A solid round of full streams (or expanded samplers) have arrived over the past couple of days, coming from acts as varied as Say Sue Me, Bacchae, Spring Onion, Oceanator, The National Jazz Trio of Scotland, DEWR, Marbled Eye, and Playboy Manbaby. However, just as was the case in the last post, the focus here will shift to a release that’s been out for a bit but only recently became available for full streaming: Dusk’s new 7″ — and their first release for Dirtnap Records — The Pain of Loneliness (Goes On and On) b/w Go Easy.
Made up of a laundry list of some of central Wisconsin’s finest musicians, Dusk’s most unenviable task is likely distinguishing themselves from bassist/vocalist Amos Pitsch‘s main vehicle, Tenement. Making things a little hazier was the decision to tour the US as an expanded version of Tenement, suggesting that the distinction might not matter to them as much as the connection. It’d fit Pitsch’s history, which has long leaned more towards a familial collective than compartmentalized separation.
Still, even in the face of their similarities (and not to mention the fact that virtually every member of Dusk also spends time playing in other projects), Dusk sounds so wildly different from most of the band’s associated acts that they seem to have garnered a sterling reputation solely on their own merit. It’s been interesting to track their progress, with many people surprised to find out which members of the band they’ve seen and heard before, but it’s also been deeply worthwhile.
Dusk’s songs tilt in a more classically country-leaning direction than anything else, each release laced with the requisite amount of attitude to bring their singular charisma through the recordings. They inflect their songs with a little bit of a lot of genres, from Motown to soul to honky tonk to basement punk, creating something that’s simultaneously enigmatic and familiar. There’s a sense the band’s striving to create the sounds that they love and don’t hear enough anymore, re-contextualizing the influences of separate eras by viewing them through a decidedly modern lens.
They’ve tapped into something that’s given their name some weight and it shows again on their latest 7″, The Pain of Loneliness (Goes On and On) b/w Go Easy. Both songs are full of the well-worn charm and conviction of the band’s past releases but ably showcase how comfortably they’ve embraced their identity. The harmonies are as gorgeous and ever and they’re still finding ways to pull new tricks out of their sleeves, with guitarist/vocalist Tyler Ditter taking a turn on lead vocal duties in “Go Easy”.
Both tracks are imbued with the same kind of breezy, wide-open road feel that the band’s successfully touched on in the past. Pitsch lends a trademark bite to the A-side while Ditter anchors “Go Easy” with a honeyed sweetness that serves the band’s sound extremely well. Packaged together, it’s another strong entry in a discography that hasn’t stopped improving since the band’s staggeringly strong demo. Easily one of Wisconsin’s best acts, this kind of release suggests they’re well on their way to being regarded as far more than a local act.
Keep their name and their releases filed away somewhere safe, there’s no telling what they might wind up being worth.
Listen to The Pain of Loneliness (Goes On and On) b/w Go Easy below (and watch a package of videos of the band playing live beneath the stream) and pick it up from Dirtnap here.
If the band’s name — popularly abbreviated to both RBCF and Rolling Blackouts C.F. — looks familiar, it’s because they’ve landed on this site a handful of times in the past. Curiously, despite having existed for over 5 years, the band’s never put out a proper full-length. While they can claim a handful of outstanding EP’s and standalone tracks to their name, the proper album has eluded them in the past. It’s allowed them a storied history and an abundance of time to develop ideas should that day ever arrive.
Fortunately, it seems as if that time’s paid off, if the two singles to tease their forthcoming full-length Hope Downs are any indication. The most recent single, “Talking Straight” comes off as particularly promising, standing as both a career high mark for the band and a track that’s destined to wind up on hundreds upon hundreds of mixes made for long drives. It’s a driving, folk-inflected piece of punk-tinged Americana but it’s delivered with more of a sneer than the band’s revealed in a while.
A talk-sing vocal delivery suits the verses as well and makes the chorus feel significantly more explosive in contrast. “Talking Straight” also navigates its momentum incredibly well, providing the proceedings with gripping dynamics that keep the listener invested. While the song approaches four minutes in total, the breezy, toe-tapping nature of the track makes that run time feel nearly halved. It’s another extraordinary outing for a band that’s consistently great and goes quite a ways in positioning Hope Downs as one of the year’s potential must-hear releases. Don’t miss out on the ride.
Listen to “Talking Straight” below and pre-order Hope Downs from Sub Pop here.
Being the first song to be featured after a long interim with sporadic updates, it might seem unwise to break form but the song’s laced with so much personal meaning that I’m breaking one of the cardinal rules of this site and switching to a first person narrative. It’s one of the only ways that I can think of to suit the song’s central premise and its near-confrontational intimacy, which was written about eloquently over at The Talkhouse by the project’s mastermind, Nandi Rose Plunkett.
Plunkett and I shared a frighteningly similar experience of our stints living in Brooklyn, managing to take the city for all its worth, simultaneously, as so many of its expats have done and will continue to do. There’s a sense that its world is a separate one, operating at a more intense velocity than the cities that swirl around its gravitational pull. It’s jarring to come into but it’s easy to accept, instinctively knowing that the best way to navigate its chaos is to completely submit yourself to its constant whims, no matter how painful or uplifting.
Coming to know the city as a home takes some time but once you do, it becomes a part of you that’s impossible to shake. It’s harshness and demand stoking various levels of anxiety and fear, while its open embrace of its residents can provide a warmth that’s worthy of moments of pining. All of this, the endless duality and dichotomies that the city births in anyone that manages to claim it as a temporary home, is painfully evident in “Back In Brooklyn”, which nearly wrecked me the first few times I was fortunate enough to watch Half Waif play it live (one of those instances is captured below).
