75(ish) Albums I Loved in 2022

That time of year again! The time of year where the talking heads all list out their own “definitive” Best Of lists and drive up their ad revenue through rage clicks. Normally I love to participate, but this year I’ve decided not to do any sort of rankings and just list a bunch of albums I enjoyed. This is because 1) some of these bands I covered in other publications, and it feels weird to insert them into a ranked list, 2) how am I supposed to compare and contrast the house revival of Beyoncé with the industrial rap of Backxwash, the the disco pop of Charli XCX with the post-hardcore of Chat Pile, the low-key jazz of King Gizzard with the high-stakes prog of King Gizzard, and 3) I’m so tired, man. So these albums are ranked only alphabetically. However, I’ve thrown in some songs for some albums I do find particularly noteworthy. I finished the year having listened to 414 albums released between January 1st and mid-December. Yes, that’s a personal record. So without further adieu, here’s 75ish albums from this year I am simply excited to talk about!

Note: The original version of this list included the album Erebos by death metal group Venom Prison, but right before I edited it, the singer got outed with some transphobic nonsense. We don’t support that here. If you’re looking for good metal, stream their album on Spotify so they don’t get paid.

The 1975 – Being Funny In A Foreign Language

I’ve been pro-1975 for a while, but their biggest fault has always been bloat. Their albums – even at their best – have been overlong and suffering from inconsistent ambitions. This one is shorter, leaner and more scaled-down while still sounding distinctly 1975. It’s a nice surprise that’s well-needed after their previous, overlong ho-hum affair.

Actor|Observer – Songs For the Newly Reclusive

The first local entry on this list also gives me the opportunity to share the best piece of writing I did all year, when I premiered this album’s lead single. The whole album that follows is effortlessly brutal hardcore that shows both an urgency in its lyrics and a patience in the songwriting, a difficult balance to pull off. This is not hardcore for the sake of hardcore, this is a band that has a lot to say, and those messages are delivered successfully and angrily. Consistently one of the most underrated groups, Actor|Observer have done it again.

Alvvays – Blue Rev

The first two Alvvays albums were great little releases of radio-friendly powerpop, so it was a shock for their third to turn up the edge and turn down the song lengths into something that feels a little more punk-inspired. It helps to round out the band’s image and distance themselves from the overall bloat of bands they resemble. Even though it sounds smaller in scale, the album feels bigger than the ones they’ve done before.

Backxwash – His Happiness Shall Come First Even Though We Are Suffering

I’ve been a huge Backxwash fan since the moment I pressed play, so it’s no surprise that I loved her newest offering. The albums follows in the footsteps of her previous releases – finishing off a trilogy – with industrial rap/horrorcore that puts some absolute respect on the genre’s name. She’s backed up by some excellent features with Pupil Slicer and Ghais Guevara (more on him later), though as always her forceful rapping and controlled chaos beats are the focus. There’s simply no one else operating on her level.

Bad Bunny – Un Verano Sin Ti

Nothing to say that hasn’t been said already; Bad Bunny is just on another platform. The man has been releasing music like crazy, all of which manages to be breezy pop for the masses that has tons of depth and personality, and all in a language foreign to half of his American listeners (myself included). What a king.

Beach Bunny – Emotional Creature

Similar to Alvvays, Beach Bunny are one of the best in a bloated genre, and this album sees them breaking out. The album feels fuller and more mature, even though a youthful immaturity was their previous selling point. Beach Bunny are destined for megastardom, and this is another wonderful stepping stone. Pretty funny that we got two straight bunny entries, huh.

Beach House – Once Twice Melody

And right into two straight Beach entries. We gotta diversify these artist names. Anyways, Beach House had really fallen off the radar prior to 2022 – only one album in seven years, after a much more regular release schedule. That was undone with this sprawling 18-song, 84 minute sectioned album. There’s sections of classic shoegaze Beach House as well as parts that see the band dive into even more lush, dreamy territory. It’s certain to be one of their best albums, which is high praise, though anyone looking for bangers should seek elsewhere.

Beyoncé – Renaissance

The Queen was in a tough position after her album Lemonade, a decade-defining, genre-sprawling masterclass destined for the record books. No follow-up was going to feel as important or immediate, so she instead did a lower stakes house revival album. It was a necessary and perfect left turn; far from her best work, but it isn’t meant to be, and what it is still damn near perfect.

Big Thief – Dragon New Warm Mountain I Believe in You

Similar to Beach House, this is a behemoth, brass ring-grabbing mission statement of an album; it even came out the same week! Possibly the best indie release of the year, it sees the band take their normally reserved album ideas and stretch them into grander territory. Everything feels expanded and yet distinctly Big Thief – warm, earthy melodies accompanied by Adrienne Lenker’s tender voice and emotionally crippling lyrics. In an era where album bloat plagues every genre, Big Thief delivered an 80-minute album that still leaves the listener begging for more. They elevated themselves to Best Indie Band in 2019, a title that I believe they still hold.

billy woods – Aethiopes and Church

First double-entry! The Armand Hammer member has had a wildly prolific solo career, and both of his 2022 offerings are just great, low-stakes hip-hop albums. While the alphabetical and chronological antecedent was the better of the two albums, both showcase woods as a humble and intelligent master, unafraid to challenge rhythm and tropes.

Birds In Row – Gris Klein

Straight up one of my favorite groups, France’s Birds In Row have delivered another visceral, powerful and understated album of hardcore that establishes them as one of the genre’s most creative forces. Too many hardcore bands sound interchangeable, but Birds have always been sonically challenging, genre-defying and socially conscious, trends that have all kept up on Klein. One of the most criminally underrated groups in all of music, even if they set themselves up to have a limited audience.

Björk – Fossora

There’s a number of entries in this post that feel pointless to write – if you’re reading this on my blog, with the type of stuff I cover, then you’ve already heard Fossora. Björk rarely misses, and hasn’t missed in many years, but even for her this is a triumph. Few artists could think about the concept of mushrooms and produce an album that actually feels like the damp moss of a forest floor, but that’s what Fossora is. The mysteriousness of the forest – both innocent and unforgiving – litters this album in a way that’s pleasant and so entirely original. Quintessential Björk.

Black Dresses – Forget Your Own Face

Hyperpop is maybe the first thing to come around in music that makes me feel like I’m too old to understand, and truthfully I don’t really “get” all of this, but I do love it. This doesn’t so much move the goalposts of what “pop” can be but uproots and incinerates them. The chaotic outbursts of glitchy synth, the pessimistic lyrics and the demon-fueled screams from Ada Rook (one of the best screamers in the game today) all make this a brief album that’s equal parts fun and terrifying. Pretty good for a duo that’s technically broken up!

black midi – Hellfire

Coming into Hellfire I was hit and miss on black midi – literally, I thought their debut was a hit and the sophomore record was a miss. So I had a little trepidation, but this is easily my favorite of the three. This is extremely “me” music. Hellfire is a ton of absolutely chaotic, noisy indie songs that sound like a frustrated band taking it out in studio. I’m sure these songs are written precisely, but they often sound improvised. A little noisier and they could be mistaken for prime era Lightning Bolt. Really loved this one.

Bonny Light Horseman – Rolling Golden Holy

I’m not 100% positive this one would’ve made the list if I hadn’t just seen this band a couple weeks ago, but it’s totally deserving either way. The folk supergroup released their second album in November and it follows their debut exactly. Soft acoustic folk is met with gorgeous harmonized vocals in a collection of songs that you want to just disappear into forever. The group sounds like Fleet Foxes if they had less of an indie bend and didn’t subscribe to the concept of a frontman; the three musicians here all work equally and in tandem with one another. It’s quite possibly the prettiest album I heard all year.

Carly Rae Jepsen – The Loneliest Time

My my, there were a lot of B artists for some reason. Carly is here to dance us out of it with another album of pure pop bangers. Her previous album Dedicated was a moderately solid release, but a drop in the bucket to 2015’s game-changing E*MO*TION. This album feels closer to the latter, a self-contained collection of bangers and ballads that never tries to reinvent the wheel, just makes sure it runs as smoothly as it ever has. Anyone that doesn’t like Carly is either lying or just simply hates everything fun.

Chat Pile – God’s Country

My god, where did this one come from? The best debut album of the year is also maybe the best damn rock album of the year, too. An uncompromising, bold and enjoyable noise rock album that takes itself very seriously even if it closes with a song called “grimace_smoking_weed.jpg.” While most post-hardcore bands try to eschew any metal influences from their music, Chat Pile lean right into it with gnarly vocals, screams and – especially on “Pamela” – riffs. This is a major play by a fearsome young group.

The Chats – Get Fucked

The Australian drunk punk band is rising in popularity and facing the same issue that’s plagued many similar bands prior – soften the sound for a bigger audience, or lean into the niche. Well the album is titled Get Fucked so they sealed their own deal. This is just great, old school punk twisted through ridiculously delightful Aussie accents. Coming in at 13 songs and 28 minutes, with titles like “The Price of Smokes” and “I’ve Been Drunk in Every Pub in Brisbane,” this is a loud and raucous good time.

Danger Mouse & Black Thought – Cheat Codes

Danger Mouse, as both a producer and active musician, has always been one to ignore trends and musical climates. His full-album collaboration with arguably the most underrated rapper in the world is a very fun whirlwind that combines a lot of soul, prog and psychedelic influences that flies right by. It’s very much a throwback album to older hip-hop and something that sounds totally unique in 2022.

Demi Lovato – HOLY FVCK

Following up on the Chats is another album title that makes a statement. I’ve always had a soft spot for Lovato’s music, more so than most, and this turn back to a pop-punk/rock base is a very interesting one for her. There’s a distinct and intentional lack in subtlety, filling the album with confrontational statements that jump between honesty, heartbreak and horniness. It’s a great rebirth after a difficult period for the artist, and an album that I feel got buried too quickly.

Denzel Curry – Melt My Eyez See Your Future

Curry is one of the most interesting and energetic rappers in the world today, which makes it all the more interesting that this album opens with some slower, reflective tunes. As it moves on, we get some of Curry’s more forceful songs, but it’s a surprising left turn by an artist that specializes in messing with the formula. All of Curry’s albums are great, but this is his best since TA13OO.

Diane Coffee – With People

This absolute indie gem from the former Foxygen drummer might end up being the most overlooked album of the year. Seven of the album’s ten tracks haven’t cracked 10,000 plays on Spotify yet, people are really missing out. It’s airy and fun in the way that Foxygen is, without any of the bloated ambition. It feels similar to some of Will Butler’s solo stuff – messy, low-stakes indie music that’s a lot more playful than you might expect. There’s some really fun stuff going on here.

