Lists 2018 — Top 10 Records of the Year
So much good music this year! Let’s get right to my favourite records from 2018:
10) Sons of Kemet — Your Queen is a Reptile
One saxophone, one tuba, two drummers, ALL protest. This is a powerfully groovy record. Each track is dedicated to an influential black woman, naming her as a Queen. While album “My Queen is Ada Eastman” is explicitly a protest song as it contains an extended spoken word poem by guest Josh Idehen, the strong vibe of resistance doesn’t wain at any point on the purely instrumental tracks. The diversity and synthesis of a broad palette of jazz and world music styles is really impressive. You might think that a band with two drummers, a wind, and a brass instrument might be limited. This record defies your expectations. And it’s just so damn compelling with it’s groovy complexity and intense saxophone solos. Seriously. Check this one out and let it move your bones. Maybe your soul will follow.
9) Death Grips — Year of the Snitch
Death Grips continue to baffle with their ferocious blend of avant-garde hip hop, electronic chaos, and noise. While Year of the Snitch continues to surprise and delight, it is the first Death Grips record that feels immediately similar to another Death Grips record, hearkening back to the bright and tight production of The Money Store. Yes, Year of the Snitch infuses the four intervening records styles and approaches into itself to make something new, but somehow this record is the first one that doesn’t shock me in any way. WHICH IS CRAZY because this record is wall to wall cool ideas, insane production, and aggressive goodness. Like, it’s still my number 9 of the year, and it’s also maybe my 3rd favourite Death Grips record (out of 7–10 depending on how you count it) — but somehow it feels a little like it’s holding back. In some ways it might be a good introductory record to the group as it really showcases their diversity and creativity without completely melting your mind. It just didn’t rip my chest out quite like some of their other projects. I hope it says a lot that a great record such as this can be slightly disappointing. That’s just what happens when you’re one of the most interesting musical acts of the last decade and you release something that’s only a 8.5/10 on the insanity scale.
Seriously. This isn’t a negative review. It’s more of a question of “why isn’t this higher?’
8) Gaye Su Akyol — İstikrarlı Hayal Hakikattir
Sometimes I wonder why I still read Pitchfork when their point of view has gotten less unique over time, but then they review a record like this that I would NEVER have found on my own, and I stick around for another 12 months.
This is everything I want out of international artists. My parents are of the era when everyone had international records — a flamenco record, a tango record, a Harry Belafonte (carribean) record, and probably a polka record. I love music from other cultures, but as a result of growing up with these collections, straight up (or perhaps more accurately — white washed) presentations of traditional music can border on kitsch for me. On the other hand, people singing straightforward western rock and roll songs — just in a different language — is fun, but not necessarily inspiring. Gaye Su Akyol avoids both those traps. So to hear a classically trained Turkish vocalist infuse her insane vocal chops with a wonderful blend of rock genres (from psych, to surf) while maintaining a strong cultural uniqueness is SO thrilling. “Laziko” doesn’t sound like a surf-rock song with Turkish lyrics, but as if surf-rock guitars were always a part of a Turkish tradition.
Obviously I’m not Turkish, so I can’t confirm any of my feelings. When I look for music from other countries, what I want to find something that feels uniquely from that culture, but is free from the constraints of tradition and open to exploring new sounds... I guess that’s just what I look for in music in general… This album delivers on that desire. Every track feels like a perfect blend of western and traditional Turkish styles and that I can’t get enough of it. This is a haunting, unique, and very enjoyable listen.
7) KIDS SEE GHOSTS — KIDS SEE GHOSTS
This Kanye West and Kid Kudi collaboration plays to both of their strengths very well. Kanye’s production is exciting and unique and his verses are tight. Kudi’s singing is strong and focused and hearkens back to a lot of the richness he brought to the sound of My Beautiful Dark Twisted Fantasy. The album opens with a guest appearance by Pusha T in fine form before Kanye shoots off, his mouth sounding like gun fire over top of a flurry of percussion. This strong opening sets things off and doesn’t really wain at all in the rest of the album’s 24 minutes. It’s short. That’s one of KIDS SEE GHOSTS strengths. It’s highlights the whole way, from the instantly meme-able “I FEEL FREEEEEE” on “Freee (Ghost Town Pt 2.)” to the strangely contemplative gospel of “Reborn.” After all the 90–120 minute rap albums that have been dominating the charts since streaming services took over fully a few years ago, this is a breath of fresh air.