It’s the most plaintive moment on Lavender — easily one of the best records I’ve heard this year — and it’s the most arresting. Plunkett’s narration across the record’s one of the most unsparingly honest perspectives I’ve come across in recent memory, looking at everything through the lens of someone lost in their own thoughts while the road flies by their van windoes. Sideways glances and subtle allusions are shelved in favor of an intense directness that can occasionally approach the overwhelming, it’s nakedness on full display. Longing and love are its most prominent intersections but they’re anchored by a rare understanding, which can make the material — as is the case with “Back In Brooklyn” — frighteningly real.
During its three-plus minute run time, on every pass I’ve given the song, it’s transported me back to the city, reminded me of all of the things, places, and people I loved, all of the moments with them I cherished, and all of the moments where I felt lost or afraid. It’s an immense work that’s delivered with a well-worn affection and laced with the knowledge that once you leave, its shape shifts and changes, rendering some of the things you held onto unrecognizable. Honest, unflinching, empathetic, and deeply moving, “Back In Brooklyn” isn’t just breathtaking, it’s a small miracle in a minor key.
Listen to “Back In Brooklyn” (and watch a recent live performance of the song) below and pre-order Lavender from CASCINE here.
A small sampling of some excellent records to find release were already given a few posts back but to not mention the records put out by Bambara, Pole Siblings, Big Buddy, Look Vibrant, Stimmerman, No Thank You, dné, and Breakfast Muff would be doing everyone a massive disservice. All of those records are worth exploring, as always, but the record that this post’s going to focus on is one that registers as a standout for a long list of reasons: Hop Along’s breathtaking Bark Your Head Off, Dog.
Hop Along, over the course of their history, have built up a fervent following that’s greeted the band’s music as if it were their own religion. Even a cursory run through their discography would help contextualize that response, as their catalog’s full of blisteringly intense and incredibly emotional pleas, statements, and revelations. The band seems to be constantly operating in a do-or-die mode, where literally everything needs to be put on the line and defended with every last ounce of vigor the members can muster.
They’ve already put out two records that many hold as sacred, in Get Disownedand Painted Shut, virtually guaranteeing any news of new material would be greeted as an event with a capital E. A cathartic live show built and shaped by years of intense touring and the band’s proven record in studio had everyone bracing for another towering record full of the life-or-death dynamics that have become the band’s established pattern.
To their credit, Hop Along took a massive artistic risk and subverted that formula to deliver the most measured and nuanced work of their career. More impressively, they found a way to retain the level of emotional catharsis that’s earned them such a devoted following. Bark Your Head Off, Dog is an incredibly ambitious record, with things like imposing orchestral arrangements scattered throughout its runtime.
From the record’s opening track, “How Simple”, it seems as if it’ll be business as usual for a while, with the band echoing the late-career work of Rilo Kiley (another band with notable ties to Saddle Creek) but it offers glances towards something a little different. Even with that lingering sense things might be about to change, the closing minutes find room for a vintage Hop Along moment with the repeated mantra of “Don’t worry, we will find out, just not together.”
It’s at that moment that the record — and the band’s slightly revamped dynamic approach — start to click into place. Across the rest of the record, they take small risks to arrive at maximum impact, keeping the listener on their proverbial toes, causing them to lean in and invest. As a tactic, it’s incredibly effective and the band uses it masterfully throughout some of the most impressive work of their career.
Bark Your Head Off, Dog is more than just one impressive arrangement after another, though, and Hop Along grants it as much — if not more — emotional heft than either of there previous two outings. There are times where the record goes beyond feeling personal and tips into feeling like it was borne out of necessity. Thankfully, for us, we can now reap the rewards of that need with what’s bound to stand the test of time and remain one of 2018’s most incredible records.
Listen to Bark Your Head Off, Dog below and pick it up from Saddle Creek.
Even in the context of a commendable discography, Winter’s Ethereality is a standout effort. Ten tracks of pristine, genre-hybrid high-wire acts of a balanced grace, Ethereality finds Winter — spearheaded by and named for guitarist/vocalist Samira Winter — in rare form. It’s the kind of record that washes over anyone fortunate enough to be listening, imbued with so much warmth that at times it feels like a long hug from an old friend.
All ten tracks have a collection of beautiful moments wrapped into small bursts of a contented exploration. Yes, there are times when the narrative strands of Ethereality splinter towards unsparing self-examination, awash in the kind of tacit self-awareness that keeps them from becoming too overwhelming but even then, Winter’s careful to allow room for hope.
It’s that concept of hope, whether it’s present or distant, that anchors Ethereality and transforms it from a pleasant record into a notable one. Appropriately, the record’s songs are as close to dream-pop as Winter’s ever been over the course of a record and that decision goes a long way in providing the record with its pulse. Relaxed, aware, full of well-earned knowledge, and moments of genuine beauty, Ethereality is the happy sigh after a powerful moment of clarity. It’s nothing short of a triumph.
Listen to Ethereality below and pick it up on bandcamp.
The closing three weeks of March unearthed a handful of extraordinary records from emergent acts and proven entities. Five of the best to find release over that time are listed below, covering a spectrum that stretches from twee-laced indie pop to uncompromising noise/punk. All of the records on display here are standouts for one reason or another and uniformly deserve more attention than they’ll get (though some will undoubtedly have very strong and vocal praise). Dive in below and enjoy the swim.
1. Empath – Liberating Guilt and Fear
A basement punk supergroup of sorts, Empath have the unlikely and unenviable task of distinguishing themselves from the shadows of the acts in the members’ collective history. Liberating Guilt and Fear goes a long way in making sure that’s achieved. Blistering, fun, and unforgiving, Empath’s versatility and ability to combine patches that seem at odds make Liberating Guilt and Fear one of the essential releases of 2018’s first quarter. Unpredictable and brilliant, it’s an EP that’s not to be missed.
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2. Major Murphy – No. 1
Major Murphy‘s been around for a handful of years now but the band seems set to make a bigger push than ever with No. 1, a gently kaleidoscopic work of art that deftly combines elements of psych, powerpop, and basement punk into a hypnotic whole. Exceptional composition and production always play well off each other but it’s an especially effective combination when, as is the case here, they work in tandem to create an additional layer of depth. In all, an extremely pleasant surprise.
