soulful lyric flow, that starts low and slow and swells to a very groovy flow.
“FRIDA” Kahlo brings the drums in this glitchy track full of lyrical metaphors that seem to point to the unconventional relationship of Frida Kahlo and her husband, artist Diego Rivera.
“EARTHA” Eartha Kitt brings us down a notch with a bit of mellow 808, piano, hand claps, and synth bass, this song has a great sense of imaging and panning from left to right. Lyrics seem to paint a coming of age story of confidence and self-worth.
MILES” Davis comes with driving 1/16 note hi-hat work, guitar, and a mouthful of lyrics that speak to the work that miles Davis put into his mastery of music.
“MUDDY” Waters not to him, or as him but about him. This track contains the most amount of guitar distortion, and natural drums and is the closest thing to Rock on the album. Jamila ambiguously tells the story of being accepted for your art, but not your color.
“BASQUIAT” Jean-Michel Basquiat is my current favorite cut on the album, this song takes it’s time and builds to a textural masterpiece, rocking a full band, the sense of space and imaging is full of timbre and quite wonderful. The lyrics are politically charged and almost evoke the spirit of TLC with some of the rhyme schemes.
“SUN-RA” inspired by Sun Ra’s Sci-Fi poetry book “This Planet Is Doomed” is another stripped-down cut with 808 that sounds rather science fiction, with futuristic-sounding percussion and laser shots.
“OCTAVIA” Buttler, another sci-fi Afrofuturism author. This cut also sounds Sci-Fi but more of an 80’s new wave vibe, the panning synth makes this cut quite trippy. She sings low and slow that provides a sense of intimacy.
“BALDWIN” James Baldwin novelist, playwright and activist. starts with soft piano and vocals, that evolves into a powerhouse track with futuristic bass, and a touch of horns, that for me serves as a wonderful album closer.
“BETTY(FOR BOOGIE)” a reprise and nod to Chicago music, is a remix/ reprise that is electronic and fun but seems to not belong on the album.

This albums is fun, sounds wonderful, and provides a more mature step for Jamila Woods as an artist from her previous release. I have listened to this album at least 50 times and I must say it has great replay value. This album is a breath of fresh air when releases seem to be dull and generic the last couple of months. I love the concept of paying homage to the artists that brought inspiration. As a white dude, my view and understanding of the lyrical theme are limited, all I know is that I enjoy it. This album is available on vinyl and streaming at 24/96 Flac on Qobuz and MQA on Tidal.

Orville Peck – Pony

As the earth warms with the coming spring, the desire for summer grows along with my excitement for spring and summer releases. One of my favorite music finds is and has always been debut album releases. A debut album has the opportunity to capture a time, moment, or whisper of fresh air that may pull the breath from your lungs. Beyond an introduction, a debut usually makes the first artistic statement. The first thing you may notice is Peck's appearance, it's shocking and intriguing. Peck wears a brightly colored cowboy costume, a ten-gallon hat, and one of fifteen homemade masks with fringe. Orville Peck has a previous persona as a different artist, whom seems irrelevant to this review, but if you must know I will tell you in person. Peck reminds me of Johnny Cash and Frank Sinatra with a softer hint of masculinity, and a modern flavor. Orville's voice croons a dynamic range that is shown off throughout the album. This is an interesting take on a concept album, with a Tarantino like narrative and sound, telling the story of a group of motley characters, set in the pre-modern outlaw west. Pony could be put into a few different categories Outlaw Country, Gothic Americana, Indie, and even perhaps even southern rock.

The album opens with the first single "Dead Of Night" which showcases peck's entire vocal range, a slow and low Gibson hollow body, minimal drums and a tinge of twang. The song portrays a story of two hustlers driving in the dead of night. "Winds Change"  is a bit more upbeat, with a bit of slide guitar. The story of losing your way in the tedious path to fame, sacrificing love and relationships, on a ride that is both heartwrenching and beautiful. "Turn To Hate" sounds more Americana, more of a wall of sound and less dynamic than the rest of the album. The story seems to highlight sorrow and an easy slip into hatred and bitterness. "Buffalo Run" clearly has some punk and rockabilly influence with very simple guitar and driving drums, yet keeps in his lane as a mysterious masked outlaw country singer. "Queen Of The Rodeo" is an anthem with gated reverb drums and gives the feeling that you're in a country bar, perhaps hanging out after the rodeo. "Kansas (Remembers Me Now)" sounds intentional like it's being listened to on AM radio. As the song progresses the quality crumbles setting the story of relocation and watching the past fade and dither, but not without memory. "Old River" Tumbling down to a perfect lo frequency organ intermission track complete with tremolo, and a crooning Peck. "Big Sky" is my favorite track on the album, the song moves slow and takes it time. Twangy hollow body leads while banjo follows, as Orville croons in his lowest register. The lyrics and story are rather ambiguous, personal and perhaps not for me to analyze. "Roses Are Falling" sounds like Hank I, the song waltz's along in 6/8 walking guitar, and brushed drums. The story of celebrating and loving someone isn't a new one but it is a classic. "Take You Back(The Iron Hoof Cattle Call)" is a cattle driving song but also a breakup song. Whistling, cattle whips, and tub-thumping bass complete this track. "Hope To Die" is a heartfelt look at sincere promises, and looking back. Adding yet another track where Peck flexes his vocal range. "Nothing Fades Like The Light" is a perfect album closer, a slow 6/8 guitar, swelling with bass, and some of the best lyrics on the album.
This album plays like a film, with each song setting the imagery with unique recording technics(yep intentional) or old-time instruments to paint a setting as you listen. It strikes me as unique, inspired and sincere. I have intentionally avoided this character's sexuality, as it should have no bearing on the perception of art. Pony is available on vinyl, 24/96 FLAC on Qobuz, or MQA on tidal.