Ethel Cain – Preacher’s Daughter

The very last album I listened to this year that made the list – listened to on 12/30! – is something I didn’t even realize I was sleeping on. This name was not on my radar until Obama of all people put it on his year end list. Cain is like Lana Del Rey filtered through the horror puritanism of Flannery O’Connor. Daughter is a lengthy, bold debut full of Southern gothic dream-pop ballads and old school Baptist existentialism. Every song sounds similar on paper, but there’s elements of everything from gospel to sludge metal across the album, a truly unpredictable concoction. That all of this was devised by a 24 year old is wild; the future is hers.

Florence & The Machine – Dance Fever

When it comes to the unique indie/baroque pop of Flo & co, there’s really nothing wrong with “more of the same.” This excellent album sees the group treading some similar waters, although there is blendings of many different facets; it’s as synthy and danceable as it is chamber pop, which still leads to some unpredictability. We can belabor about rankings, but this might be the most fun album from them.

foxtails – fawn

I went into this totally blind, and given the album’s title and very plains-inspired cover painting, I was expecting some soft indie. So credit me surprised when the screams started; this band is legit. Mixing classic screamo with post-hardcore, indie and even some jazz elements, this is stuff that’s supremely heavy and completely unique. I immediately ran through their other albums; not a bad song among them.

Gang of Youths – Angel in Realtime

The band name might imply some tongue-in-cheek rascalness, but this is a truly serious record written as an ode to the frontman’s father. The alternative band made an early AOTY contender with an impenetrable and difficult record, one that presents a ton of sonic ideas washed over by emotional lyrics. It’s too long – much too long – but it is super rewarding, comprehensive and effortlessly intelligent music.

Ghais Guevara – There Will Be No Super-Slave

One of the best underground releases of 2022 comes from experimental rapper Ghais Guevara, who litters his album with astounding beats, experimental structures and explicitly leftist lyrics. Songs like “This Ski Mask Ain’t For COVID” and “I Personally Wouldn’t Have Released John McCain” don’t just come out of nowhere. It’s witty, earnest, extremely loud and extremely engaging. Also, check out the “Breakfast in America” sample.

Gladie – Don’t Know What You’re In Until You’re Out

My big criticism of the bands that straddle the pop-punk/indie line is that they often play it safe and don’t explore their own energy. Gladie isn’t one of those bands. The band’s sophomore album (I have yet to hear the debut!) sees them masterfully navigate both tender pop songs and raucous punk, like in the fierce opener “Born Yesterday.” It’s simply a stellar record that is comprehensive and – most importantly – simply fun.

Harry Styles – Harry’s House

I still like his debut solo album more, but his third offering is such a delightful statement release. This is fun, humble and low-key pop, an album that was sorely needed in a year where his personal life was thrust into the spotlight (due to a bad film). He’s just great at this stuff!

Interpol – The Other Side of Make Believe

After the initial hot streak Interpol went on to start their career, it became apparent that they did slower ballads better than bangers (all exceptions to “The Rover”). Their last album, Marauder, was all bangers and it’s their only album I dislike. Thankfully they slowed things down for this somber, post-punk affair. They’ll never reclaim their highs again, but I do think this is genuinely one of their best records.

Ithaca – They Fear Us

Although I felt this year wasn’t as strong as most recent years in general, it was a standout for post-hardcore groups. This album blends those influences through traditional metal/hardcore into one of the rawest releases of the year. This is not music for the faint of heart, but it is a thrilling and emotional listen. Got this one via recommendation, I will be checking out their other releases.

Jack White – Fear of the Dawn

When Jack White announced two albums – a blistering blues record and an acoustic folk one – I knew I was going to like the former more. This packs all the punches of standard wild White stuff, from blues melodies to dizzying guitar licks. There’s even a Q-Tip feature, randomly. Some people might be tired of his schtick, but I’ll always take these records.

JID – The Forever Story

Many of the rap records on this list are here because they’re innovative, nostalgic or just different from anything mainstream. But for JID, this is just a good ass rap album. His flow is impeccable across The Forever Story, which helps bolster his convincingly autobiographical lyrics. It’s a soulful album too, and one complete with some guest spots from festival big-prints like Lil Wayne and Yasiin Bey. Top notch stuff!

Jobber – Hell In A Cell

This is a band called Jobber with an EP called Hell In A Cell, of course I’m into this. It’s an extension on the Mountain Goats album Beat The Champ in that it’s centered entirely around pro wrestling (more on them later). But even if you don’t have an appreciation for the art or aren’t familiar with the brilliance of Mankind, you can still appreciate the tunes. These are four energetic indie tunes with deceptively great vocals in a wonderfully fun debut. I’m not sure if the wrestling gimmick can stay fresh over time, but I’m positive the band can.

Julia, Julia – Derealization

The debut album from the lead singer of long-running punk band The Coathangers is anything but. The album tosses away all of the politically-charged punk energy in favor of soft folk. Most of these tracks are nothing but acoustic guitar and dreamy vocals from Julia. Hell it’s often barely audible! These songs mimic a soft spring day, a pleasant morning as the sun rises. This is probably the softest record on this list.

Kal Marks – My Name Is Hell

This is one of a handful of local entries on my list, but this list would be incomplete without it. Hell is simply one of the best rock albums of the year, filled with post-hardcore tracks that are both patient and angry, heavy and melodic. The band really lays into the same space occupied by IDLES on this one, and for good reason, as they pull the sound off completely. It’s urgent and bitter, but without sacrificing some tongue-in-cheek funk as well. Absolutely hard-hitting stuff and this album should serve as a firm rebuttal to any inane person saying “rock is dead.”

Kim Petras – Slut Pop

No comment.

King Gizzard & the Lizard Wizard – Omnium Gatherum and Changes

Another double entry, although in Gizz terms that’s a poor year – this is just two of the five albums they released this year (six if you count a remix album)! I enjoyed all five, though none were among the highs in their still-young, dummy prolific 23 album career so far. And the two albums selected could not be more different; Gatherum is their most expansive album yet, clocking in at 80 minutes and filled with heady concepts and challenging prog elements (sometimes). Changes meanwhile is a fun, lowkey album of breezy, jazzy pop that acts as a follow-up to their delightful Sketches of Brunswick East. Gizz celebrated their second five-album year, and while it wasn’t nearly as unmissable as 2017, there was still a lot to love.

L. S. Dunes – Past Lives

I am always a little weary of supergroups, especially emo supergroups – they often produce some ho-hum music that is a fun change of pace for the performers, but not necessarily enjoyable for the listener. But L. S. Dunes, comprised of members of My Chemical Romance, Thursday, Coheed and Cambria, and Saosin, gave us a mission statement debut album. It sounds like all of their respective bands distilled, combined, and refined, into something that is both familiar and progressive. The album hits a wide range from personal to raucous, and it’s a high recommendation if you like all – or any – of the bands that contributed members.

Leikeli47 – Shape Up

One of the best breakthroughs of the year was that of New York rapper Leikeli47, whose album Shape Up is filled top-to-bottom with short, loud bangers that all flow together in constant whiplash. You’ve probably heard the album’s first track “Chitty Bang” in a (car?) commercial, but it’s such a great track and indicative of the whole rest of the album. Though she performs behind a mask, she’s destined to breakthrough much further than she already has.

Little Simz – No Thank You

My favorite album from 2021 came from British rapper Little Simz, who pushed herself out of her comfort zone with an uncharacteristically bombastic, overstuffed mission statement album. But the spotlight wasn’t kind, and her follow-up is a much more cynical release aimed at the music industry and at the very fans that propped her up. It’s tough and fair, and an extremely deep record that does not sacrifice energy or melody for its goal. It was also released mid-December, probably to avoid all of the gun-jumping publications that publish their best of lists a month early. We wait til New Year’s Eve, here.

Mammoth Weed Wizard Bastard – The Harvest

I wrote in my songs post about the title track from this album and how it advances doom metal beyond its shriveling template. Well, the album follows it, an absolute sonic pummeling of riffs, synths, and dreamy moments. It feels like a record that is not supposed to take place on Earth, something from a space wasteland. It is, simply, really cool music. Plus ten points for having my favorite band name.

The Mars Volta – The Mars Volta

I don’t think anyone saw a full Mars Volta reunion & album coming, especially after a full At the Drive-In reunion and album. And if anyone did, they surely did not predict that the band would entirely leave their prog-rock comfort roots in favor of shorter, blunter pop songs with Latin flare. Naturally, the group pulled it off, a totally enjoyable clean slate of a record. The lyrics are also less cryptic and often deal with singer Cedric Bixler-Zavala’s wife’s battle with the Church of Scientology – a heartbreaking and disgusting story, should you choose to look into it.

Meat Wave – Malign Hex

I’m a sucker for any kind of fuzzed-out garage punk, from The Trashmen to Ty Segall, and this album more than scratches that itch for me. This band does one thing and they do it remarkably well, just a full sonic blast of pedal-heavy guitar and drums. The lyrics range from tongue-in-cheek to political to honest, though the band’s punk energy is what the listener is more directed towards, anyways.

MJ Lenderman – Boat Songs

Lenderman’s name has been on my radar for a while but I had never listened until this album, as I was expecting more of a tepid, sad boy indie schtick a la FJM. To my surprise, it was an album of fun, humorous and fuzzed-out indie that sounded closer to the days of Pavement than anything else. It feels unserious and off-the-cuff, in all the best ways.

The Mountain Goats – Bleed Out

The Goats are never bad, but in their current prolific period, they’ve released some albums that don’t stand against their best. Bleed Out does. Like some other recent Goats albums, this is one is hyper-focused on a concept John Darnielle finds interesting; this time around we get songs about action films. This is also the loudest Goats album – the first to center around electric guitar and rock-driven songs, courtesy of production from Alicia Bognanno, from one of my favorite groups Bully. It’s one of my favorites of the year, and I think it’s a contender for top 5 Goats albums; impressive when you remember it’s their 21st (!!) studio album.

Nerina Pallot – I Don’t Know What I’m Doing

One of the most talented and underrated songwriters in all of music delivered again on her seventh studio album, a work filled with homely, lush and self-reflective ballads. She’s a talented musician, but her strength has always been her beautiful voice and her brutally honest lyrics. Her music has remained popular in the UK but she’s never been even a blip here in the States, I yearn for that to change.

Nikki Lane – Denim & Diamonds

One of the joys of maturity is realizing how stupid I used to sound when I would say something dismissive like “I don’t like country music.” While it’s true that the country-pop that dominated the charts when I was a teen still doesn’t appeal to me, I’ve come to appreciate outlaw country. This is the best country release I heard all year, a collection of low-stakes, unassuming country tunes that are simply fun as hell. These songs are personal, but they’re bops. The album is earworms galore. It’s an album that may not leave a huge impression on first listen, but one that draws you back multiple times. Really fun stuff and a nice antidote to many of the other entries on my list.