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3. Frankie Cosmos – Vessel
Over what’s already an illustrious and surprisingly expansive career, Frankie Cosmos (both as a solo project and in full band mode) have never delivered a disappointing record. While that sort of consistency is a testament to a rare brand of prolific talent, there’s still a sliver of room allowed for something like Vessel; a record that towers above the others and visibly stands as a career high. Combining new material and reworked versions of old staples, Vessel also manages to come across as a representational statement that’s primed to resonate for years to come.
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4. Charles – Charles II
One of the avenues that places like Heartbreaking Bravery are afforded is the personal submission. Far more often than not, it’s a wasteland of mediocrity that’s intended audience strays far from this site’s sensibilities. Then there are rare occasions where something like Charles’ Charles II shows up and completely justifies the hundreds of hours spent sifting through that material.
One of the most astonishing basement punk records of 2018 so far, Charles II is a tightly-controlled explosion of an EP, calling to mind the legacy of acts like Four Eyes, Dogs On Acid, and Bent Shapes. Heartbreaking Bravery was built to celebrate, support, and promote releases like this one and anytime one lands in the mailbox, it’s not just a thrill, it’s a reminder of why this place exists. So stop reading this and just hit play already.
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5. Trace Mountains – A Partner To Lean On
LVL UP‘s Dave Benson has been performing as Trace Mountains for a handful of years now and already has one record that’s considering something of a bedroom pop cult classic in 2016’s Buttery Sprouts & Other Songs. A continued critical and commercial ascension for Benson’s main vehicle’s ensured an additional layer of visibility and anticipation for any work bearing the songwriter’s name but A Partner To Lean On seems to have neatly avoided any pitfalls of that pressure.
Benson subverts all sorts of expectations on A Partner To Lean On, from leaning into a new embrace of synth-pop to wildly expanding the project’s ambitions while, impressively, managing to keep the record grounded. Like Frankie Cosmos’ Vessel, Trace Mountains’ latest is an enticing mixture of new material and reworked versions of old offerings. It’s a complete work and in the record’s pitch-perfect title track, Benson crafts another viable candidate for Song of the Year.
The last three weeks of March brought a lot of excellent tracks into the world but the 10 below managed to separate themselves as genuine standouts. A trio of acts that appeared in the last “Best Of” featured segment strike again while the rest of the acts here are either old favorites or making first-time appearances. From scintillating noise-punk to gentle washes of ambient folk, there’s a lot here to explore. Find a new favorite song below.
1. Spring Onion – I Did My Taxes For Free Online
Sometimes all an artist needs is one song to snag an audience and that may very well be the case with Spring Onion’s “I Did My Taxes For Free Online”, which boasts some of the hallmarks that have made acts like Told Slant, Radiator Hospital, and LVL UP so beloved. Immensely relatable, beautifully constructed, and coming from an unsparing, honest place, “I Did My Taxes For Free Online” is a strong early testament to an emergent talent worth remembering.
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2-3. illuminati hotties – Paying Off The Happiness + Cuff
illuminati hotties are building up an insane amount of momentum on their way to the release of their debut album, Kiss Yr Frenemies. The band’s already been featured in the monthly best-of columns once this year and they’re doubling up here with the 1-2 combo of the irresistible hooks of “Paying Off The Happiness” and the introspective reckoning of “Cuff”. Both songs continue to demonstrate the band’s strengths and, taken with “(You’re Better) Than Ever” suggests they might not have any weaknesses.
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4. bed. – Replay
A characteristically melancholic piece of muted, driving basement pop, bed.‘s “Replay” is imbued with the kind of considered energy that’s gained the band a small but fiercely loyal following. Measured and slightly unpredictable, “Replay” toys with extremes its narrative and its composition, allowing the two to play off each other to great effect. It’s a standout piece in what’s already a stellar discography and suggests the band’s peak is either arriving or already here. No complaints either way.
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5. Maria Kelly – Small Talk
“Small Talk”, the latest from Maria Kelly is a masterclass in creating gentle tension and magnetic atmosphere. Smart production, tender composition, and an effectively wistful delivery combine into something intangible, creating something that pulls and mesmerizes in equal measure. It’s a gorgeous piece of ambient folk, weaving a spell that all but submerges the listener into a separate, empathetic world.
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6. Closet Goth – Touch Myself
Easily the fiercest song in this 10 track list, Closet Goth’s “Touch Myself” makes no bones about being aggressive, exploding out of the gate and building speed as it goes, not content unless everything in its path is completely demolished. References to Silver Jews are nearly buried in the noise-centric production, intentionally drowning out — and simultaneously enhancing — some intense caterwauling. Vicious, ragged, and uncompromising, “Touch Myself” leaves wreckage in its wake as it winds to a fun, unexpected close.
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7. Fenne Lily – Car Park
The second artist on this list to make a consecutive appearance in the monthly “best of” columns, Fenne Lily‘s “Car Park” is another strong example of the breadth of the songwriter’s scope. In slowing down the tempo and widening the lens, Fenne Lily taps into something that skews closer to world-building than atmosphere construction. It’s a beautiful piece of modern Americana that seems to indicate Lily’s bag of tricks might be more expansive than most know.
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8. Annabel Allum – Rascal
“Rascal”, the latest track from Annabel Allum is a perfect example of how a minimal setup can lead to enormous moments. Borrowing cues from slacker punk, folk, Americana, post-rock, and ambient, Annabel Allum wind up with an enticing piece of genre-bending excellence. Impassioned performances at every slot and a meticulously constructed arrangement congeal into one of the more breathtaking moments of 2018’s first quarter.