James Blake - Assume Form

365 new albums every year, however tedious, bears truly original artists and albums that demand intimate listening and provide goosebumps and tears in return, James Blake is perhaps the most wonderful example of this. As modern music is a basic amalgam of all that came before it, I find the hardest thing to do is to describe it in less than five genres. Singer/Songwriter, Soul, R&B, Electronic, Indie, seem to be what people want to call James Blake. I’ve always swallowed Blake’s music with a heavier weight, something about the unapologetic originality and weirdness accompanied by his angelic vocals. James began in 2009 with a 12” album that consisted of a handful of bedroom recordings. By 2010 Blake refined his sound with the studio E.P. “CMYK” containing the sub woofer work out track “Limit To Your Love” originally written by Feist. In early February 2011 Blake released his first self-titled studio album, this is where I became a fan. This album consists of classically trained pianist doing fragmented electronica, prominent use of minimalism, and a voice that sends shivers down my spine. October 2011 Blake released a 6 track EP “Enough Thunder” featuring Justin Vernon of Bon Iver, and Joni Mitchell. April 2013 Blake released his second studio album entitled “Overgrown”, a more diverse, dynamic and digestible album, that David Bowie called his favorite album of the year, Featuring RZA and Brian Eno. LP3 came in May 2016 “The Colour In Anything” was Blake’s longest and most ambitious project top date. James received additional production help on this album from Rick Rubin and Justin Vernon, which wasn’t the case in his previous releases. “The Colour In Anything” is wonderful journey if you have 76 minutes, and a willing and patient ear, THIS ALBUM IS DEEP.

Assume Form came as a surprise with only a week announcement prior to the release. The album opens with a piano driven titled track that touches down on his roots as an artist, but reminds us that we’re hearing a new album with a fresh perspective. The second cut “Mile High” drives the party with a futuristic bass line, heavy piano synth, and creative use of autotune, featuring additional vocals from Travis Scott, and production from Metro Boomin.. The third track on the album “Tell Them” Features the sweet vocal and sound style of Moses Sumney, and the strange and unusual dance these two do as artists. “Into The Red” follows as a heart-warming romance that takes it time, and alludes to the fact that critics can no longer label Blake a sad boy. Spanish pop artist Rosalia joins Blake in the next track “Barefoot In The Park” to the ends of a glorious duet sung in both English and Spanish. Track 6 and the halfway point “Can’t Believe The Way We Flow” is a dreamy almost intermission that sews the two half's of the album together, pointing again to romance and joy. “Are You In Love?” is an exercise in synth driven minimalism and dynamics. “What’s The Catch” is another subwoofer test track, that is more beat driven than the rest of the album, fully loaded with a “heady ass verse” from Andre 3000. “I’ll Come Too” is a glitchy track with stings, that defines aspects of accompaniment in love and travels to the brink and back. The tenth cut “Power On” is an introspective song about coexistence and admitted wrongdoing, to a funky uplifting almost symphonic backdrop. “Don’t Miss It” is a return to the roots of James Blake as an artist, complete with psychedelic vocal processing, minimal piano and drums, and unexpected dynamic turns throughout the song. The album closer “Lullaby For My Insomniac” is as a moment of meditation to reintroduce you back from the heart wrenching beauty you’ve endured as a listener. This album is full of romance and hope, It’s wonderful for a person in love, or a person who is pining in need of release. I must admit it is very early in the year, but it will be hard to top this album on my favorite list. It is unique, beautiful, and carries a thoughtful heartfelt message. Assume Form vinyl ships in may, but is digitally streaming on all platforms.

Janelle Monáe – Dirty Computer

Album Artwork for Dirty Computer

As 2019 stokes it’s music release embers, I would like to reflect on my favorite Album of 2018. A Powerful voice in modern pop with a rich background in the hip-hop community. 33 year old Janelle dreamed of being a singer and performer from a young age, and has sighted Dorthy from the Wizard of Oz as being a major musical influence. Born in Kansas City, Kansas, and relocating to Atlanta, Georgia in 2001, she began her career in 2003 after meeting Outkast’s Big Boi and co-founded Wondaland Art’s Society. In 2004 Janelle Monáe met Sean Comes who along with Big Boi, would become executive producers for each of her albums. The same year she would be featured in 2 of Outkast’s final album/film project Idlewild. She would go on to release an EP 2007 Metropolis: Suite I, and two LP’s The Archandroid, and The Electric Lady, 2010 and 2013 respectively. Each of Janelle Monáe albums are Soul, Pop, Psychedelic, Alternative R&B and each paint their own science fiction narrative interconnecting themes, characters, concepts, that are intriguing and conceptually brilliant. Janelle has also has been fairly successful in the movie business staring in Moonlight, Hidden Figures, and Welcome to Marwen.