Oceanator – Nothing’s Ever Fine

This one was a nice surprise! I checked this one out as sole Oceanator member Elise Okusami was on tour with Jeff Rosenstock, an automatic win in my book. It’s a ripping, fun and earnest indie debut with a bit of edge on some tracks. There’s still room for some folksy elements too. It sounds well-worn and patient, all the more impressive for a debut!

Orville Peck – Bronco

I think it’s no secret that I’m a devoted Peck-head, his debut album Pony rapidly became one of my all-time favorites. I was a little concerned after his follow-up EP was frustratingly saccharine, but the proper sophomore album picks up exactly where Pony left off: alt-country bangers and ballads, all sung from behind a mask, from a gravelly voice with the gravitas of an old West gunslinger. But also, it’s queer. If I really had to choose – and the point of this list is that I don’t – this might be my favorite album of the year.

Otoboke Beaver – Super Champon

I knew in my heart that a band like Otoboke Beaver existed, such a delight to finally find them. The group mixes Japanese pop and noise influences into a blend of punk that’s both absolutely ripping and completely fun. It’s a balance of J-pop and Melt Banana, with bouncy, gang vocals and lyrics inspired by both feminism and comedy, all delivered in a micro package. With song titles like “Dirty Old Fart Is Waiting For My Reaction” and only two songs over two minutes, this is an absolute riotous, unique blast.

Perennial – In the Midnight Hour

I had the immense pleasure of interviewing 2/3rds of this band and hosting the album premiere, so I am a little biased here, but 11 months later and this remains in my top 5 releases for the year. The band, inspired heavily by noise-punk groups like Be Your Own Pet, mesh punk, post-hardcore and experimental elements into something that is as chaotic as it is fun. This album is an unabashed good time, an apocalypse party, full of spooky influences. My only complaint is that it’s over too soon; 10 of the 12 tracks don’t hit the two minute mark!

Perfume Genius – Ugly Genius

Perfume Genius is always an automatic shoo-in for any best of lists, and this year’s offering is no different. After his surprisingly guitar-driven album Set My Heart On Fire Immediately, he tones things way down for a sparse, dreamy production. It’s as brilliant and heartbreaking as anything he’s done before, and by this point I think he’s incapable of producing something that isn’t like this.

Petrol Girls – Baby

This album is a pure refusal of complacency. Loud, brash, dissonant and angry, this is what hardcore punk is really about. The British group funnels explicitly feminist lyrics and harsh vocals through pumping drums and power chords. Not every track kicks into the highest gear, but every one does crack with earnest fury and political anxiety that resonates across the pond. Punk can never, and will never die.

Porridge Radio – Waterslide, Diving Board, Ladder to the Sky

I never know quite what to make of Porridge Radio. On paper, you can call them an indie band, but they rope in many outside influences from post-punk to pop. It’s often loud, and it’s horribly depressing. Their unique sound is on full display here, through melancholic ballads and rhythmic ennui. It’s a top-heavy album, but the good is very good. Not for someone with a cheery disposition.

Pretty Sick – Makes Me Sick Makes Me Smile

It’s always refreshing to me, a total grunge head, to hear any band that hearkens back to the cursed early 90’s. Pretty Sick sounds like one step forward from bands like Hole, Lunachicks and L7, with a messy, angry and riot grrrl-adjacent sound. Pretty Sick doesn’t always push up the volume here, but when they do, their curated sloppiness could mark a dead ringer for a band thirty years their prior. What I’m saying is, this is extremely me music.

PUP – The Unraveling of PUPTHEBAND

Another contender for my favorite album of the whole damn year comes from Canada’s pop-punk-kinda group PUP, who stuck a necessary landing. Each album of theirs has seen increased visibility and fans, as well as just being better than the one prior. So for their fourth album to be a meta concept album about whether they should sell out and go big or make a weird concept punk album, and how it tears the band apart, is bold, brilliant and damn near perfect. It’s fierce and rough, tongue-in-cheek while also being brutally critical of the music industry. It warrants repeated listens, especially to catch little narrative details.

Saba – Few Good Things

One of the most flawless rap albums of the year comes from Saba, who spends each track on his album wearing his heart on his sleeve and masking it at the same time. These lyrics are brutally honest and deep in a way rap lyrics often aren’t (and don’t have to be!). And yet, the music is soft and dense, mimicking the flowers on the album’s cover. There’s an affirming warmness to this record that separates it from the year’s other rap records, even the ones on this list. It’s a shame this one has yet to pull in a wider audience.

SAULT – Today & Tomorrow

I’ve been preaching the gospel of SAULT to anyone who will listen for a couple years now, so imagine my childish grin when the anonymous R&B group released not one but six albums this year. They range from their standard R&B, to borderline gospel and even an atmospheric ambient album. The best was this one, which sees them take their standard crisply produced R&B and up the ante with funk, disco and even some punk elements. This one was a party album, which perfectly soundtracked me wrapped Christmas presents. Long Live SAULT.

Slipknot – The End, So Far

Well, it finally happened – Slipknot made their critical darling record. Their sound, and more importantly their misanthropic angst, was never going to keep up through all the years. This aptly-titled album could serve as a turning point, as it does feature some loud, abrasive metal tracks but a softer side as well. It doesn’t always work – quiet opener “Adderall” is ironically interminable – but the signs point to a changing band, one ready to experiment and embrace the adulthood that washes away all that juvenile anger. It should’ve happened a few albums ago, but hey the formula still worked.

The Smile – A Light For Attracting Attention

Yeah, yeah, Radiohead is my desert island band so naturally I loved this offshoot project. It allows Thom & Jonny et al to let loose and have fun, while also making some songs that would be minimalistic even by Radiohead standards. It’s tough not to compare it to Radiohead albums – it doesn’t stand up to most – but that’s a high grading curve. It’s a great debut and a record that has deserved more of my time this year.

Soul Glo – Diaspora Problems

Credit to any band who can find a way to innovate within a scorned genre. Soul Glo are, by all descriptions, a rap-rock group, but one that play with full intensity and unpredictably. It’s part Death Grips, part 80’s experimentation, and no parts 00’s chuggy riffs and cringey lyrics. This is direct, honest and political stuff and it’s one of the most exciting records of 2022. It has no trouble getting abrasive and confrontational – it is supposed to be a shocking genre, after all.

Spoon – Lucifer on the Sofa

One of the very first albums I heard in 2022 was a welcoming breath of, well, stale air. Spoon’s tenth album sees the band reverting back to the fundamental indie music of their mid-00’s heyday. It’s a welcome joy, as the band proves they can still write some indie bangers, and it’s their best album in years. Focused, pleasant and timeless, this is a high notch in their catalog. Spoon is back, baby.

Sudan Archives – Natural Brown Prom Queen

The first Sudan Archives album was a patient and well-rounded R&B record that seemed to promise better things. Well, her sophomore album is the better thing. One of the best albums of the year sees the singer/violinist assume a first-person role in a concept album taking place in her Cincinnati hometown. It’s an overstuffed, comprehensive and funky release that never overstays its welcome and never teeters on self-indulgence when it could easily do both. It’s earnest and it’s refreshingly original. Truly remarkable piece of work.

Sylvan Esso – No Rules Sandy

This is easily the most ambitious album from the vibes-heavy indie band, a band who approach their albums with a “try anything” attitude. Although it rests at 16 tracks, it’s really made up of 5 or so sections with interludes, split into more bite-sized songs. It creates more of a nightclub DJ feel than their previous, minimalistic dance tracks. It’s still the same fun, warm and light-hearted music as always, though.

They Are Gutting A Body Of Water – s

This one was a wrench thrown into this list – I listened to it after 50+ of the entries in this post had already been written! I’d heard multiple people sing their praises but I jumped in totally blind. It’s shoegaze-based music, but with elements of trap, DNB and chiptune – really a hodgepodge of “off the beaten path” genres tossed into a blender. The result is something totally unique and nearly indescribable – all rules tossed out the window. I really dig this.

Titus Andronicus – The Will to Live

I wrote extensively about this album when I covered their live show, but what I’ll say here is that this is the first time Patty Stix et co. have successfully wrangled their ambitious side with their complying side; it’s really the first time they’ve even tried. This is a concept album, albeit a loose one, but not a hyper-inflated overlong grand affair like their other two concept albums (their best and worst releases, respectively). Instead, it’s a controlled record, one of a band recognizing their own heights but still reaching them. Seeing some of these tracks live helped me to contextualize how this is not a punk record but a rock and roll one, and even if this album was birthed from grief, they’re settling into adulthood surprisingly nicely.

Van Buren Records – DSM

Another local release that ranks among my very favorites from this year comes from Brockton MA’s rap collective. The album is bold and boisterous, with a cascade of different vocalists that allows each song and hell, each verse to sound fresh and fun. This album stays well within the realm of comfortability, and when the group is as good as they are, there’s no reason not to. It’s a blast, turn it up.

Vince Staples – Ramona Park Broke My Heart

Ramona Park acts as a follow-up to 2021’s weirdly disappointing self-titled release, and thankfully it reclaims the magic of older days. And yet, this doesn’t sound like Vince. Gone are the abrasive beats, experimental rhythms and worrying lyrics, replaced with beats and melodies that are crisp, fluid and conventional. Vince is still Vince though, and these tunes are grippingly reflective and earnest. This is as good as anything Staples has ever done. He barely misses.

Wet Leg – Wet Leg

I was absolutely delighted that the new duo Wet Leg was able to capitalize on their surprise debut hit “Chaise Longue” with a great first album. It did exactly what it needed to – prove the group wasn’t a one-trick pony, with a collection of songs that don’t exactly sound similar but feel similar. It’s infectious and hysterical, with tons of pop hooks and plenty of curveballs. The band sounds wise beyond their years, and yet songs like “Piece of Shit” and “Ur Mom” show off their playful immaturity. If by any chance you’re still reading this, then you’ve probably already heard this record, but what was I gonna do, not include it?

Weyes Blood – And In The Darkness, Hearts Aglow

I’ll be honest and say that I didn’t like Titanic Rising as much as most, so I approached this one with caution. It floored me. This album is filled with stunningly beautiful chamber pop that feels warm despite the cold, cynical lyrics. It really is unpleasant stuff but presented in a more welcoming fashion. After some disappointments from the likes of Sharon Van Etten and Angel Olsen, we needed a late-year album of breathtaking ballads like this.

Wilco – Cruel Country

In a way, this is Wilco coming full circle. They toyed early on with country influences before mostly abandoning them for an indie sound. And now, twelve albums in, they’ve embraced it entirely. After a few albums of comfortable complacency, Wilco gifted us with a double album of moody country that welcomes the sound Wilco pushed off twenty years ago. It’s maybe too long and a bit unnecessary, but it stands as a fun and welcome outlier in the catalog – their best albums usually are.