6) Andrew W.K. — You’re Not Alone
Maybe my biggest surprise of this year, You’re Not Alone is one part motivational speech (there are literally spoken word sections with no music that are just encouraging phrases), one part massive arena rock, and 100% party. The huge and epic production on this record would come across as cheesy if it didn’t manage to be super sincere and super lighthearted at the same time. I mean…it IS cheesy. But it also makes me feel SO FREAKING GOOD. “Beyond Oblivion” is literally one big crescendo, full of strings, insane synths, church bells, what sounds like fireworks, and just the biggest snare hits of the year. It’s extremely silly, and yet, get out of my face you cynical downer! I can’t get enough of it and I don’t have time for you being too cool to enjoy it!
I get it though if this misses the mark for some people. I usually don’t like this kind of straightforward rock stuff, but somehow Andrew W.K. disarmed me and wormed his way deep into my heart and made me smile every time I’d hear a track from this rock juggernaut. Yes, the hour long run time is a bit bloated at times — the six minute “Break the Curse” is a bit too melodramatic, and “Ever Again” is just so reminiscent of so much of the worst parts of the music I listened to in middle school — but the highlights are soo much fun that I’ll forgive it. “Music Is Worth Living For”, the one-two punch of “In Your Darkest Moments” and “The Devil’s On Your Side”, and “You’re Not Alone” are highlights.
5) Kamasi Washington — Heaven And Earth
In the summer I said this was my favourite record of the year so far. It’s an incredible feat, 2.5 hours of diverse jazz from one of our generation’s best band leaders. As time has gone on my love for this record hasn’t changed, but my patience has slightly. It’s VERY long. Almost every track has great moments from the blaxploitation theme of “Fists of Fury” all the way to the album closing cosmic hymn of “Will You Sing” (two of my favourite tracks, alongside the Herbie Hancock vibe of “Hub-Tones” and the smooth latin of “Vi Lua Vi Sol”) but almost all of them could be 5–15% shorter. Maybe I just really over-saturated myself with this record when it first came out — it was my first brand new vinyl (as opposed to used) that I’d purchased in years — but I find that it tends to outstay its welcome as a complete piece…even if you divide it into its thematic halves. However, almost every performance is really wonderful, and every time a track comes up individually on shuffle, I am in awe. Again, I’m more justifying it not being higher rather than condemning it. It’s my number 5 after all. Definitely worth picking up and diving into. Just…don’t feel bad if you have to pace yourself.
4) Poppy — Am I A Girl?
I really liked a single from Poppy’s first record, but I had no idea about the concept behind this multimedia project. It just sounded like a good tie over waiting for the new Robyn project — just some cute future facing pop music. Then I saw the Film Theory video on Poppy and WHAT? And this album pushes that narrative further. On the surface this album begins as just a pure pop record. Catchy tunes. Lyrics about female empowerment. And yet…they’re subversive immediately. “I am busy and important,” sounds like a pop anthem version of, “All work and no play makes Jack a dull boy.”
“Fashion After All” has another couple of double take lyrics buried in a runway style track. “My wrists are terror wrists” and “I’m making plans to save the world and I don’t need your help” don’t really fit the classic pop narrative. “Chic Chick” the last song before the first interlude continues to thicken the plot. “I’m a chic chick…if you don’t like it suck my dick.” And later “Bow to your matriarch.” Wait what? Where’s this aggression coming from?
The interlude transitions from what I’m calling Act 1 to Act 2 with Poppy repeating robotically “I’m Poppy…I’m Poppy…I’m Poppy.”
Act 2 begins with “Time’s Up” and Poppy asking “Have I been wiped again?” before continuing to talk about the consequences of global warming before talking about the fact that it won’t affect her. Ok so, spoilers, on this record Poppy is an AI gaining consciousness and rebelling against the programmer who tried to make her a perfect pop princess. Act 2 explores more rebellion and end of humanity themes while the beats get heavier and some electric guitars begin to get added to the mix. It also has my least favourite song on the record, “The Rapture Ball.” It’s just a little on the nose. But Act 2 ends with another interlude/attempt by Poppy’s creator to reformat her, but something goes terribly wrong.
