Now we come to my annual playlist that caps off my list. I find it way to difficult to do a ranking of songs, so this is my way to capture the tracks that defined the year. As always, I try to make a playlist that fits on a standard CD-R, to kind of limit myself. Keep in mind these aren’t necessarily my favorite songs of the year, but rather a mix that I think is a good look at what 2015 had to offer. Also, the order is based on how the songs show up on their respective albums, and is in no way a ranking.
This year’s mix consists of 19 songs, down one track from year’s past. Seven of the songs come from albums in my top 10, with five songs from albums in my 11-25 range, leaving the remaining seven from those outside my top 25. The lowest ranked album to have a song featured is Pagans in Vegas from Metric, whose new synth pop direction didn’t always work rendering it 64th in my rankings, but it did give us one of the year’s best pop songs.
Below, you’ll see the tracklist as well as the Spotify playlist (RIP Rdio). Also, Amazon has discontinued their Listmania service, which is dumb, but if you want to see my entire Top 25 in simple list form, I’ve got it here on the list app. And finally, this is the 8th straight year Amy Runner has provided the album art for the mix. She’s basically the only person who gets even a hint of how my list is shaping up, so you should be extremely jealous.
2016 has a tough act to follow, but some recent developments (LCD Soundsystem!Radiohead, maybe!) have me more excited than I was just a week ago.
You’d expect some rust after a 10-year layoff, but there’s none to speak of on No Cities To Love, the first release since 2005’s The Woods from Washington girl rockers Sleater-Kinney. Everything about No Cities sounds just as vital as the seven albums that preceded it, and the ability of Tucker, Brownstein, and Weiss to be able to churn out hooks of this caliber with this much urgency is staggering, and perhaps while it shouldn’t be, it’s a surprising comeback that further cements Sleater-Kinney as one of the most influential rock bands of the last two decades.
When I saw Hop Along open for The War On Drugs back in March, there is absolutely no way I would’ve expected the Philadelphia rock band to find its way anywhere near my top 10. Of course, this is largely due to me missing part of their set, and not really paying attention to what I did get to hear, but I also just couldn’t get into lead singer Frances Quinlan’s vocals which seemed to want to sing for a different band. However after hearing more and more about the band’s third album Painted Shut, I decided a second chance was in order, and well, it all just clicked, especially Quinlan’s beaten-down yet passionate vocals. This is a fantastic rock record full of great musicianship, but it’s in Quinlan where this band finds its soul.
The year’s best hip-hop album comes from Kendrick Lamar which should come as no surprise considering his previous album is one of the best hip-hop albums since, I dunno, ever. His highly anticipated follow up is an absolute juggernaut of an album clocking in at just under 80 minutes, featuring intelligent social commentary and an artist completely embracing his role as an Important with a capital I voice of his generation.
Anyone who is familiar with the work of The xx knows the album art for their two albums simply features a large X overlaid on a black or white background which to me has always signified the minimalistic tone that’s defined their work. On In Colour, Jamie Smith’s first proper solo album, the producer’s album art features what seems to be a random sliver of white in the lower left corner which sure looks like it could be part of a larger X. With these chilled-out club jams, the foundation of what makes The xx remains, but exploding from behind are starbursts of tightly produced lush soundscapes establishing Smith as a phenom in the electronic music scene.
Coming off the brilliant, but divisive among metalheads, Sunbather, Deafheaven was going to be under the microscope for their follow up to either fall back into the metalhead’s clutches or continue to push the boundaries of what black metal could be, and with New Bermuda they do…both! The metal is more metal–double bass pedals! Darker riffs!–but the post-rock breakdowns, and shifts in style still remain in these 5 thrilling tracks and even manage to expand on their sound in pretty impressive ways–90’s indie rock! Prog-rock intros! Oasis! All of this could serve to further alienate their detractors, but it should be lauded for not pandering to the metal community and continuing to experiment and transcend a genre.
In this immensely personal and earnest album, Sufjan Stevens returns to his folk roots with 11 devastating tracks inspired by death of his estranged mother. I said of Age of Adz–which I loved–that it was the type of album Stevens always wanted to make but just didn’t know how. With Carrie & Lowell, Stevens returns to his bread and butter with stunning results, showing this is the type of album he should be making.
What happens when someone with a cynical viewpoint on love happens to fall in love? That’s the question Josh Tillman tries to answer on his masterful second album as Father John Misty. It’s an album steeped in irony and sarcasm as Tillman wrestles with this idea of love and marriage in satirical ways that only he and his Father John Misty persona can deliver. I Love You, Honeybear stands on its own musically, as these are gorgeously rich and melodic folk songs, but after delving into the lyrics and the paradox within, it becomes something else entirely, a fascinating look at a tender but messy subject through the mind of someone as confused as any of us.