Yeah Yeah Yeahs – Cool It Down

What a relief this album was. The band’s quest for a total reinvention with each album petered out after 2013’s unlistenable record Mosquito. After nearly a decade of radio silence, they’ve done another full 180. Cool It Down, another in a series of aptly-named records on this list, comes close to ambient territory, with its atmospheric rhythms and airborne feel. It’s clearly a new territory for all members, and if the album had run beyond it’s short runtime it could’ve easily fallen repetitive, but the band keeps it tight. Fans looking for bruisers like “Man” are going to be severely disappointed, but this is a fascinating rebirth.

Zeal & Ardor – Zeal & Ardor

My favorite type of metal is usually “whatever would make the purists mad” and I figure this counts. Black metal, as much as I love it, has a storied history intertwined with full-on Nazism, so it is refreshing to hear a black metal artist who is, well, black. The album combines traditional black metal sounds with African influences, jazz, even a damn stomp-clap. It is sonically and lyrically subversive, a meting pot of influences determined to keep you guessing, especially in a genre where repetition is usually the biggest fault. I recommend this to anyone who even remotely likes metal.

Zola Jesus – Arkhon

Zola’s music expertly walks a line between conventional pop/indie and synthy goth throwback to the 80’s post-punk scene. Arkhon is no exception, as songs bounce to and from these competing influences to create a landscape that is hypnotically catchy and yet grim and moody. It’s often very fun and unpredictable, as some songs search for that catchy rhythm and others eschew it completely. This one flew well under the radar, and I wish it hadn’t.

Just for fun and self-indulgence, here’s some other albums I nearly included in this list:

Charli XCX – Crash (pop/hyperpop), Fontaines D.C. – Skinty Fia (indie/post-punk/Ireland), Froglord – Army of Frogs (stoner metal band that sings about frogs), Lizzo – Special (pop/R&B/it’s Lizzo), Sasami – Squeeze (indie/noise rock), Thee Oh Sees – A Foul Form (80’s thrash metal/hardcore throwback)

By Andrew McNally

My 30 Favorite Songs of 2022

Well we’ve hit the end of the year, the time where I spend hours writing about the music I loved for 1-12 readers! As with most years, I focused more on albums than individual songs, so a grand albums post will be forthcoming. But there were more than a few songs I loved at first ~~sight~~ listen, and unlike my albums post, I’ve decided to try and feebly do a ranking of them. I did not put much effort into the actual list and have absolutely forgotten something necessary, but I did work on the rankings. So here’s 30 songs I truly loved:

#30. Archive – “Mr. Daisy”

I came into this band by chance from a Facebook group talking about a song of theirs from 2009, only to discover that they’re still going strong and remain very popular in Europe. The band doesn’t contain themselves within genre, venturing anywhere between trip-hop and nu-metal. They released 2 albums this year, and a standout song is this track, a post-rock inspired alt tune that’s simple, fun and nostalgic. I’m excited to dive deep into this band’s catalog next year.

#29. Robert Stillman – “Cherry Ocean”

This is likely the most divisive and maybe the most obscure song on this list, as something that probably won’t appeal much to my core audience (those 4 people). Stillman’s soft, somber, 8+ minute jazz track sets the tone for the following album, though it’s the only song on it with lyrics. The song is sparse and drone-adjacent, but the scraps of melody are haunting and intriguing. Even though it’s a repetitive minimalist song, I find myself coming back to it repeatedly. It’s a warm and forgiving place to be.

#28. Meat Wave – “Honest Living”

This is my kind of thing – two-minute sucker punch of fuzz guitar and wicked vocals. I’m a sucker for even the worst garage rock, it’s my go-to and my comfort music, and Meat Wave’s recent album more than satisfies that crave within me. “Living” is a punk bruiser with depressingly satirical lyrics about the grind of the workforce. Throw in some good vocal rhythms to boot and you’ve got a memorable little garage punk tune.

#27. Gladie – “Born Yesterday”

A lot of indie-punk bands like to play it safe and merely threaten to go full throttle. Gladie aren’t that band, and they kick off their recent release with a amp-busting banger that makes a statement. I wasn’t aware of this band just a few weeks ago, and now I’m excited to see where they go from here. I’ve also just seen them live and can confirm that this track kills in a concert setting.

#26. Björk & serpentwithfeet – “Fungal City”

Leave it to Björk to make a “mushroom” album, a delightful and occasionally suspicious soundscape that makes it sound like you are lying on the forest floor. The album’s highlight and most on-point track is “Fungal City,” which barely hangs on to any rhythms to create a damp, foresty environment. It starts soft, gets heavy, and stays weird. I don’t know how you even approach crafting a song like this, but it is yet another Björk classic.

#25. The Smile – “You Will Never Work in Television Again”

I’m not really interested in debating whether Radiohead is done or what this offshoot means for their legacy – it’s a different project, no more no less. While the album mostly just sounds like Radiohead, this song has some rough energy that hasn’t been in the band’s music for many years. Very funny that they’ve played this on late night shows, hopefully they’ll play on Corden soon.

#24. The Beths – “Expert in a Dying Field”

If I were to somehow manage to actually list out my 10 or so favorite songs, the Beths would be the only repeat artist on that list. Count this one among the handful of their songs that I really love. Lush and heartbreaking lyrics and vocal melodies all contain themselves within a simple indie/punk song. This group always seems to find interesting ways to sing about despair and ennui, and this one is no different. Add in some of Elizabeth Stokes’s characteristically intriguing vocal rhythms and you’ve got another Beths banger.

#23. Mammoth Weed Wizard Bastard – “The Harvest”

I treat doom metal like a sandwich – if it’s plain then fine, I’ll take it, but I probably won’t really enjoy it. Doom metal to me has to do something to tinker with the formula, and this song does just that. The Best Band Name in the World take a classic doom metal song structure and add synths and dreamy vocals into something fuller. It’s heavy and brutal, while still feeling fun and atmospheric. The band has always done stuff like this well, but this song and album is a high watermark for them.

#22. Van Buren Records – “FOUL”

One of my favorite rap records of the year came from a local group, Van Buren Records. The large collective makes fun and urgent music with a cascade of voices. The group is at their best when they’re moving quickly, as they do here. No voice or idea overstays its welcome, especially with key features. This is such fun stuff.

#21. Slipknot – “The Chapeltown Rag”

Slipknot’s new album was a divisive one – there was a lot of really stupid discourse around it including the phrase “Slipknot’s Radiohead album.” I loved it for the way it wraps together a more mature, balanced sound with some of their old angry bangers. Well this is the latter, just an old-fashioned Slipknot ear-gouger. Dopey lyrics about violence, manic drums (RIP Joey) and unexpectedly good vocals, this is classic Slipknot. It’s great that they’re finally moving past this kind of stuff, but it’s wild they can still do it so well, too.

#20. Billy Nomates – “spite”

“Don’t you act like I ain’t the fuckin’ man” rips Tor Maries across the chorus of this indie banger. I’m very unfamiliar with her work – I’ve heard a few songs and keep forgetting to check out more. But, this one recently grabbed my attention on the radio. It’s bold and brash while staying well within an indie song, a contained anger that’s delightful as it is genuine. It feels like a victory lap set to music, a ceiling-puncher and a song that probably kills live. I’m on board, now.

#19. 8 Kalacas – “Frontera”

I’m aware the phrase “ska metal” sounds about as off-putting as fruitcake but this song is wild. I first wrote about it in my “Songs You May Have Missed” midyear post and I’m going after it again. This song has horns and riffs and it’s an absolute blast to listen to. A sonic assault that lies more in metal than ska, this really isn’t like anything I’ve heard before. Part of that also lies in the lyrics – silly music is mixed with a dead serious story about a Mexican immigrant realizing the American Dream is a lie and sadly moving back home. The band has Latin roots that add an authenticity to the music that is often missing in wretched, ironic white guy ska. I urge folks to give this one a chance.

#18. Big Thief – “Simulation Swarm”

Big Thief make so many songs that are so heartbreakingly gorgeous that it doesn’t feel fair to other bands. “Simulation Swarm” isn’t nearly as good as 2019’s “Not” or 2020’s “anything” (from singer Adrienne Lenker solo), and yet it still makes the list. The music is calm and patient, featuring the effortless, minimalistic melancholy that the band is known for, and it’s complemented by Lenker’s soft, earworm vocal rhythm. As always, her unique voice elevates this into classic territory. Big Thief forever.

#17. My Chemical Romance – “The Foundations of Decay”

It’s so amazing to me that this exists at all. MCR’s first new release in nearly a decade, and it follows their path of switching up their sound with each album. I don’t know if a proper album is to follow – maybe they don’t, either – but I’d be intrigued if it does. This is slower and denser than you’d expect from MCR, more grown-up now than before. As per usual, the song rests on Gerard Way’s deceitfully strong vocals, but the whole band sounds great. This isn’t as flashy as the group used to be, and therefore the song is a grower – I wasn’t impressed on first listen, but after getting to see it done live (twice!) it’s won me over.

#16. Soul Glo – “Gold Chain Punk (whogonbeatmyass?)”

I didn’t plan for this to be so close to 8 Kalacas but it’s only fitting. Soul Glo presents an equally scorned genre – rap-rock – in a way that’s genuine and refreshing. The opening track to their downright remarkable album Diaspora Problems is a manic, full-octane track that sounds dangerous. Inspired as much by hardcore punk and glitch as they are traditional rap and rock, this is “rap-rock” in the same sense that Death Grips is, not Machine Gun Kelly.

#15. Chat Pile – “Why”

Why do people have to live outside? is the simple question and refrain posited by post-hardcore upstarts Chat Pile. The centerpiece of a Top 5 of 2022 album is also one of the most bluntly political songs of the year (or ever, really). It’s a shakedown of America’s quiet housing crisis sung with a genuine, guttural anger. It feels like everyone in the country is boiling over with anger over their beliefs of choice, and that’s palpable on this barely-contained song. Anyone with an ounce of empathy can relate here, even if it’s abrasive on the ears.

#14. The Mountain Goats – “Wage Wars Get Rich Die Handsome”

It only took 21 studio albums for Mountain Goats to do their first true rock song. An album centered around low-budget action movies needed an energetic boost, so Darnielle et al up the energy for really, the first time in their storied career. Admittedly there are better songs across the unexpectedly great album, but this is my list dammit so I’m picking this one. Although the Goats have carved out their own niche in alternative music, I’d be curious to hear more of this side, too!

#13. Paramore – “The News”

I nearly disqualified this one for recency bias, it was released only a few days before I started this post. But it’s so damn good. Save for a pop-punk heavy debut recorded when they were all around 15, Paramore hasn’t released a bad song, and I’m delighted this stretch is continuing after a multi-year hiatus. The song abandons their more recent new-wave stuff for a return to fiery pop-rock, with more bite than they’ve ever had. There’s a fierceness that cuts through the music here, but also the melody is an instant earworm. I’ve only heard this song twice and it’s already so high.