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9. Say Sue Me – After Falling Asleep
The third and final artist to appear in consecutive monthly Best Of’s Say Sue Me follow their initial outing with yet another strong track from their excellent forthcoming Where We Were Together. “After Falling Asleep”, the band’s newest offering, opens with an almost intensely quiet moment before blooming into a seductive burst of indie pop. Soft edges and a wide-eyed approach has been a pattern that’s served Say Sue Me well in the past and it continues to do so on the lovely “After Falling Asleep”, one of their most irresistible tracks to date.
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10. Bent Denim – Chasing Catherine
Last year, this site had the privilege of premiering Diamond Jubilee, an extraordinary EP from site favorites Bent Denim. Now, the act’s returned with “Chasing Catherine”, another show-stopping bit of softly hued ambient pop that more than justifies its place in their increasingly impressive discography. Bent Denim can conjure up a very specific type of mood better than just about any of their contemporaries and it shows in “Chasing Catherine”, a short slow-burner that immediately invokes the feeling of a calm summer night and keeps that fire flickering until its hushed, tender close.
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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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 AppendixEP). 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.
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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.
Two months and one week into 2018, the year’s already seen a slew of legitimately great songs. Below are 35 that managed to stand just a cut above the bevvy of incoming tracks that populated the most recent post on this site. While a select few picks below have two entries in this list, it’s still a varied list that features a diverse cast of overflowing talent. It should also be noted that a few songs were cut from consideration as the records they belong to will be featured in an upcoming post. At any rate, no matter how the tallies for representation work, this list is a testament to the strength of 2018’s early material. Make sure these aren’t forgotten.
1. Say Sue Me – Old Town
Last year, Say Sue Me put out an intoxicating and winsome record and are already gearing up for the release of a new record. “Old Town”, the strongest single to emerge from the early round of releases for the project’s forthcoming Where We Were Together, acts as a memorable showcase of what made people fall so hard for this band in the first place. Breezy melodies, smart arrangements, and a paradoxical mixture of urgency and relaxation combine once again for one of early 2018’s most charming tracks.
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2. Canshaker Pi – Put A Record Out
“Put A Record Out” bristles and grunts out of the gate and gains a head of steam as things move along, embracing the noise/punk flourishes that have come to define the current era’s iteration of post-punk. It’s Canshaker Pi making a willfully gnarled statement and delivering it with enough force to make sure it leaves a sizable imprint. When it’s done, it’s enough to leave a listener breathless. Keep up or get trampled.
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3. Jay Som – Hot Bread
The rightful owner of this site’s Best Song of 2016 distinction, Jay Som has been not-so-quietly making waves over the last year. Racking up an endless amount of accolades and new listeners, the tireless Melina Duterte has remained on a tear, releasing new music at a startling rate. “Hot Bread”, released as part of a Valentine’s Day playlist for Amazon, ably demonstrates that Jay Som’s scope will continue to grow with the project’s ambitions, leaving us to count ourselves lucky to be witnesses.
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4. (SANDY) Alex G – fay
An enigmatic release from an increasingly subversive artist, “fay” stands as one of the crown jewels of (SANDY) Alex G‘s recent efforts. Posted to the act’s official YouTube account with no type of buildup or press release, the song’s allowed to breathe freely (and gently) on its own terms. Paired with a truly bizarre “about” statement, “fay” acts as a mesmerizing puzzle box full of the kind of sticks-for-weeks hooks that (SANDY) Alex G built a name on, it’s a welcome reminder of a formidable talent.
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5. Big Ups – PPP
Big Ups have staked their claim as one of the most fascinating hardcore-leaning acts in recent memory and snarled at anyone who even tried to touch the flag they planted. To remind everyone of how they earned their place, the band ushered out “PPP” as an advance warning to what’ll surely lie in wait on the band’s forthcoming Two Parts Together. Intricate harmonic work, versatile performances, and unhinged bristling combine for another intense triumph.
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6. illuminati hotties – (You’re Better) Than Ever
“(You’re Better) Than Ever” will act as an introductory piece to illuminati hotties for a great many and it’s hard to imagine too many people walking away from the band’s warm invitation. A sunny melody shot through with basement pop trappings, “(You’re Better) Than Ever” succeeds on every level, from pristine production to bursts of joyous, unbridled energy. It’s a strong starting step for a band that seems determined to take off sprinting.
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7-8. Forth Wanderers – Nevermine + Not For Me
A band on a continuous uptick, Forth Wanderers prove once again why their name carries weight with this two song combo that reasserts their position as one of today’s more tantalizing acts. “Nevermine” and “Not For Me” are both — in what’s become a heartening trend, as it happens with each of their new releases — career high points for the band, who have matured into a confident, focused machine, finding a way to retain an abundance of heart in the process.
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9. Hit Bargain – Capitulate
One of a handful of songs on this list that act as a razor-sharp burst of noise-punk, “Capitulate” finds Hit Bargain intentionally wielding a level of ugliness with unbridled aggression. It’s a furious run through genre touch points that takes on life as it barrels headlong into some unknown destination. The band’s expertise is evident and their execution is flawless, rendering “Capitulate” a potent warning of Hit Bargain’s capabilities.
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10. Kal Marks – Today I Walked Down To The Tree, Read A Book, And When I Was Done I Went Back Inside
A mainstay of this site’s coverage, Kal Marks has continuously expanded their ambition with each successive release and “Today I Walked Down To The Tree…” keeps that trend in place. A winding, four minute slow-burner, the song finds Kal Marks at their most unabashedly pensive. While Kal Marks still finds moments of catharsis in those minutes, the experience as a whole towers above its individual moments; it’s a breathtaking feat from a band always worth hearing.
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11. Stef Chura – Degrees
“Degrees” has been covered more exhaustively than any other individual Stef Chura release thanks to the involvement of Car Seat Headrest‘s Will Toledo. Hopefully Toledo’s high-profile involvement will be more than enough to turn people onto Chura’s excellent early work. At any rate, “Degrees” — a towering piece of incredibly strong Americana-tinged indie rock — does stand as Chura’s boldest effort to date and effectively heightens the anticipation for what the songwriter’s future holds in store.