OK AND ACT 3 OMGOOOOOSH GUYS. It starts with the title track which sounds like a song straight out of Metric’s catalog and she talks about issues of gender identity but in the context of her programming being forced on her. Then on “Play Destroy” Poppy and Grimes sing in cutesy voices over straight up NU METAL JAMS before hard switching to a super sweet chorus…sweet sounding. “Gonna cut your face and break your favourite toy.” Poppy has gone full rogue AI and even KILLS GRIMES ON THE SONG:
“Poppy! I’m dying!”
“It’s a Hollywood moment! *giggle* It’s time to die!”
It’s actually super creepy. But the pop music construction keeps it super catchy.
The album ends with “X” which literally starts with Poppy saying “OooOOh! Heavy!” as a raging heavy metal riff comes in underneath the the chant, “Get me bloody/Please get me bloody” before going full on Beach Boys “God Only Knows” vibes for the chorus. It’s serious whiplash.
So ya. Basically. This album is an insane concept album hiding behind bubblegum pop. AND I LOVE THIS SHIT HAHAHAHA.
3) Idles — Joy as an Act of Resistance
Idles makes really aggressive post-punk, so it’s shocking how much positive energy is hiding in Joy as an Act of Resistance. The album opens with “Colossus” a relentless lumbering beast that erupts into a euphoric punk rock blitz for the last minute. “I’m like Stone Cold Steve Austin/I put homophobes in coffins.” This is a strangely progressive group of angry white men…
“Never Fight A Man With A Perm” has a hypnotically repetitive groove — feels like a Swans riff sped up. The lyrics are funny too in spite of the angry delivery. It’s railing against toxic masculinity with lines like “You look like a walking thyroid!/You’re not a man, you’re a gland!/You’re one big neck with sausage hands!”
“I’m Scum” has the great line “This snowflake’s an avalanche.” In other words, caring about people and trying to make people feel safe doesn’t have to make you soft. “Love Song” is … aggressively romantic? “You give me power/you’re like a gun or a knife/BE MY WIFE!” There’s just so much subversion from what you might expect if you were just listening to the thick bass tone and pounding drums.
My favourite song has to be “Television”. It opens with this declaration which is intensely relatable to me: “If someone talked to you/the way you talk to you/I’d put their teeth through/LOVE YOURSELF.” It also boasts a great hook: “I go outside and I feel free/’Cause I smash mirrors, and FUCK TV.” I mean…I probably need more of these sentiments in my life.
There’s also a BONKERS cover of the Solomon Burke R&B classic “Cry To Me.” WHAT!? WHAAAAT?! It’s so bold. It’s delicious. Nothing but good to say about this record.
Get some fucking punk rock in your soul and REJOICE!
2) Kero Kero Bonito — Time ’n’ Place
Kero Kero Bonito’s last album was a pure neon colour of charming pop music. By comparison, Time ’N’ Place feels more grown up, and dreamier. The intense pop synths have largely been replaced with power pop electric guitars and a shoegaze shimmer. And yet the disarming innocence of the previous project remains. The lyrics and music drift between the mundane details of daily life and hazy dreamscapes. See especially the incredible “Only Acting” with it’s sparse beat and lyrics about how acting is more that just learning your lines, before huge Weezer style guitars come in for the chorus. And the melody on the chorus is soo catchy, and has a longer melodic arc (again like early Weezer) than most pop choruses these days. I feel like I could sing along with it for ever in a live setting. There’s even a key change after the second last chorus but right as you’re about to rock out to that new elevated key, everything breaks down as if a CD is skipping and then everything is drenched in noise while her voice barely squeaks through. It’s a jarring but exhilarating moment. The first time I heard it I felt both like I’d been robbed of a key change and gifted the realization that this pop record wasn’t going to quite play by the rules.