#12. Fontaines D.C. – “Jackie Down the Line”

Imagine my frustration in 2019 when I first heard this group, a severely Irish post-punk group, only to be sufficiently bored by their album. I wanted to like it and decided to dive into the follow-up with an open mind and, thankfully, liked it much more. This is definitely the song I “sang” the most this year (as it’s not sung but spoken), because it allowed me to practice a ridiculous Irish accent. But it’s a great tune that’s simultaneously despondent and lively. There’s a lot of talk-sing post-punk bands coming out of the UK area (alongside IDLES, Black Country New Road and Dry Cleaning) and I’ve got varying opinions on it; this band has thankfully fallen in my good favor.

#11. MJ Lenderman – “Tastes Just Like It Costs”

Lenderman is an artist I ignored for a while because I thought he was the same brand of tired, acoustic stuff that Father John Misty occupies. My face was red when I finally spun an album, the great Boat Songs. This was my favorite song, a lively and fuzzy guitar track with a touch of humor but a melancholic vocal melody. This song, like much of the album, owes a debt of gratitude to the early alt groups like Meat Puppets and Dinosaur Jr. – a well I will never run dry. This is another catalog I will be diving into soon.

#10. black midi – “Sugar/Tzu”

I loved black midi’s debut only to be frustrated by the sophomore album. Their third righted the course and gave me what I think is their best song yet. “Sugar/Tzu” is one of the most raucous songs I’ve heard all year, manic talk-sung vocals mixing with a steady, revolving central rhythm and frequent…interruptions? The music video follows a boxing match, which is very fitting, as the resembles what it feels like to get beat up. The song sounds borderline improvised, closer to prime era Lightning Bolt than any of their more radio-friendly peers. I cannot overstress how wild this song is.

#9. L.S. Dunes – “Permanent Rebellion”

In most cases, I will side with any artist’s louder, more energetic tunes. This debut track from emo supergroup L.S. Dunes is no exception. The expectation-obliterating album’s penultimate song is also the loudest and most abrasive of the bunch, a throwback to all of the respective members’ heydays. The verses here are standard rock stuff, but the choruses hold a thrilling punch that separate Dunes from most supergroups; this isn’t a fun side project, this is a group with a statement to make. The emo revival will never die, baby.

#8. Weyes Blood – “It’s Not Just Me, It’s Everybody”

Natalie Mering is two albums into a trilogy that’s essentially about going through the rough of it. It’s sad enough on principle, and this album follows in the footsteps of 2019’s Titanic Rising by opening with the best song of the bunch. “Not Just Me” is a gorgeous chamber pop song, a heavenly ballad set over little more than vocals, harp and drums. It’s a dreamy, absorbing song with nightmarish lyrics about human suffering and ignorance. The album that follows is more of the same – and it’s one of the best of the year. But this one in particular is just a completely devastating yet rewarding listen.

#7. Weird Nightmare – “Searching For You”

When I heard that METZ frontman Alex Edkins was releasing a solo record, I had a feeling I knew what it would sound like – more melodic and alternative-based than his primary band, while retaining much of the energy. I was right, this song sounds like the crushing assault of (loudest band I’ve ever seen live) METZ filtered through the Minutemen. It’s loud and aggressive but it’s got a great rhythm and a more subdued approach. Like a few other songs on this list, it owes some to 90’s guitar alternative, revamped for today.

#6. Spoon – “Wild”

It’s very rare that a band can maintain a similar sound for decades and keep it fresh; they’ll either start to sound repetitive (AC/DC) or settle into a relaxed vibe (Wilco). But Spoon isn’t most bands, and “Wild” sounds like the same Spoon from 2005. They’re revamped and reinvigorated and they’re all the better for it. Britt Daniel’s odd singing voice remains the band’s best strength, as this would be a very standard song without it, but the Neil Young-like vocals elevate this to a Certified Spoon Classic.

#5. Leikeli47 – “Chitty Bang”

This song is just about as fun as music can get. The masked rapper kicks off her consistently excellent third album with this immaculately-produced bop. I don’t understand how this song isn’t topping the charts, I challenge anyone to spin it and sit still. A hip-hop song with pop structure and production, this song should really appeal to just about everyone. Although the artist has chosen to remain private, I hope 2023 sees her absolutely blow up.

#4. Gogol Bordello – “Fire On Ice Floe”

This one is circumstantial – after Peter Murphy checked into rehab and Bauhaus canceled their reunion tour, Riot Fest had to scramble to book a medium-big, evening act. Eugene Hutz and gang filled in, and delivered the best festival set I’ve ever seen (and went 10 minutes over, much to the chagrin of Glenn Danzig). I didn’t know this song when they played it, as it had only been released days prior, but they jammed on the chorus for an extended period. The easy, melodic refrain of “dance, dance, dance into the fire” had the massive audience all singing and dancing along. Although the band was there to promote defense for Ukraine, they still turned the set into an absolute party. This may or may not be a great song, but my vision will always be blinded by how I was first introduced to it.

#3. Perennial – “Tooth Plus Claw”

Again I am blinded, because my first interaction with this band’s music was when I had a chance to interview them (they’re really fun people to chat with, folks). This song doesn’t eclipse 90 seconds, just a dance-punk whirlwind that’s extremely high energy and just as fun. It’s loud and brash, but – like the rest of their album – is done entirely as a party. This is a throwback to The Hives and Be Your Own Pet, bands with short songs and contained chaos, that always still rely on melody above all. Love this so much.

#2. Arlo Parks – “Softly”

Arlo Parks just missed out on both my favorite song and album lists last year, and her sole release in 2022 is better than everything she delivered in 2021. This is one of those songs that will have you crying in seconds even though it’s a wholesome love song. The vocal melody perfectly matches the pure lyrics, a quiet message to a (potential?) lover. Her voice dominates over the music, seemingly mixed at a higher volume than a normal song would be. I’m not one for listening to songs on repeat but I could easily play this one for an hour.

#1. Orville Peck – “Daytona Sand”

Big surprise, the guy who goes by Orville Shrek on twitter loves the music of Orville Peck. There’s something about the mysterious, masked, Canadian, queer outlaw country/alternative singer that just works for me. The opening track to his stellar sophomore album Bronco picks up where Pony left off; the forlorn western lyrics, the driving snare drum and Peck’s deliciously commanding bass voice all propel this to the #1 spot. It’s catchy, fun and yet melancholic, and it’s probably my favorite song of the year.

For fun, here’s some songs that didn’t make the cut:

Beyoncé – “Break My Soul” (should’ve made the list, but do I really need to tell you about this one?)

The Linda Lindas – “Racist Sexist Boy”

Interpol – “Gran Hotel”

Rammstein – “Angst”

HEALTH & The Body – “AD 1000”

Thanks for reading this far! I wouldn’t have! I’ll be posting more year-end stuff, specifically an albums post on NYE and a films post sometime when I feel like.

By Andrew McNally

Rock and Roll Hall of Fame 2018 Nominees: Betting Odds

If you’re a total dork like me, you feign a lot of interest in the Rock and Roll Hall of Fame. The inductions and the decisions made by the voting staff have been questionable at best, often focusing on big names over quality names even after years of complaints (Television has never been nominated? Okay). But it’s still interesting to see which acts get picked for their permanent place in the record books. This year’s nominee list has been released and – like last year – it sets the record at 19. What makes this process fun is that the Hall has no set number of yearly inductees, so anywhere from 1 to all 19 acts could garner enough votes. This means that no act is safe (well, one is, but we’ll get there), and that makes for some prime betting odds. So let’s dive in to all 19 nominees and whether the act deserves inclusion and if they’ll get it in 2018.

BON JOVI –

Odds Of Inclusion: 3:1. Bon Jovi has never been popular with the critics, and has always been divisive with the fans. Even though they retain fans like Springsteen does, the people that dislike Bon Jovi tend to have a strong, negative stance. Normally, this would be a tough sell. But, the Hall also has a yearly popular vote winner, which is how Journey got in last year. I would expect Bon Jovi to grab this popular vote.

Should They Be Included: No.

KATE BUSH –

Odds Of Inclusion: 10:1. The Hall has been chronically cold to solo, female vocalists. Whitney Houston isn’t even in. Bush stands a chance as one of the most successful artists in British history, but her popularity never fully translated in America. Her famously reclusive life also doesn’t translate well into American celebrity culture. She is deeply respected in the music community, but given that this is her first nomination after 15 years of eligibility, it looks like a tough hill to run up.

Should They Be Included: Absolutely. Bush has one of the best voices in pop history, one of the best singles (1978’s “Wuthering Heights”) and one the best pop albums (1985’s “Hounds of Love”) ever recorded. Get her in.

THE CARS –

Odds of Inclusion: 6:1. They’re clearly not a priority, and their output was relatively small, which hurt their chances. But, they’re nominated for the third straight year, so someone wants them in desperately. With only one guarantee this year, it might be their chance. It might be just what they need.

Should They Be Included: Yes. Although their music sounds tame these days, they had a string of hits that helped define new wave and alternative music as well as music videos. They had their hands all over the beginnings of alternative music. Ric Ocasek would again help change alternative music in ’94 when he produced Weezer’s legendary debut.

DEPECHE MODE –

Odds of Inclusion: 8:1. Like The Cars, Depeche Mode were big factors in early alternative music. They helped define and dominate synth culture of the 80’s. And unlike many of their peers, they maintain an active presence, release albums regularly (including a decent one this year), and remain a popular live act. But, the Hall tends to focus away from synths, and Depeche Mode rely on synth for every song. So it’s a tough sell.

Should They Be Included: Yes! But I cannot recuse myself from bias on this one – I absolutely love Depeche Mode. But they should be in for their long string of hits, and their classic “Violator” album, a shining star in alternative music. I mean, they’re a synth band that got covered by Johnny Cash. That’s something.

DIRE STRAITS –

Odds of Inclusion: 6:1. Many of this year’s nominees are relatively safe choices (save two), and Dire Straits represent one of the more musically talented, classic rock oriented safe choices. The Hall is still devoted to classic rock, even as they run out of bands, so Dire Straits have a decent chance. They’re also a band that transitioned well into 80’s, MTV culture, which adds points. I wouldn’t call them a definite, but they have a good shot.

Should They Be Included: Sure? I’m not gonna lie, I don’t know anything about Dire Straits.

EURYTHMICS –

Odds of Inclusion: 4:1. Although often unfairly reduced to that one song that gets stuck in your head for days, Eurythmics were still crucial for 80’s alternative music in the same way Depeche Mode were. They were a pop powerhouse, with Dave Stewart writing classic after classic. Annie Lennox’s celebrity persona and continued, successful solo career can’t hurt, either. They’ve never been nominated in their 12 years of eligibility, but I have faith in their inclusion.

Should They Be Included: Yes, maybe not as much as some other nominees on this list, but yes. Are you ever disappointed when they come on? I’m not.