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12. Juan De Fuca – A Place To Wait
A few seconds is all it takes for Juan De Fuca’s “A Place To Wait” to announce itself with clarity. A post-punk number shot through with nervous jitters, the track seems simplistic at first blush before rewarding a closer look with a tapestry of layers. Delivered with confidence, teeming with feeling, and unafraid to reach for stratospheric heights, “A Place To Wait” became one of 2018’s more pleasant surprises and it’s hard to imagine that status changing.
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13. Haley Hendrickx – Untitled God Song
“Oom Sha La La” was a song that managed to hook a whole lot of people into Haley Hendrickx‘s world but it also set a dangerously high precedent. “Untitled God Song” went a long way in assuaging any lingering doubts. A slow, tender track, “Untitled God Song” finds Hendrickx establishing a voice, marrying empathy with wariness to great effect. Warm tones and an arresting vocal delivery ensure the song a place as a piece of breathtaking artistry.
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14. Superchunk – Erasure
Storied veterans making comebacks that reassert the band’s music as relevant among a new sect of contemporaries isn’t all that common, which is why when it happens it tends to be doubly impressive. That’s exactly the scenario Superchunk has found themselves in since the release of Majesty Shredding and it’s a space they continue to occupy with What A Time To Be Alive, which boasted “Erasure” as a lead-off single. All told: Still energetic, still distinctive, still perfectly Superchunk.
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15-16. Frankie Cosmos – Jesse + Being Alive
Over an endless amount of self-releases and some incredibly smart campaigning, Frankie Cosmos have found themselves in an unlikely position of being revered as a bastion of consistency and as a tantalizing emergent act. Greta Kline’s project has navigated the transition from solo project to full band with no shortage of grace and the band, now more than ever, feels complete. Both “Jesse” and “Being Alive” prove the band’s as adept at invention as reinvention, keeping Frankie Cosmos’ unassuming charm intact all the while.
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17. Kid Dakota – Keep Coming Back
Few records over the first two months of this year have proved to be as inventive as Kid Dakota‘s Denervation, a collection of kaleidoscopic powerpop that’s highlighted by the inspired 7-minute “Keep Coming Back”. Intricate arrangements, a cavalcade of effective hooks, and a casual assurance congeal into something ridiculously captivating. Whether it’s the snaky snyth riff or the stabs of the guitar-led bridge or the extended outro, “Keep Coming Back” makes sure it offers enough to make a strong case to heed the title’s command.
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18. Ed Schrader’s Music Beat – Riddles
Ed Schrader’s Music Beat already boasts a 4+ year history of crafting memorably minimalist post-punk, which made the band’s announcement of a Dan Deacon-produced record as enticing as it was baffling. On Riddles the duo hits new heights by leaping outside of their established narrative to cling onto something unexpected, a move and effect underscored nicely by the record’s piano-driven title track that sees the band falling a lot closer to early Cold Cave than Death From Above 1979.
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19. Pale Kids – St. Theresa
Father/Daughter Records has become a proven entity in securing bands that effectively fuse outsize energy with unapologetic sincerity and Pale Kids are no exception. “St. Theresa” stands as proof of the formula, with the quartet leaning into a 2 minute outburst of hyper-melodic basement pop. Pointed, unrestrained, and fueled by as much snark as conviction, “St. Theresa” is yet another welcome shot of adrenaline from the promising quartet.
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20. Many Rooms – which is to say, everything
The first moment of genuine tranquility on this list belongs to Many Room‘s gorgeous “which is to say, everything”. Pitched at a hush, the song soothes the nerves as it glides along for its four minutes, never rising past a measured whisper. Informed by both a sense of a loss and a sense of curiosity, “which is to say, everything” positions Many Rooms as an act whose name is worth committing to memory.
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21-22. Boys – End of Time + Rabbits
Accentuating dream pop influences in powerpop has served bands like Alvvays incredibly well over the past few years. Boys is another name to add to that list, with the act releasing two beautiful pieces centered around that genre hybrid in “End of Time” and “Rabbits”. “End of Time” showcasing the band’s sense of reservation and “Rabbits” playing to their own curious brand of insistence. Composed and beautifully crafted, they’re worthy additions to any carefree summer night playlist.
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23. Courtney Marie Andrews – May Your Kindness Remain
Far and away the most country-leaning track among these 35 selections, Courtney Marie Andrews proves what the genre can still offer when it extends beyond a set of self-imposed limitations. Bringing strains of gospel influence to the forefront, Andrews manages to craft a heartfelt paean to the virtues of kindness. As the organ swells and the choir provides support, the collaborative balance finds itself intrinsically connected to the song’s central message. When it ends, the song does everything in its power to make sure its message is heard.
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24. Walter Martin – Me & McAlevey
One of the more unexpected delights in recent music has been the quiet emergence of Walter Martin — best known for his organ playing in The Walkmen — as a singular songwriting force. Last year’s My Kinda Music was an extraordinary (and woefully overlooked) presentation of Martin’s abilities and boasted a handful of gems like “Hey Matt“, a song that gets a lovely sequel in “Me & McAlevey”. It’s another piece of affecting folk shot through with a distinctly modern wit.
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25. Liza Anne – Small Talks
In its first minute Liza Anne‘s “Small Talks” manages to be reminiscent of a handful of recent artists and songs, yet it never comes across like an imitation and hits the considerable heights of its predecessors. Exuberant, determined, and delivered with as much urgency as conviction, “Small Talks” manages to sink its hooks in deep. An utterly winsome technicolor burst of warmth and certainty, it’s incredibly endearing- and worth leaving on repeat.