Dirty Computer takes a more traditional approach to pop music, while still encompassing her concepts, and narrative. This album is a fun psychedelic soul pop masterpiece with a sprinkle of the hip-hop. Dirty Computer is hopeful, joyous, and feel good but addresses current issues with tongue and cheek wordsmithery. The album opens with a quasi-overture featuring Brian Wilson from the beach boys. Track 2 is a fun carefree track, “Young, black, wild, and free” sets the tone, and greatly stresses her “Crazy, Classic, Life”. The next song “Take a Byte” has a more serious tone, drawing parallels between sexuality and computing. We are taken into a dreamscape instrumental pallet cleanser ironically titled “Jane’s Dream”. “Screwed” takes us to a hopeful place where all the world’s problems can simply be screwed away featuring Zoe Kravits. The next song “Django Jane” is the point in the album where it becomes brilliant. This is a song of serious statement carried forth in the form of rap bars, of which contend with the some of the most intricate and vocabulary driven rappers. “Pynk” is the following track that comes in the form of a dance worthy semi-protest song featuring the artist Grimes. “Make Me Feel” may seem that Janelle in channeling her inner-Prince, well the truth and interesting fact is that The Artist Formerly Known As laid down the guitar track and had planned to be featured in the song, but died first. The next cut “Juice” another dance-able pop track with clever tongue in cheek lyrics, featuring N.E.R.D.’s Pharell Williams. “I Like That” is a pop anthem that conveys a message of positivity and self-love. “Don’t Judge Me” is a psychedelic six minute journey that brings us down from all the dancing and fun from earlier, and ready for conclusion. Followed by “Stevie’s Dream” a short instrumental track. “So Afraid” and “Americans” are the two most serious tracks, the sarcasm and tongue and cheek cleverness about the album seems to fade away on these two tracks and the teeth of the album bares sharp.

Janelle Monáe – Image from theguardian

I can’t stress the importance that this album has had on me as a listener. I have listened to this album over 100 times in 2018, and what moves me most is the feel of this album. Dirty Computer does a rare thing in current media, it acknowledges the modern crumble, yet takes a hopeful approach and manages to promote a positive message. I have danced, cried, and covered myself in goosebumps while studying this album, a first for me regarding a pop album. There is a story told within the album, that can be enjoyed fully when accompanied by the visual for the album. This album has been nominated for more awards than can fit on this page. Dirty Computer Vinyl album comes standard with a gate fold and traditional album art and a black vinyl, or a special edition can be purchased from her website that contains a holographic cover and a yellow vinyl. Disclaimer: there are some adult themes and explicit lyrics throughout the album.

Lump - 2018

Album by LUMP | Laura Marling | Mike Lindsay and Lump

Before delving into the feeling of the album Let’s go through a bit of background as to what makes this project so special.

Mike Lindsay, a co-founding member, composer and producer of the acid folk band Tunng. As well as a mercury prize winner for his work on the 2009 rap album Speech Therapy by  Speech Debelle. Mike has built quite a reputation and following in the UK folk scene, he is well known for making an ordinary track pop with psychedelia.

Laura Marling started her career at the age of 16 in UK's underground Nu-folk scene, joining Noah and the whale for their first album Peaceful, the World Lays Me Down, as part of the original line up. Leaving the band due to break up with Lead singer Charlie Fink. Laura's  solo career began in 2008 with her debut album Alas, I Cannot Swim; I Speak Because I Can. Since her debut she has released 5 well reviewed LP's and has accumulated a list of awards and nominations in the underground and mainstream music communities.

The result is Lump, a slow burn acid folktronic album that is speckled with beauty and melancholia. I find it the perfect music to play at night, as the drone folk melodies paint a dreamscape of postmodern discontent. The lyrics bring us further into the abstract of the album with lyrics like "paint dots on your wrist to see me in your dreams"  referencing lucid dreaming where the one paints dots on their wrists to distinguish subconscious from reality. I find the album a satisfying flow as we begin with ambiance that drifts into a powerful baseline building to a 7 minute album opener. Flowing to the next few tracks that bring us into an electric folk night dance. Laura words her struggles and demands of being famous with boredom in California and the unnerving "Curse of the Contemporary". Ending on a closing track that feels like guided meditation as Laura quietly reads the album credits to a background of ambiance. at 32 minutes I find Lump a digestible album that rewards the patient listener.  The vinyl record comes with some cool art and a transparent green 180g vinyl. Key tracks: Late to the Flight, Cure of the contemporary.