J. GEILS BAND –

Odds of Inclusion: 10:1. J. Geils Band has a string of hits in the 70’s and 80’s that started as partytime blues/funk and ended as big hair ballads. They were one of the only classic rock bands that figured out how to do the 80’s, and recorded arguably their best music in that period. That said, with no legendary albums and hit-or-miss critical reception, their inclusion would be purely on the basis of inducting a classic rock group.

Should They Be Included: Airing on the side of no. In the grand scheme of things, they simply didn’t bring anything new to the table. They had more than a handful of great hits, but that isn’t enough to secure a nod. And Peter Wolf’s onstage rants now just sound sexist instead of cool. “Whammer Jammer” rules, though.

JUDAS PRIEST –

Odds of Inclusion: 12:1. Judas Priest are one of the most important, successful and longest-running metal bands in history. You’d think that would be enough for inclusion, but it’s not. Black Sabbath and Metallica remain the two metal bands in the Hall, and that likely won’t change this year. The Hall likes hits, and although Judas Priest had some, they aren’t as recognizable as “Paranoid” or “Enter Sandman.” Still, a metal band close to entering it’s fifth decade together is extremely impressive.

Should They Be Included: Absolutely. Like Depeche Mode, I’m a real big fan, so take this with some salt. But their early, behind-the-scenes work helped cement metal as a genre. They didn’t get the credit Sabbath and Deep Purple got, but they also didn’t hit their stride until “British Steel” in 1980. Still touring, releasing albums and raising hell to this day.

LINK WRAY –

Odds of Inclusion: 15:1. Rock and roll wouldn’t be what it is today without Link Wray. Although Wray performed a variety of genres, he is best and most importantly remembered as a near-sole pioneer in guitar distortion. His 1958 song “Rumble” was banned in multiple cities, despite being instrumental. Even in 2017, the song still cackles and bludgeons. By this point, though, he is so far removed from today’s popularity that he is seen as a lost relic, not someone whose influence still reigns.

Should They Be Included: Yes, unequivocally.

LL COOL J –

Odds of Inclusion: 10:1. One of the more interesting career shifts in this year’s nominees goes to LL Cool J. The once fiery and extremely influential rapper is now known as an actor, as a very longtime cast member on NCIS: Los Angeles, and as the host of both Lip Sync Battle and (frequently) the Grammy’s. His general, genial public persona softens the hits he once had, which makes his inclusion more difficult. That said, he is the only solo rapper nominated this year, and his influence on the genre is still palpable.

Should They Be Included: Yes, not necessarily this year but, yes.

THE MC5 –

Odds of Inclusion: 12:1. The fire and brimstone of the MC5 was a tough sell in 1968, because of their controversial lyrics and loud music that brought on the rise of punk music. Unfortunately, their extremely limited output makes them a tough sell for the Hall as well. Although they raised punk alongside The Stooges and The Velvet Underground, they were derailed early by controversy.

Should They Be Included: For sure, punk’s politics might not exist without them.

THE METERS –

Odds of Inclusion: 12:1. The Hall has been relatively kind to funk, and rightfully so. The Meters were originators of funk music, but unfortunately they never enjoyed the success of some of their later counterparts. It’s a tough sell in a crowd of easy, big name artists. They’ve also been nominated multiple times since their eligibility a solid 24 years ago. Still, the Hall could pull through for a great funk group.

Should They Be Included: Yes, their influence on funk continues to this day.

THE MOODY BLUES –

Odds of Inclusion: 4:1. The Hall has been chronically cruel to prog rock, but the Moody Blues mostly shaped the genre and managed to have a whole bunch of radio hits. They’ve been eligible since ’89 and have never been nominated, but their inclusion this year is a definite possibility.

Should They Be Included: Yes, they pioneered prog rock and concept albums almost single-handedly. They layed-up to Pink Floyd who dunked with their ideas. They were phenomenal songwriters and even a quick run of their greatest hits is an engaging listen.

RADIOHEAD –

Odds of Inclusion: 2:1. They’re a definite. As the greatest rock band on the planet and one of the greatest all-time, it would be a shock for them not to get in on their first year of eligibility. If they had stopped after “OK Computer” they would still get in, but their run of eight straight amazing albums (disregarding only their mediocre debut) is entirely unprecedented. Sure, they’ve only had one true hit, but there are only a handful of wasted tracks across nine albums of material. They’re also the definition of ‘critical darling.’ Look forward to their entirely uninspired performance at the ceremony, for a prestige they actively do not want.

Should They Be Included: Yes, ful stop. Again – they’re one of my favorite bands, so the bias is strong. But almost no other groups have had the run that Radiohead has and continues to have, with eight straight unbelievable albums and one of the best and most unpredictable live shows on the planet.

RAGE AGAINST THE MACHINE –

Odds of Inclusion: 8:1. Rage Against the Machine practically defined the anger of 90’s music, even over grunge bands. Although they only released four albums, the group’s completely politically-charged rap-rock resonated hard with the frustrations of a difficult decade. Having one of the greatest and most unique guitarists in rock history doesn’t hurt, either. Fun tidbit that either increases or harms their chances at induction – Tom Morello is one of the Hall’s voting members. It’s entirely possible he nominated his own band.

Should They Be Included: Yes, maybe not on the first go, but yes. Rap-rock gets the rightful bad rap it deserves (no pun intended), but RATM really never had a bad song across their four albums. They’re one of those groups that had a totally unique sound, and the fact that it resonated with the radio not only once but across all four albums is a huge shock. Their crossover should deem them eligible in the future, if not this year.

RUFUS WITH CHAKA KHAN –

Odds of Inclusion: 20:1. Basically DOA. That Chaka Khan has been nominated solo and not gotten in speaks to the chances of her original group, Rufus. The fact that Whitney Houston remains uninducted dooms her frequent collaborator. Still, Rufus put out some great music, and their nomination is not undeserved. They are all absolute funk legends.

Should They Be Included: Yes, frustratingly so. Like Chic, they seem to be one of those funk legends that the Hall can’t form an opinion about. But if they can’t even induct Whitney Houston then Khan’s future in the Hall seems dim.

NINA SIMONE –

Odds of Inclusion: 4:1. Interest in Nina Simone has spiked over the past few years, after the popular documentary “What Happened, Miss Simone?”. She was eligible for the Rock Hall on their very first year, a whole 34 years ago, and she hasn’t been nominated before this year. This normally would be damning, but she will likely get in on her first nomination.

Should They Be Included: Of course.

SISTER ROSETTA THARPE –

Odds of Inclusion: 25:1. I have to put Miss Tharpe, deeply unfortunately, as the long-shot of this year’s nominees. Sister Rosetta Tharpe, virtually unknown to the general public, invented guitar rock almost completely alone. She took gospel music and added elements of R&B and rock n’ roll to it, crafting a (then) completely signature style that would be used by thousands afterwards. Her role as a black woman who came front with guitar-heavy blues music was obviously oppressed. You often hear of the black artists who ‘actually’ invented rock and roll – Chuck Berry, Little Richard, etc. Sister Tharpe, who came before them, was the real ‘actual.’ Unfortunately, her total lack of presence in culture and the fact that she passed 45 years ago basically doom her from induction.

Should They Be Inducted: She should’ve been inducted on year one.

THE ZOMBIES –

Odds of Inclusion: 8:1. The Zombies were one of the weirder stories out of the classic rock era. Mostly known for their hit “Time of the Season” these days, they actually had an extremely limited output, releasing only two albums during their original 60’s run, but four since 1991. They were also victims of an incredibly interesting scheme that saw random musicians touring under their name, two of whom would later form 2004 inductees ZZ Top. Of the few actual classic rock bands on the ballot this year, they have a solid chance, if not a great one.

Should They Be Inducted: Probably. Even if they only released two albums in their original procession, “Odessey and Oracle” is one of the greatest albums of the classic rock era. That alone justifies them.

Well thanks for playing along and I hope you don’t bet real money on my picks, because I don’t know what I’m talking about at any point in time. But let’s see how these odds hold up during Radiohead’s performance/no-show early next year!!

75 Favorite Albums of 2016

Well, kids, it’s that time of the year. This year has been brutal on all of us, but at least we got great music out of it, in every genre. 2016 was honestly so great that I had trouble cutting things out of my top 75 – and it’s not like I listened to that many albums this year. So, without further adieu, is my top albums of the year. I don’t think I’m able to form a proper order, even for the top handful. Therefore, I have formed two tiers, for 75-31, and 30-1. If your favorite didn’t make the cut, I possibly didn’t like it, but probably didn’t get to it. But here, 75 great releases for you to bask in:

Tier II: (75-31)

Anderson .Paak – “Malibu”

A man who had a breakthrough year, Anderson .Paak effortlessly and energetically fuses many different genres on an extremely fun release. “Malibu” is one of the only albums to give pure joy in 2016.

ANOHNI – “HOPELESSNESS”

Easily the most political album to grace the mainstream this year, ANOHNI touches on subjects not universally recognized in other political works. “4 Degrees” addresses climate change, where “Drone Bomb Me” and “Obama” criticize our beloved but faulty president.

BABYMETAL – “Metal Resistance”

The concept is a tough sell – three teenage Japanese girls singing heavy metal. But it works. The girls clearly have the energy, focus and ambition, and their backing band is surely talented enough to hold against more “traditional” metal bands. Rob Zombie-approved.

Bleached – “Welcome to the Worms”

Bleached took the opposite approach of many punk bands – they ditched their only male member and strengthened their sound. Their previous, sun-drenched 60’s sound was eschewed for a sturdier 70’s punk throwback, with a shoegaze style production. One of the highlights in a year of great feminist punk records.

Blood Orange – “Freetown Sound”

One of the best R&B albums of the year hits many different targets. It’s often as political as it is lovely. And with a wide array of guests from Debbie Harry to Ta-Nehisi Coates to Carly Rae Jepsen (see below), it’s a full force. While this type of music usually isn’t my forte, I was still engrossed for every second of it.

Seth Bogart – “Seth Bogart”

The first proper solo album from the Hunx & His Punx singer strays far from the band – an indie-pop art/music odyssey centered around the fake lifestyles celebrities must adapt, complemented by a cheap keyboard and auto-tune. Think a better Ariel Pink.

clipping. – “Splendor & Misery”

Hamilton, this ain’t. The main project of Daveed Diggs, now-Broadway star, released their second album, a hip-hop odyssey about a slave traveling through outer space. It’s inconsistent to say the least, but when Diggs lets go, and when the band rallies with music that borders on pure harsh noise, it sounds like nothing else that came out this year.

Crying – “Beyond the Fleeting Gales”

Crying bypassed their chiptune upbringing and instead released an album of 80’s glorification – the emotion of 80’s alternative, mixed with the energy and confidence of hair metal. Pretty interesting for a band whose previous album featured a Game Boy as a main instrument.