While most people are likely to know Dave Benson from LVL UP, the songwriter’s solo project, Trace Mountains, has been releasing equally rewarding material for years (with a handful of instances of those songs becoming breeding grounds for LVL UP reworkings). On “Cary’s Dream” and “Turn Twice”, Benson manages to look to the forward and reach to the past. “Cary’s Dreams” is a testament to Benson’s vision, offering up a reminder of his considerable gifts while “Turn Twice” — first released in demo form several years ago — proves just how effective the multi-instrumentalist is with a bold brand of reinvention.
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28. Paul De Jong – You Fucken Sucker
Opening with electro glitches and a hypnotic strumming pattern, Paul De Jong‘s “You Fucken Sucker” quickly changes shape as the lyrics kick in as a soothing voice starts reciting the verses to Mary Had A Little Lamb before things change even more drastically. It’s in the reveal of the chorus where the song separates itself and arrives as something intoxicating in its willingness to beguile. A playful piece shot through with dark humor, “You Fucken Sucker” more than proves that Paul De Jong is still fully capable of thriving outside of The Books.
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29. Remember Sports – Up From Below
The return of Remember Sports — formerly just SPORTS — at the onset of 2018 got the year off to a heartening start. “Up From Below” quickly followed that announcement to make it abundantly clear that the band had held onto their sense of tenacity as well as their ability to craft a perfect piece of basement pop. Med-fi, hyper, and ridiculously catchy, “Up From Below” has already set an extremely precedent for what the future might have in store.
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30. Fenne Lily. – On Hold
The opening bars of Fenne Lily.’s mesmerizing “On Hold” should be all it takes to secure just about anyone’s interest. Delivered with arresting tenderness, those first moments are strengthened as the song takes shape, exercising a measure of restraint that doubles as unexpected, incredibly cultivated tension. There are no big moments of catharsis but “On Hold” has different goals in mind; every step of the journey is as important as moments of celebration. Spellbinding from start to close, “On Hold” is a well-earned triumph.
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31. Vundabar – Tonight I’m Wearing Silk
Over the past few months, Vundabar have found the size of their audience rapidly growing and it’s in large part due to the artistic leap the band’s taken with songs like “Tonight I’m Wearing Silk”. Teeming with memorable riffs, unexpected dynamics, and a butcher’s selection of hooks, “Tonight I’m Wearing Silk” almost comes across like a victory lap. Vundabar have found a way to heighten every single one of their innumerable strengths and the results are already paying off. “Tonight I’m Wearing Silk” is a keepsake for everyone fortunate enough to be following along.
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32-33. Bonny Doon – A Lotta Things + I Am Here (I Am Alive)
When Salinas released Bonny Doon‘s sweeping self-titled record last year, it was greeted as the band’s coming out party. A lot of people took notice of the band’s charismatic, including the reliably excellent Woodsist label who quickly found a way to get the band on their roster. With “A Lotta Things” and “I Am Here (I Am Alive)” now both out in the world, it’s plainly evident that Woodsist made another in a history of great decisions, as Bonny Doon have found a way to capitalize on their sprawling punk-informed Americana. Both tracks are new career highs for the band and offer a strong signal that for many, their forthcoming Longwave could just wind up in the discussion for Album of the Year.
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34. Half Waif – Torches
All it took was seeing a recent Half Waifset for the band to significantly elevate their position of interest to this site’s overall coverage. While the band’s older material had been touched upon several times in the past, it’s in their new material where they’ve tapped into something that feels genuinely different. “Torches” is a perfect example of that new space, as it presents the most fully-realized version of the band’s identity to date, opening up their synth-led electro-pop into something a touch more experimental and a degree more forceful. Unapologetic in its stance and fearless in its execution, “Torches” marks an exciting new era for a band worthy of a close watch.
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35. Mount Eerie – Distortion
The recent decision to list Mount Eerie‘s “Real Death” as 2017’s Song of the Year — let alone, covered at all — was a surprisingly difficult one due to its tragic, uncomfortably intimate narrative. How Phil Elverum’s project has sustained multiple tour runs in support of that record is beyond the comprehension of most observers, who have left those shows visibly shaken. Elverum recently rolled out a sequel to that record, which continues to expand on the sudden death of his wife and his trepidation over how to greet single parenthood in the shadow of the other person responsible for his daughter’s very being.
“Distortion”, an 11-minute tour de force, was one of the first looks at Now Only and remains one of its most awkward, gripping moments. From the devastating opening verse to allegories invoking beat poets, every second of “Distortion” is felt in full as Elverum continues to allow us full access into an unimaginable position. By repeatedly tearing open his wounds, Elverum seems to be searching for a means to heal, cautiously allowing listeners to join the grieving, the fears, the concerns, and the memories of a woman who’s come to define a good portion of his own existence. It’s brutally unforgiving but in its own way, it finds a sliver of beauty in the empathy that it presents. In short: it’s unforgettable.
Looking back on 2017 was an exhausting effort that seemed to uncover a surprising truth: a lot of the year’s best records wound up standing out by a fairly wide margin. Not just because of the strength of their singles but because of the herculean overall efforts of the acts responsible for the year’s standout songs. To that end, the considerable overlap between the selections for Song and Album of the Year — by far the most that’s ever occurred in the four years these lists have been running — isn’t too surprising.
After listening to hundreds upon hundreds of records throughout the span of 2017, what was a little surprising turned out to be the endurance levels of the records being considered for this list. Some that seemed like surefire locks in the first few months of their release faded, while a few that lingered on the perimeter seemed to gain strength with each successive revisit. One thing that can be said for all the records included in this list is that they’re forceful works that have already proven to have attained the kind of longevity that will serve them well going forward.
From site favorites to year-end mainstays to new faces, the 17 records below offer up an interesting variety. Mental health, youth, aging, hope, despair, and togetherness are all dissected. Icy post-punk numbers, deeply personal folk, and outbursts of irrepressible energy stand shoulder-to-shoulder here, representing a microcosm of what many rightfully saw as one of the most challenging years in recent memory. Take a look back at these releases and grab hold, they should serve the future well.