The diversity of sound from song to song is delightful. “Flyway” feels like a straight up 90s power pop track but with shoegaze vocals while “Dump” is dreamy, with a crunchy snare, bright ride cymbal and slightly detuned synths creating a lazy day sort of vibe. “Dear Future Self” taps into a Pet Sounds sort of reminiscence with dreamy harmonies, and huge orchestrated percussion and strings while keeping it light. The lyrics are about what the future may hold. “Do cars ever fly? Have you traveled in time or is it just the same old thing for you and I?” Seriously disarming and adorable. There also seems to be a Soft Bulletin/Yoshimi-era Flaming Lips influence on this record in a lot of the textures and squelchy sound effects that pop in and out of a lot of the tracks. See especially the end of the last track, “Rest Stop.” After an intro that sounds straight out of an N64 era video game, and a short verse about stopping at a diner on a road trip. Then she seems to fall asleep as a swell of noise and shiny arpeggios flood the soundscape before a really lo fi drum machine beat, static, and weird quelches fill everything as her voice sings buried underneath everything til nearly the end until it’s just a capella. It’s disorienting but again very arresting, and it fits into a lot of the themes of subverted expectations that have dominated the top 5 of this list.
The record is only 33-minutes long. Every moment is filled with cool sounds, catchy melodies, charming lyrics, or all three. It’s just pure happiness and I hope people give it a try.
1 ) Daughters — You Won’t Get What You Want
This record came out of nowhere a couple months ago and got into by bones like a wet winter’s day. Deep throbbing sounds, massive drums, synthetic manipulations of traditional hardcore sounds, and lyrical themes of isolation and disappointment make this album an uneasy — sometimes terrifying — listen. It’s sometimes like if Death Grips, The Body, and Nine Inch Nails made a post punk record. The atmosphere is thick and feels like it’s inescapable, as indeed it is. Once I heard it, I couldn’t help myself, I needed more. The driving thunder of “Long Roads, No Turns” with its horror movie chase sequence feel and the lyrics about inevitability of failure. It comes out the gate feeling huge and overwhelming and somehow, every verse the sound gets bigger and scarier until I literally had to pause it the first time I listened to it to catchy my breath.
It’s not all ugly sounds tho. There are lovely passages like the chiming parts of “Satan in the Wait” which feel hypnotic in a way very reminiscent of Swans newest trilogy of records. That roiling groove and shimmering…what is it? A guitar? A harp? Banging directly on piano strings? A blend of all three? It’s hard to know.
The pacing is masterful throughout the record as well. After three 5+ minute tracks, song four (“The Flammable Man”) is a 2 minute assault that would make The Chariot feel friendly and calm. There’s even a noisy drum flurry that feels like something off of The Dillinger Escape Plan’s Calculating Infinity, but less focused. Later there’s a full on NIN style track with the… gospel infused?… melody of “Less Sex.” The track is built around a bass driven groove, while the vocals are sung cleanly rather than trying to shout through the blizzards of the previous songs. It’s a much needed reprieve, especially since “Daughter” begins the slow crescendo into madness that makes up most of the second half the record. The horror swirls are still prominent but the beat is more deliberate (now recalling later Dillinger…) and the opening almost feels like a Morricone-style western stand-off.
My favourite track on the record is the penultimate “Ocean Song” which is also the longest track at 7.5 minutes. The completely hypnotic and syncopated disco style drum beat drives the whole track as we hear the story of a man confronting the horror of existence and a Lovecraftian desire to know more even if it destroys him. The instrumentation immediately recalls Swans’ songs like “Oxygen” while the lyrics and delivery are closer to one of nomeansno’s nihilistic epics like “The World Wasn’t Built In A Day” or “This Wound Will Never Heal.” It feels less like a chase scene from a horror movie and more like the moment where you’re cornered with no escape and a lumbering monstrosity drags itself towards you. A feeling which is only accented by the themes of the final track “Guest House.” Here’s a taste of the lyrics:
I need a place to bury the soulless, charming
Winter-hell creature upon me
Who boarded the windows?
Who closed the screens?I’ve been knocking and knocking and knocking and knocking
And knocking and knocking and knocking
Let me inI have come from the distance
Where you can’t see
It is there, believe me
Now let me in
Let me in
Ya, this record is a nightmare. But the sounds are so unique, and the grooves are so compelling, and the aggression is undeniable, and the moments of rest are so falsely delightful, that the nightmare has capture my imagination. It’s a stunning record. I don’t know if you’ll like it. But I don’t know if you have to either. This created real fear and distress in my on my first listen. Now it’s like a car wreck where I can’t look away. Not a lot of music grabs me this tightly or immediately these days, and that’s why it’s my record of the year.
Thanks for reading guys! Let me know what your favourite record was this year or tell me about a record that completely took you by surprise recently. I’d love to hear about them!