Death Grips – “Bottomless Pit”

One of my favorite groups of the past few years, Death Grips always shock and surprise with their new albums. Although this one doesn’t hold up to many of their previous releases, the sheer volume pushes and constant flow still make for one of the more interesting rap albums of the year.

Deftones – “Gore”

Sixteen years after their excellent album “White Pony,” Deftones have finally delivered another great release. In typical Deftones fashion, it came from in-fighting that nearly dissolved the band. But singer Chino Moreno’s push for more experimental music against guitarist Stephen Carpenter’s push for heavier music resulted in the disconnect that permeates this, their eighth album.

Dillinger Escape Plan – “Dissociation”

The mathcore legends went out on a high note, with a brutally loud final album that cements their legacy. The album is jampacked with tonal left turns, ruined hushed moments, incomprehensible guitar riffs and dense layers of musicianship. It’s everything you want from a Dillinger Escape Plan album.

DJ Khaled – “Holy Key”

Put DJ Khaled down for having the album with the best guest spots of the year; Drake, Kendrick Lamar, Big Sean, Future, Jay-Z, and Nas are just a handful that show up to work with the influential producer. Songs aren’t so much framed around Khaled’s beats as they are the strengths of the guests, which leads to many diverse, enthralling songs.

Future of the Left – “The Peace & Truce of Future of the Left” and “To Failed States and Forest Clearings”

One of my favorite bands dropped a good album and a great E.P. The album, “Peace & Truce,” saw the band taking a more math-rock, trust-testing approach, with guitar riffs that edge closer to incomprehension than convention. The E.P., meanwhile, was a more familiar approach to the band’s viciously loud post-punk songs.

Gojira – “Magma”

One of the best bands in all of metal had been striking closer to rock radio. Once the mother of two of the band’s four members fell ill and passed away, they took an even more subtler approach. The album is typically well-written (there’s only a handful of dull songs in the band’s discography), but is atypically conventional, to the point where it picked up Grammy noms in rock categories.

Gucci Mane – “Everybody Looking”

Gucci wasted *no* time after getting out of prison – he recorded and released a song within 24 hours of its release. His follow-up album was his first great release in years, after many tread-water mixtapes from prison. Happier, sober and free, Gucci introduces a new version of himself – but in a typical southern style.

Hinds – “Leave Me Alone”

One of the first notable releases of 2016, and unfortunately washed under everything else since, was the debut from the Spanish indie-pop group. It’s a slight album, one that focuses on individual notes in a way similar to The xx. It’s nothing revolutionary, but it’s a fun debut, and it’s clear the band put effort into every song.

Carly Rae Jepsen – “Emotion (Side B)”

Carly Rae Jepsen’s 2015 album “E*MO*TION” proved such a hit that she released an EP of songs that didn’t make the cut. Even these songs – especially “Cry” – would be a standout for other singers. Truly a great pop icon of our time (buy her album!!).

Kvelertak – “Nattesferd”

One of the year’s best metal albums comes, unsurprisingly, from Norway. Kvelertak forego recent trends in metal and instead put out fiercely driving garage rock, updated for an age where Deep Purple aren’t revolutionary, just great. If the Vikings existed today, they’d eat up this album.

Kendrick Lamar – “untitled unmastered.”

Much like Carly Rae Jepsen, K-Dot’s 2016 release was a continuation of his wild 2015 album, “To Pimp a Butterfly.” Only he took ideas cut from the album and turned them into a small-serving E.P. that flows. It’s minor, but often incendiary, and proof that Kendrick can take even fragments of songs and make something extraordinary out of them.

Metallica – “Hardwired…to Self Destruct”

Though far overlong, repetitive, and burdened with a terrible title, Metallica’s first album in nearly a decade is also their best album in nearly three decades. At its best, the band matches their 80’s highs of frantic energy, huge guitar solos and destructive lyrics. It’s the first time that Metallica sound like they’re enjoying themselves in…too long.

Mitski – “Puberty 2”

Mitski’s breakthrough is a diverse and brutally honest indie album, one that balances restraint with heavy lyrical topics. Even more contradictory, Mitski forces herself into complete control, through the use of subtlety and occasionally awkward themes.

Marissa Nadler – “Strangers”

A beautifully dark, ambient and absent indie/folk record from someone who has proven herself at those kinds of things. It makes sense that Nadler is signed to a label that prioritizes heavy, brooding rock – her’s just takes away the volume.

Oathbreaker – “Rheia”

A brutally heavy metal album brings fury in unpredictable doses. Various tracks feature regular vocals and even acoustic guitar, but the doses of volume get longer and longer as the album goes on, so a black metal hangover emerges by the end. Oathbreaker grab the torch in a recent, necessary trend of black metal bands breaking formulas and providing emotional and shocking records.

Frank Ocean – “Blonde”

Admittedly, I just don’t have the same attraction to Ocean’s music that most people do; echoing my note on Blood Orange, it’s just not really my thing. But after a long absence, Ocean’s album still delivers in a very diverse, dark and minimalist set that immediately makes you forget how long you waited for it.

Angel Olsen – “My Woman”

Angel Olsen continued her trend of creating folksy indie rock songs that border on The Flaming Lips as much as they do Florence & the Machine; as in, they jump from being humorous to emotional, short to lengthy. She also continued her trend of getting better with each album.

Panic! at the Disco – “Death of a Bachelor”

My head grew and shrunk three sizes when I realized I was enjoying a Panic! at the Disco album, something I’ve never done before. But this album is a circus affair; grandiose and attractive, like a Vaudevillian set without seeming too forceful about it. It is flamboyant, in a non-flamboyant way.

Pinegrove – “Cardinal”

One of the only noteworthy breakthrough rock albums of the year barely qualifies as such; the band’s lowkey mix of lo-fi and emo makes for an honest and subdued record, that’s still filled with excellent musicianship. It takes a bit to get into, but it’s more than worth it.

Rae Sremmurd – “Sremmlife 2”

Although it loses steam towards the end, the first half of the Brown brothers’ second album is filled with some of the year’s best party tunes, with enough diversity to make each one different. Some of the only musical joy of 2016 came from “Sremmlufe 2”

Red Hot Chili Peppers – “The Getaway”

The weakness of every RHCP album prior to this one (10 of them) was an inability to make the less funky songs interesting. This, more than almost any other RHCP release, feels like a cohesive album with actual effort put into every song, not just the potential radio hits. It’s a very chill album, too, with little action in a high volume.

ROMP – “Departure From Venus”

Around a year ago, I caught this band at a small gig in Boston and they blew me away. They followed suit with an excellent little pop-punk record that strays closer to the latter than the former. Keep this name in your heads, and find it on Bandcamp.

Paul Simon – “Stranger to Stranger”

Using world music has always been a crutch for Simon – and not always with a good result. But this album is littered with South African rhythms and South American drums, and even uses a clock as an instrument in one song. With quick songs, hushed music and upbeat rhythms, it’s one of Simon’s better albums.

Sum 41 – “13 Voices”

It’s been a long time since Sum 41 released a decent record, but the band has gone through some changes – frontman Deryck Whibley was hospitalized with liver and kidney failure (as a result of excessive drinking), and founding member Dave Baksh re-joined. The result is an album far heavier than any in the band’s heyday, a punk-metal trip that’s corny, but effective.

Tacocat – “Lost Time”

Another great feminist punk album this year came from Tacocat, whose rhythmic and deceivingly-joyful album included excellent track titles like “Men Explain Things to Me” and “Dana Katherine Scully.”

Tove Lo – “Ladywood”

While I wasn’t too into Tove Lo’s debut album, her sophomore release was a more well-crafted pop record, with an inexplicable appeal to it like a smell in an old cartoon that makes someone float into the kitchen. It isn’t the most memorable album, but as a whole, it really draws you in as the world around you disintegrates.

Vektor – “Terminal Redux”

A thrash metal concept album about an astronaut finding, and then canceling immortality is not exactly everyone’s cup of tea. But if it’s yours, this is one head-bashing record. It’s a mammoth of pained vocals and guitar shredding, all in a palpable sci-fi setting.

Weezer – “Weezer”

Weezer’s fourth self-titled record (this one, white), isn’t as memorable as their first two albums – but it’s the best one since then. Weezer’s best songs are usually feelgood fuzz-pop for a summery day, and this album is full of them.

White Lung – “Paradise”

White Lung’s 2014 album “Deep Fantasy” is one of my most-spun and favorite records; it uses sheer volume and ferocity to impress. This album, though, only strategically deploys those ferocious moments, against slower songs (even a few ballads!) The lyrics, meanwhile, approach even darker (and memorable) territories, even with the recent marriage of Mish Barber-Way, using that event to craft murderous timelines.

Young Thug – “JEFFERY”

Thugger’s third mixtape of the year didn’t reinvent the wheel, just turned it very, very well. It is packed full of great lines, youthful energy and well-placed guest spots. Every track is named after one of Thug’s idols (and, uh, Harambe). And the mixtape’s cover is easily my winner for Album Cover of the Year.

Tier I: (30-1)

AJJ – “The Bible 2”

AJJ made a long-overdue rebranding by shortening their name and flattening out their sound. Their albums had seen the band move more progressively towards actual songwriting, instead of just furious and ceaseless acoustic guitar strumming, and the transition feels complete here. There are throwbacks to earlier albums; “Terrifyer” could have been 2006-2011, and “Cody’s Theme” and “Goodbye, Oh Goodbye” could’ve been 2011-2015. But there’s more drawn out songs, with slow pieces and delayed themes. It’s a good mix of old and new for a band that – love them as I do – took a little too long to grow up.

Beyoncé – “Lemonade”

What is there to say about the best album of the year? Bey’s concept album sees a narrator, presumed as herself, going through stages of grief after being cheated on. There’s sadness, anger, regret and acceptance. The eventual acceptance zooms way out, with Beyoncé putting her own issues aside to call black women to arms against more widespread injustice. Conceptual, convulsive and controversial, “Lemonade” showcases Beyoncé at her prime. It even zips through different genres, racking up bizarre guest spots and songwriting credits – Jack White and James Blake pop up, and everyone from Led Zeppelin to Ezra Koenig to Burt Bacharach get credited. Fans nitpicked lyrics trying to figure out specific details about Bey and Jay-Z’s relationship – because Beyoncé sells her material so well that everyone just assumed it was autobiographical. It could all be true, it could all be fiction, it could be inspired by something that happened. All we have to go on is Becky with the good hair.

The Body – “No One Deserves Happiness”

Easily the most unsettling album I listened to this year was this behemoth. The metal duo’s full-length nightmare is often punishingly heavy, but can stop and start on a dime. With pitch-black lyrics (look at the album’s title again), hammering drums and guitar overload, it can be a lot to take in. And that’s before I mention the vocalists – Chrissy Wolpert, longtime collaborator, shows up on multiple songs, adding cold beauty to the noise around her. This complements vocals by Chip King, who shrieks like a rooster at full volume in a way that does not ever get comfortable. I only discovered this band this year and haven’t yet heard their previous albums, so let me just say – I’ve never heard anything like this before.