Washer – All Aboard
Every release tied to Washer‘s name so far has been worth the listen but the band took a massive step forward in 2017 to release their first truly great record with All Aboard. Over the years, the duo has managed to perfect a very particular strain of post-punk, honing their minimalist setup into a jet-propelled engine. Overflowing with career highs for the band, this 15 track titan of a record proves the project’s range, versatility, and talent. It’s an essential release that managed to stand out among a very crowded field.
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Great Grandpa – Plastic Cough
Great Grandpa‘s first official full-length absolutely explodes from the outset, “Teen Challenge” obliterating any lingering doubts that this band was ready to take on the world. Plastic Cough‘s ensuing nine tracks go on to continuously elevate the bar the band continuously sets for itself, running a stylistic gamut that ranged from hushed and burdened introspection to moments of gnarled violence. It’s an impressive show of force that never runs out of steam.
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Petite League – Rips One Into the Night
Lorenzo Cook, the driving creative force behind Petite League, has been toiling away in relative obscurity for the past few years despite a string of formidable releases. In 2017, Petite League didn’t just make their biggest push into larger recognition, the band also made their best record to date in Rips One Into the Night. Clever lyricism, thoughtful arrangements, mid-fi production, and a charismatic presence elevated the project to a greater level of recognition that was long overdue (and still lacking, all things considered). A seamless mixture of bedroom and basement pop, Rips One Into the Night more than proves Petite League can play with the heavy hitters.
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Cayetana – New Kind of Normal
For decades, mental health was something that artists seemed more inclined to subvert in their art, presenting it in a sly sideways glance rather than opting for something more direct. Over the past few years, that approach has noticeably shifted and brought to light some of the best works since the turn of the century. Cayetana‘s most recent effort — their career highlight New Kind of Normal — can now proudly join their ranks. As complete of a record as anything that’s come out this decade, it’s a harrowing confrontation with limitation, impulse, and the kind of desire usually left to the shadows. It also boasts the best arrangements of the band’s discography. A triumph.
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Young Jesus – Young Jesus
Three full-lengths to their name and Young Jesus still has a perfect record, each three of those wildly different releases landing the continuously-evolving band a spot in the Album of the Year lists. With that kind of pedigree, self-titling a record would seem like a bold gambit to most but Young Jesusseems to suggest that the band’s in full control of its voice, having radically shifted its lineup and moved clear across the country. Poetic, thoughtful, euphoric, and devastating, Young Jesus easily set itself apart in 2017, thanks in no small part to the record’s towering final three songs, which may well have constituted the year’s most ambitious — and memorable — runs of music.
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Deep State – Thought Garden
One of the year’s more overlooked records was also one that proved to have an excess of verve. Bristling with feeling, Deep State‘s Thought Garden was a masterclass in how to effectively translate kinetic energy without losing narrative focus. In lashing back at ennui with a concentrated frustration, Deep Thought created one of 2017’s most unexpectedly fiery releases. Brash and necessary, Thought Garden was — and remains — a record worth remembering, especially in larger conversations.
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Weaves – Wide Open
Following a breakthrough record that catapults you from “best-kept secret” status to critical darlings is never an easy task but it was one Weaves had no trouble side-stepping with the breezy, playful Wide Open. Drawing influence from some of Americana’s high watermarks, the band melded and warped those traits into something tantalizingly singular, marrying those cues with tempos and structures that owe slightly more to the East than the West. Genre-melting and world-conquering, Wide Open more than proved Weaves to be one of the premier bands of the moment.
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Landlines – Landlines
A small, self-released record that more than held its own against records with more fanfare, Landlines‘ self-titled found its plays incrementally increasing after its September debut. Beautifully combining the finest points of post-punk and basement punk into a cohesive whole that owed as much to Pavement as it did to Parquet Courts, Landlinesnever stopped impressing. One of the most exquisitely crafted records on this list, Landlines comes jam-packed with little delights that ensure each song is differentiated from the next but that the record stands as a complete whole. It’s a remarkable work that richly deserves a much, much larger audience.
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Strange Relations – Editorial You
Few things are as thrilling as a band that’s confidently taking the type of measures that will push them to greater heights. Whether that’s expanding their ambition, increasing their levels of fearlessness, openly experimenting with ideas that may seem counter-intuitive, or simply spending more time on their craft, the end product typically winds up being something of note. In the case of Strange Relations‘ Editorial You, which encapsulates each of the tactics listed above, it’s also wildly successful. Editorial You is unmistakably the sound of a promising act finding their voice and confidently surging forward, fully equipped and ready for whatever might lie in wait
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Fred Thomas – Changer
The clarity of voice on Fred Thomas‘ Changeris legitimately astounding. Thomas being one of this generation’s best lyricists hasn’t really been that much of a secret for a while but Changer takes those writing gifts to stratospheric highs with meditations on isolation, aging, individuality, and trying to feel alive. Changer doesn’t just survive on cleverness or memorable turns of phrase though, elevating itself through instrumental composition, demonstrating Thomas’ expanding palette in breathtaking fashion. Far and away the songwriter’s most direct work, Changer also stands proudly as an exhilarating career high. Not just the record that boasted 2017’s best book of lyrics but easily one of the year’s finest all-around efforts as well.
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Big Thief – Capacity
One of 2016’s most promising breakout acts didn’t take long to issue a follow-up strong enough to eliminate any lingering doubt over their considerable talent. Big Thief‘s Masterpiecewas touted by many at the end of 2016 as one of the year’s best, even more publications followed suit with Capacityin 2017. Retaining the grand sweep of their breakout work, Big Thief got a little more exacting with Capacity. Deeply informed by tragedy and difficult circumstance, Capacity plays like more of a rallying cry than a death rattle, the band finding the heart and humanity in every broken shard of their past and clinging to it in the present as a means of knowing there will be hope for the future.
