The 10 Best Records of 2018’s First Two Months
One day into 2018, the year already had a ridiculously strong record thanks to a clever release strategy for the latest from Jeff Rosenstock. Not a lot of time had passed before the year saw more record’s join that record, POST-, in talks about the ceiling for what this year can produce. Over the first two months, 10 records — including POST- — managed to make a lasting impression, from records that showcased what their genres can offer at their peak to records that do away with genre subscriptions entirely. A long list of records managed to connect but these 10 managed to stand out. Dive in and enjoy the swim.
1. Evening Standards – Evening Standards
For anyone who found themselves dismayed at the news of Purple 7‘s dissolution, Evening Standards is a perfect reassurance. Chris Mott’s newest project, Evening Standards takes the torch from his old act with a clear-eyed assurance and presses its foot on the accelerator with a little more aggression. Already a viable contender for being the year’s best basement pop record (it would’ve been in last year’s conversation without question), Evening Standards is a relentless debut that refuses to pull punches. From the powerful opening track to the stratospheric heights of “Lil Green Man” to the well-earned finality of its closer, it’s a record that deserves to be delivered at maximum volume.
2. Anna Burch – Quit the Curse
One of the first breakout records of 2018 was Anna Burch‘s confident Quit the Curse, which found a way to intertwine a carefree sound with pointed narratives that touch on everything from anxiety to uncertainty to self-empowerment. Sculpting elements of surf, powerpop, folk, and slacker punk into an intoxicating sound that echoes Sleeping in the Aviary‘s later era, Burch fashions something that’s familiar, fresh, and winsome. Delivered with a smirk, a wink, and an I-dare-you-to-even-try-it smile, the songs on Quit the Curse go a long way in establishing Burch’s artistic identity. When it ends, it’s enough to have most eager for the inevitable extension.
3. Jeff Rosenstock – POST-
Despite being a prominent genre name for years, Jeff Rosenstock‘s career took a massive stride into wider recognition with 2016’s outstanding WORRY.. In typical punk fashion, it didn’t take Rosenstock long to craft a follow-up effort. What’s surprising about POST-, which was surprise-released on the first day of 2018, isn’t its success but it’s wild ambition. Best exemplified by the seven-and-a-half minute “USA”, POST- finds Rosenstock at both his most visible and his most fearless. Every song on this thing is approached at full-tilt and delivered with the desperation of someone fighting for their life. It’s raucous, it’s unpredictable, it’s shockingly complete, and it will always stand tall as 2018’s first great record.
4. The Royal They – Foreign Being
The Royal They find themselves in the relatively unique position of finding themselves launched into much larger conversations because of their extraordinary sophomore album, Foreign Being. All but weaponizing a genre-obliterating mixture of post-punk, post-hardcore, basement pop, spoken word, indie pop, and a host of other influences, the band lets fly from the onset with the exhilarating 1-2 combo of “C.N.T.” and “Sludgefucker”, firmly establishing their authority and digging in their claws with no reservation. Vicious, experimental, and engrossing from start to finish, Foreign Being has the early distinction of being one of the first quarter’s strongest surprises.
5. Ought – Room Inside the World
Now three records into their career, it seems as if Ought is incapable of making an errant move. They’ve slowly expanded their identity, scope, and ambitions over the course of each of those successive records and seem incredibly comfortable in forging their own path. Tim Darcy‘s foray into solo work even seems to have invigorated the songwriter’s main vehicle, allowing Room Inside the World more space to breathe. Ought are at their most polished here but there’s still that strain of tension and neurotic nerves that defined their earlier material. Room Inside the World is the perfect next step for a band that seems determined to be the authoritative voice in their corner of post-punk.