Eschewing the psychedelic guitar drenched rock of Innerspeaker and Lonerism for synth-pop that could have easily found its way onto Random Access Memories, Kevin Parker has fully formed Tame Impala into his production vehicle, and what results is an album of mesmerizing pop gems. Now, some of the psychedelic elements do remain on Currents, as does that alienating yet somehow inviting atmosphere the Australian is known for, but it’s hard to deny that Parker has created an expertly crafted record unlike anything he’s done before with some of the strongest songs in his catalog.
I’m a music first kind of guy – meaning the first thing that appeals to me upon listening to a song is the music, and lyrics come later, if at all. Rarely do bad lyrics ruin a perfectly enjoyable song for me, but upon repeated listens I do find good lyrics can elevate a mediocre song to something more. But when top notch music is paired with exceptional lyrics, you truly get something special and such is the case with Sometimes I Sit and Think, and Sometimes I Just Sit, the year’s best debut album. Courtney Barnett’s mundane and witty lyrics first gained attention on her excellent EPs (repackaged as A Sea Of Split Peas Double EP in 2013), where her rambling deadpan style took what could be considered slacker rock to much greater heights.
There really is no finer lyricist working today, which yes, is quite a claim to lay on the 28 year old Australian singer/songwriter, but Barnett is able to write subtly clever lyrics that are also relatable and poignant helping to transcend relatively banal topics into something profound. But all of this shouldn’t overshadow the fact that Barnett can write some killer rock songs and play a mean guitar at that. The songs are straightforward, with no pretentions in sight, and just plain fun, making this an accessible collection of substantial hook-laden rock songs from the year’s best new artist.
As Claire Boucher closes out Art Angels, her magnificent fourth album as Grimes, she states “I’ll never be your dream girl”, a statement that seems to be a direct shot at a pop music industry with pre-conceived notions of what it takes to be a female pop star, while also blasting her critics and fans with whom she’s had a contentious relationship with in the years since releasing her breakout album Visions in 2012. Boucher has always marched to the beat of her own drummer, pushing the boundaries of pop music conventions with her experimental DIY vision, while simultaneously claiming Mariah Carey as her favorite musician. So when she announced she signed to Jay Z’s Roc Nation, and shortly thereafter released the EDM influenced “Go” (a song she wrote for Rihanna, who turned it down) while working on a new album, the reaction was polarizing among diehard fans who felt betrayed. The album was scrapped (though Boucher claims it had nothing to do with the negative reaction), and then the waiting began with Boucher appearing periodically to tease the new album with weird little details. The new album became almost mythical and was my most anticipated release of 2015, one that could’ve been a disaster as easily as a triumph. Fortunately, with Art Angels the latter prevailed, as Grimes has released the best album of 2015, a blown out pop record, but pop music on her terms.
Rarely does an album have my three favorite songs of the year, but that is perhaps the case with Art Angels. Lead single “Flesh Without Blood” was the first introduction as to what to expect on Art Angels, complete with a guitar riff that could be found on A Perfect Circle record, and glossy production with scathing kiss-off lyrics masquerading as a break up song (Grimes is done with love songs) which make it my song of the year. Then there’s “REALiTi”, the lone track from her aforementioned scrapped album, a song released early in the year in demo form which was so well received that Grimes decided to include it here even though she says she doesn’t even like it (you can tell her reluctance based on the fact it’s left off the vinyl release). The more polished version is included here, and while the demo may still be preferable among fans, it’s hard to deny that the reworked song fits better with this set of songs. But no discussion of Art Angels can be had without mention of the exhilarating “Kill V. Maim”, which has to be the pinnacle of Grimes the producer to this point. Anyone who has followed Grimes can attest to how thrilling it is to see her evolve into an artist who can create a song of this caliber. It’s an absolute club jam with elements of k-pop where one second Grimes’ cheerleader-like vocals are chanting out “B-E-H-A-V-E Aggressive!” only to be shortly followed by her carnal shrieking of “Waaarrrr!” That’s the kind of juxtaposition which has always defined Grimes; sweetness with an underlying aggression. It’s astounding.
But the true accomplishment of Art Angels all comes back to what sets it apart in the pop landscape; an album with Top 40 ambitions but still weird and inventive and exuding an idea of pop music that’s undeniably from the mind of Boucher. Art Angels is 100% Grimes and not just because she wrote/produced/performed every aspect of the album (she taught herself violin, drums, guitar, keys and ukulele for this release). In this age of female pop music reemerging as a viablemusicartform, poptimists finally have their landmark album to which they can stake their claim as something authentic, undeserving of the critical dismissal most pop receives. In her delightfully awkward interview with Nardwuar (which, by the way, get better Nard!), Boucher responds to the question of why people should care about Grimes by genuinely saying “because it’s the future of music.” How right she was.
#10) Passion Pit – Gossamer [Columbia; released 7/24/2012]
“I won’t let you go unless I’ll be alright.”