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Cloud Nothings – Life Without Sound
Like Young Jesus, Cloud Nothings have registered a placement on the Album of the Year lists with each of their last three full-lengths. Ever since reforming as a full band, Cloud Nothings have been on an absolute tear, pushing their own limitations at every step (having slightly different lineups for each record likely necessitated a certain level of adaptation). Life Without Sound, however, is the first record the band’s made where it feels like they’re drawing from their past for inspiration. Typically, that glance backwards indicates a band running out of ideas but Life Without Sound is subversive and unpredictable enough to suggest that couldn’t be further from the truth for Cloud Nothings. This is a monstrous, career-encapsulating effort from a band that will always refuse to go quietly.
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Tica Douglas – Our Lady Star of the Sea, Help and Protect Us
Over the past several years, Tica Douglas has quietly become one of our best songwriters. Joeywent a long way in earning Douglas a reputation as a songwriter worth watching and Our Lady Star of the Sea, Help and Protect Us should further strengthen that argument. It’s a gorgeous record full of unsparing self-examinations and hard-won moments of hope and contentment. Each song taken as an individual piece is riveting but packaged together as a whole, the effect toes the line of being overwhelming. A complete listen is an immersive experience, with all of the scars and all of the healing being felt at every step. When all is said and done, Our Lady Star of the Sea, Help and Protect Us stands as a proud testament to both Douglas’ singular vision and resilient character.
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Cende – #1 Hit Single
A band that was gone far too soon at least stayed long enough to gift the rest of us with their only proper full-length, #1 Hit Single. Cende — which boasted members of LVL UP and Porches — has been playing most of these songs out for years before this release and found exhilarating ways to do them justice. Whether it was through string arrangements, guest vocalists, or the production sheen, everything clicked and #1 Hit Single became one of the most winsome basement pop records of this decade in the process. Whip-smart composition, note-perfect execution, and attitude to spare ensured that Cende had enough through one EP and one full-length to leave a legacy that mattered.
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Palehound – A Place I’ll Always Go
One of a handful of artists on this list whose releases have gotten incrementally more impressive with each successive release, it’s hard to imagine how Palehound will top what they’ve achieved with A Place I’ll Always Go. Bandleader Ellen Kempner is in fine form throughout the record, delivering career highs across the board when each compositions is broken down (lyrics, guitar riffs, etc.). A Place I’ll Always Go is also massively successful in terms of pace and tonality, helping the record secure a position as the band’s most fully-formed and complete work. As enthralling as it is captivating, A Place I’ll Always Go solidifies and reaffirms Palehound status as an act worthy of our full attention.
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Mo Troper – Exposure & Response
One of last year’s Album of the Year selections, Mo Troper returned this year with the startlingly bold Exposure & Response, that sees the songwriter taking enormous strides forward. From the opening cascade of Beach Boys-esque overlapping vocals on both “Rock and Roll Will Change the World” and “Wedding” to the unexpected grandeur of album highlight “Your Brand” to just about every other surprising minuscule detail on Exposure & Response, Troper finds ways to not just surprise but engage.
Everything that made Beloved seem as if it was destined to earn a rabid cult following and be hailed as a lost genre classic is still intact while other facets of Troper’s formidable songwriting talent has been expanded. Exposure & Response resides comfortably at the intersection of classical maneuvering and modernist delivery as Troper anchors the proceedings with trademark bursts of self-deprecating self-awareness. It’s a landmark record from a burgeoning talent that begs to be left on repeat. Somehow, it gets better every time.
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Album of the Year:
Charly Bliss – Guppy
A record that’d been lingering in purgatory for nearly three years finally saw the light of day in 2017 as Charly Bliss set out to light the world on fire. Guppy, at every stage of its development, has always been a knockout record. In its first iteration, it was a growling monster full of low-end bite and emphatic force. The band stripped it back a little, polishing the edges and swapping out a few songs to present something more refined while still retaining a certain edge.
The record’s immediate success came as a surprise to virtually no one that had been paying a lick of attention to the band over the past several years. Touring with high-profile bands — whether they were storied bands with rabid fanbases or exciting upstarts — ensured their range of listeners would be wide. Every step the band’s taken over the past 5 years has been savvy, something that was already evidenced with what remains this decade’s best EP, 2014’s Soft Serve.
Still, making smart business decisions can’t generate any sort of impression if the product is subpar. Fortunately, for everyone, Charly Bliss’ insane musical pedigree (all four members have degrees in musical fields) essentially ensures that they’ll be operating at an extraordinarily high level when it comes to actually writing songs. Guppy provides an excess of proof that Charly Bliss — in addition to being masterful at their craft — have held onto an internal fire that’s fueled their music since their modest beginning.
“Percolator” kicks Guppy off with an insane surge of adrenaline, taking the band from 0 to 200 in one quick crescendo, leaving everyone else to catch up to the trail of dust the band leaves in its wake. Memorable song to memorable song, the quartet rips through their winsome brand of bubblegrunge with aplomb. Mixing twee asides with moments of vicious reality, the band creates a 10 course feast that somehow manages to feel both of the moment and timeless all at once.
A record that brings self-loathing, friendship, earnest sincerity, self-empowerment, and the way they all manage to connect into startling focus, Guppy is as much of a success as a narrative as it is in the instrumental arrangement department. The record’s ridiculously powerful — and surprisingly heavy — “Julia” even sees the band flexing its range, proving that they’ve got quite a bit more up their sleeves.
When all the smoke’s cleared and Guppy has disappeared into the ether, the impression it left in the moment never fades and keeps pushing for rediscovery. It’s a record full of hooks that dig in and stay. It’s a record that’s as willing to open scabs as it is to mend wounds. It’s a record that knows how to have several cakes and eat every last one. Finally, it’s a record that stands out as an easy pick for 2017’s Album of the Year.
Heartbreaking Bravery 