6. Royal Brat – Eyesore
A common trend among acts who are revered for their live act is an inability to craft a record that does their set justice. Royal Brat curb that trend with Eyesore, a record as explosive as they are on stage. Eyesore‘s songs sit around a 100-second average but that’s more than enough time for the band to get their message across. A record about finding redemption and power in living as a survivor, Eyesore finds meaning in its pointed outbursts. Buoyed by attitude and conviction, it’s a dogged triumph that announces the band as a force that’s hellbent on being granted a reckoning.
7. JACK – Alchemical Rounds
Brittany Costa has a long history as a songwriter and musician but has never seemed more at home than she has when positioned at the forefront of JACK. A collection of demos and a genuinely moving EP already under the project’s belt, Costa dives forward and continues to reckon with questions of character, mortality, and certainty. It’s an unwieldy record that conjures up a storm as unwieldy — and unyielding — as the questions that fuel its dark, unapologetic narrative. Costa continues to impress at every level and has delivered yet another fully-realized masterstroke that kicks away the cobwebs from some rooms that people less bold still aren’t willing to explore.
8. Screaming Females – All At Once
“Glass House” — one of last year’s most powerful songs — was one of the first looks at Screaming Females‘ All At Once and serves it well as the lead-off track. The band’s aggression, present even when showing restraint, is one of the most potent keys to their continued success. The placement of “Glass House” sets the tone for what’s to follow, which winds up being the trio’s most decisive work to date. All At Once wears its many bruises like badges of honor, as the band draws from past wounds and experiences to determine its stance and braces for the worst. Chaotic in theory but precisely controlled, All At Once is another masterstroke from a group of vaunted prizefighters.
9. Ratboys – GL
A long-held but underutilized tradition among bands is releasing an EP as an addendum to a larger body of work. When they work, the end result can’t only just make a project more comprehensive but strengthen it’s foundation (see: Okkervil River‘s Black Sheep Boy Appendix EP). Ratboys joins that select pantheon of acts with the extraordinary GL which rivals its formidable predecessor, GN, as a complete work. Containing some of the finest work of the young band’s career, GL exudes the same kind of sprawling, wide-open humanity that’s provided their discography a beating heart. Electric and captivating, GN finds a memorable way to hit all the right notes.
10. Long Neck – Will This Do?
During Jawbreaker Reunion‘s brief but exceptional run, guitarist/vocalist Lily Mastrodimos emerged as an incredibly engaging voice. Fortunately, Mastrodimos had a solo vehicle to keep those talents sharp in Jawbreaker Reunion’s absence. Now that project, Long Neck, has taken the leap that’s served acts like Cloud Nothings and Car Seat Headrest extraordinarily well and gone the full band route. After a handful of extremely strong releases that saw Mastrodimos alone in the spotlight, Will This Do?, as challenging and bleak as it can seem, also comes with a twinge of celebration.
A handful of the finest work of Mastrodimos’ already exceptional discography gets a home in Will This Do?, an incredibly versatile and assured record that explores the themes that have populated the work of both Long Neck’s first iteration and Jawbreaker Reunion. Mortality is confronted head on, self-doubt tugs at the corners of the fabrics keeping the tapestry intact, and a resilient determination shines through the uncomfortably heavy thematic meditation. Joy is in short supply — but still present — on Will This Do? but a hard-earned understanding seems boundless in both its quiet moments and its moments of naked reckoning.
Tethered together by humanity and empathy, Will This Do? benefits from both its fearlessness and its persistent uncertainty. Explosive dynamics and inspired compositions keep it interesting on the surface but its in the many carefully constructed layers — both lyrically and musically — where it evolves into something genuinely gripping.
The record also has the benefit of starting strong but ending with one of the strongest four songs stretches anyone’s produced in recent memory (a run that boasts some of the most vivid and haunting imagery imaginable, especially in the unforgettable closing moments of “Milky Way”) that propels Will This Do? past the conversation of simply being one of 2018’s best and position it as one of the strongest records of this present decade. In what seems to be a time of crisis, Long Neck have flipped the script, seized their own direction and left a trail of smoke in their wake.