“I’ll Be Alright”
What sets Passion Pit apart from their electro-pop peers is their ability to create seemingly superficial songs that when unpacked reveal so much more about its authors. This is no more evident than on Gossamer, the Massachusetts band’s sophomore album, which is chock full of songs that can be easily enjoyed on the surface, but when delved deeper into become the revelations of a man battling his own personal demons. Once you get past opener “Take A Walk” which is a pretty straightforward radio pop song with some pretty weak lyrics, the journey inside lead singer Michael Angelakos’s mind begins and the true soul of Gossamer comes to the forefront. Angelakos is currently battling a severe bipolar disorder, something he has been struggling with since the age of 18, and his interview with Pitchfork is an eye opening look into his depression which puts this album in a new light. It’s a wonder Gossamer was even made at all, but when listened to in the context of what a painstaking process it must’ve been, we can enjoy this album (and band) for the elegance of its voice and not just music.
[“I’ll Be Alright” – Gossamer]
#9) Dirty Projectors – Swing Lo Magellan[Domino; released 7/10/2012]
“I haven’t found it, but I will keep dancing until I do.”
“Dance For You”
Here’s a fun fact: Ferdinand Magellan himself never actually circumnavigated the Earth, yet he is still given credit for being the first to accomplish the feat. (His expedition made it, but he was killed prior to making it back to Spain.) It’s still an important moment in our world’s history and one that deserves accolades, but also something that we can only fully appreciate once we dig deeper into finding the whole story. With Swing Lo Magellan, Dave Longstreth’s brand of avant-garde rock is getting credit for being his most accessible album to date, which is probably true, but I’m here to tell you, this is still a very complex and weird album, one that doesn’t require deeper listening to enjoy, but can be appreciated all the more when doing so.
[“Gun Has No Trigger” – Swing Lo Magellan]
#8) Tame Impala – Lonerism [Modular; released 10/9/2012]
“I just don’t know where the hell I belong.”
“Mind Mischief”
You know Australia, all tucked away down there? That’s where Tame Impala, the psych-rock project of Kevin Parker, calls home – Perth, more specifically. And judging by the themes of loneliness seen throughout his fantastic sophomore release, the aptly titled Lonerism, Australia’s isolation to the rest of the world is wearing a bit on Parker as his introspective thoughts serve as a perfect backdrop to an album that so perfectly captures a sense of alienation and what it really entails. Appropriately enough, Lonerism is a headphones album, one to be enjoyed in the joy of your own solitude and not really in the car with windows down and hair blowing in the wind. However, this is still an accessible album, full of rich melodies channeling 70’s pop with too many influences to name, best exemplified in “Feels Like We Only Go Backwards” and “Elephant”. Whereas a song like “Mind Mischief” creates an almost atmospheric listen thanks to the hypnotic grooves that close out the track. Introversion has never been more mesmerizing.
[“Feels Like We Only Go Backwards” – Lonerism]
#7) The Men – Open Your Heart [Sacred Bones; released 3/6/2012]
“I wanna see you write a love song. I wanna see you going down. I wanna see you when you try so hard. I wanna see you when you turn it around.”
“Turn It Around”
The Men are a quartet out of Brooklyn, which is part of what makes Open Your Heart so refreshing, because it absolutely rocks – a quality that’s been missing from the Brooklyn music scene, which churns out band after band of innovative indie-rock groups. These songs are loud, heavy, full of hooks, and completely lacking pretention, something that can’t be said of many of The Men’s Brooklyn counterparts. In a year where I found myself bored by much of the same, Open Your Heart was an album necessary to reinvigorate a genre in need of a jolt.
[“Open Your Heart” – Open Your Heart]
#6) Kendrick Lamar – good kid, m.A.A.d. city [Aftermath; released 10/22/2012]
“I am a sinner who’s probably gonna sin again.”
“Bitch, Don’t Kill My Vibe”
This is the highest I’ve ever had a rap album place on my albums of the year list, which should give you an idea of the quality of good kid, m.A.A.d. city, Kendrick Lamar’s sophomore album and major label debut on Dr Dre’s Aftermath Entertainment. Lamar subtitled this album “A Short Film By Kendrick Lamar” and it’s in that narrative where it really gains its power, not just the subtle, down-tempo beats and restrained production. This is a semi-autobiographical story of Lamar’s upbringing in Compton, CA and it offers a fascinating look at how family, religion, gangs, drugs, and even hip-hop can all tug a kid in different directions growing up in the streets. This album is a tour de force in creating a concept album and having it remain grounded in its own reality. It’s an album best appreciated as a true album, as the songs lose some of their power when not listened within the context of the story Lamar is developing. Case in point is “Backseat Freestyle” which taken on its own falls into the typical hip-hop tropes of money, power and misogyny, but in the context of the narrative, it becomes a satirical look at hip-hop and the dreams it promises young kids hoping to break into the industry. Kendrick Lamar has created as remarkable of an achievement I can ever recall hearing out of a concept album and one whose significance in the rap community really shouldn’t be understated, ya bish?
Posted by Hawkins 
A Round of Sound 