David Bowie – “Blackstar”

Oh, boy. About a year later and it still hurts to listen to this album. But what an album it is – Bowie’s last album (intentional or not – designed as a goodbye, but Bowie allegedly worked on some demos about a week before his death) is his best since “Let’s Dance” and his most artistic since “Low.” With references to biblical figures and 17th century literature, it’s really just Bowie letting himself go. The album skirts on being conventional, but often opts instead for jazz infusions and experimentation, which demands many listens. This isn’t only one of the best albums of the year, it’s one of Bowie’s best albums, and an album we’re going to remember for decades.

Danny Brown – “Atrocity Exhibition”

When you’re a deeply respected rapper with some ties to the mainstream, you’re really sending a message when you name an album after a Joy Division song. But “Atrocity Exhibition,” like the work of Joy Division, is an astonishing and uncomfortable roller coaster that jumps wildly between ecstasy (both emotion and drug), terror, apprehension, and a mix of all. Brown usually details his nightmares, but on “Exhibition,” he lets us live them, in an up-and-down, jarring ride. It’s not always comfortable, but it’s always great. Brown is one of the best rappers in the world right now – and certainly one of the most unpredictable.

Car Seat Headrest – “Teens of Denial”

One of the year’s two best indie albums, and the only one from a relative newcomer, is a 70 minute guitar epic that jumps between tightly-wound fuzz jaunts and extremely longwinded, Dylanesque tracks. The result is not really knowing what to expect next. The album’s longest track is just over 10 minutes longer than the shortest. And there isn’t a moment to lose – the longer songs (in general my favorites) are often slowburning and tantric, spending minutes building to a big chorus or musical peak. Will Toledo, frontman and former-sole-member, is a master lyricist. The album is filled with hyper-specific lyrics that would border on being worrisome, if they weren’t so often tongue-in-cheek.

Chance the Rapper – “Coloring Book”

One of the only joys of 2016 was watching Chance’s meteoric rise to stardom. He used a spot on Kanye’s album to mention his forthcoming mixtape, and built it up so much that it had to deliver to keep his career going. Thankfully, it does, and more so. Although the album does see Chance slip into brief moments of contemplation or reflection on the evils of the world around him (especially in Chicago), it is largely a time for rejoicing and celebrating. Fun beats and funky rhythms bolster lyrics that hit a wide range of lyrics and emotions, but ones that are usually delivered in Chance’s infectiously gleeful attitude. Life can be a party sometimes, and Chance is here to remind us of that. So pure. We don’t deserve him.

Leonard Cohen – “You Want It Darker”

Cohen didn’t necessarily predict this album to be his last. Although in an interview he said he was ready for death, he later clarified that he meant he had lived a full life, and wasn’t ready – only to die a few weeks later. Whatever his intentions may have been, the album sees Cohen removing himself from social situations and prepping himself for death. The title track and “Treaty,” which comes up later as a reprise, seem like a demand to be taken by God. “Leaving the Table,” meanwhile, is the ode of someone reluctantly leaving. I’m still not quite sure what to make of this record. You do you, Cohen.

Crystal Castles – “Amnesty (I)”

A little bit before this album was released, I made a comment to someone about how I thought it was wrong for Ethan Kath to continue the band without Alice Glass. I was wrong – the replacement he found in Edith Frances is not only great, but provides a foil for what Glass’s strengths were. Frances is more than content to let her voice slip into the music, complementing Kath’s manic beats instead of fighting for attention. Not to say Glass holding her own was bad – it was just as good. But Kath & Frances did well to introduce a new singer by flipping the switch on the formula. The album’s most manic synth tracks are among my most-played of the year, and this album sits comfortably at my third most-played new album of the year. If you liked the old Crystal Castles, the new image is nothing to scoff at.

Dinosaur, Jr. – “Give a Glimpse of What Yer Not”

Dinosaur, Jr. are at their very best when they’re doing just punchy rock songs. Their 90’s albums set aside time for J. Mascis to experiment with other ideas, and it was never bad. But when the band is locked and loaded, they’re at their prime. “Give a Glimpse” is just that – eleven great rock songs. The band’s biggest problem in the past was overlong songs, even in some singles. But there isn’t a wasted moment on this album, which cuts downtime. It’s just great guitar riff after great guitar solo. As usual, Lou Barlow sings two songs, very well-placed on the album. And the lyrics, with some patience, are among the band’s better outputs, too. Mascis sings about loneliness as a constant theme, with Barlow’s two contributions fitting in. It’s one of the band’s best records yet, and a strong contender for my personal favorite of the year.

DJ Shadow – “The Mountain Will Fall”

Through 12 songs, DJ Shadow puts on just about 12 different masks. This album’s strength is diversity, and every song on this album is distinctly different from the next. The opener, titled the same as the album, is a somewhat soothing, slowly moving and wavy electronic song. The follow-up track features Run the Jewels. The album continues like this, with a serious unpredictability. Some have well-sought-out features, and some are just DJ Shadow. But the whole album is ear candy for anyone who respect Shadow’s deep record collection and love of music. The multitude of influences and ideas is on full display here.

Head Wound City – “A New Wave of Violence”

In 2005, two members of the Locust, two members of the Blood Brothers and a member of the Yeah Yeah Yeahs formed a noisegrind supergroup. In one week, they wrote and recorded an EP, and disbanded. In 2016, they reformed and put out a proper album. But with a decade of inactivity under their belt, the members had grown weary of noisegrind, and set their sights on traditional hardcore. Despite the name, and the lyrical content of some songs, it isn’t necessarily a dark record. There are love songs here. But there’s also volume, and violence. It is a deafening record, just one that has songs that take their time to get to that point. More than anything, the strength of this album is Jordan Blilie’s double-recorded vocals and their ability to pierce any setting. (My second most played album of the year)

Jenny Hval – “Blood Bitch”

Jenny Hval is a musician who escapes genre – even in writing about her, I struggle to call her avant-garde, noise, art-pop or ambient. She fits uncomfortably within all. It’s a space she has occupied for a while, but her new album further accentuates her standing as a conceptual artist. “Blood Bitch” is a concept album, one that equates vampirism (and cult exploitation and cinematic depictions) with menstrual blood. Every track on the album is about blood, and it never lets you get comfortable. But it’s important – especially for a male reviewer, like me – to face truths about what we do or don’t experience. This album does so in every way.

Iggy Pop – “Post Pop Depression”

If David Bowie’s final album took a tone of uncertainty towards his own legacy, his protege’s sure doesn’t. Pop’s probable final album straight up bemoans an Iggy Pop-less world in its title. Throughout the album, Pop hits every note from creepy love song, to introspective moodiness to poo jokes – his entire wheelhouse. It’s nothing more than a collection of songs, but each one is great. He’s joined by Josh Homme and Dean Fertita from Queens of the Stone Age and Matt Helders from the Arctic Monkeys, and the album is recorded in such a way that it sounds like each man is vying for attention. In reality, it’s four musicians clocked in and creating a raucous good time.

Alicia Keys – “Here”

Alicia Keys put her hair up and let her guard down on a totally rebranded album suitable for 2016. Keys has made many statements about women in her music, but never as direct as she does on “Here.” The songs are more diverse in tone, influence and even length than on a usual Keys album. Like other albums this year, especially Solange’s “A Seat at the Table,” the album is framed around a narrative that emphasizes themes through spoken word skits and interludes. But more than anything, there’s a bunch of great jams here.

Lady Gaga – “Joanne”

When Gaga first arose, there was a need for a real change in pop music. Pop music demanded someone new and different. So Gaga donned a meatsuit and made music headlines. But now that time has passed, she can just be a performer now. A fool might forget that Gaga got to where she is based on the fact that she can sing; she has a voice of gold. “Joanne” showcases that – it’s not so much a Top 40 album as it is an album for both parents and teenagers to enjoy. There’s ballads and energetic tracks, in a more throwback lounge singer style. But it’s all Gaga, so it’s all worth it.

Nails – “You Will Never Be One Of Us”

Ten songs, twenty-one minutes. That sounds like a daunting record, especially before you take something else into consideration: the last track is over eight minutes long. The songs that come before it prove Nails to be one of the best crossover metal bands around right now. Their songs mix the rapidity of grindcore with the ferocity of powerviolence, into a mix of metal and punk that’s been done a million times – but never quite with the touch that Nails gives it. My vote for the loudest band in the world right now.

Nick Cave & The Bad Seeds – “Skeleton Tree”

“Skeleton Tree” is an album permeated with bad situations and unfortunate circumstances. Although Nick Cave had a personal tragedy after much of the album had been recorded, his grief still comes across like he walked into the studio moments after it happened. The prince of darkness spreads the idea of grief and forgiveness across a minimalist, difficult set of songs. It might just be the saddest album of 2016.

Phantogram – “Three”

Phantogram’s third album is a much more eclectic work than their previous album, a pleasing mix of the duo’s strengths – interesting guitar riffs, trip-hop and memorable lyrics – as well as some detours into newer territory. It doesn’t always work, but they take a more experimental approach, and hearing them leave their comfort zone is a pleasure. Each track is unique and most are some of the best they’ve done.

Radiohead – “A Moon Shaped Pool”

Based on recent output and general malaise from the band, it seemed like Radiohead might not have another classic album in them (or another album at all). But this album – which features multiple songs the band has played live for years, some decades – is the best the band has done since “OK Computer,” which is one of the best alternative albums ever made. Thom Yorke unfortunately split from his longtime partner, Dr. Rachel Owen (R.I.P., as she passed away very recently), and it inspired this incredibly somber, painful and dissonant work. Yorke shares his feelings with us, a departure from a band that usually works behind closed doors. Despite a disappointing title, it’s another Radiohead masterpiece.

Jeff Rosenstock – “WORRY.”

Easily the year’s best punk record belongs to Jeff Rosenstock, and not just because he’s listed as my religion on Facebook. His new album is primal – the A side is standard Jeff songs, bemoaning the changing of seasons, landlords, the closing of a legendary punk venue. And it’s all great. But the B-side, inspired by “Abbey Road,” is a collection of frantic, changing tracks that rarely last over two minutes. It’s as inspired as the best Bomb the Music Industry! records, and the most ambitious thing he’s ever attempted. And it should be noted – and has been – that it is entirely effective. It’s a punk album for people who love more than just punk.

Savages – “Adore Life”

Another strong contender for my favorite of 2016 is the sophomore album from the British post-punk band responsible for some of the most raucous shows of the year. The women in Savages took a step back from their riotous debut and leveled the playing field; this album is more thematically linked, mixing slower songs with huge climaxes with heavy, chugging guitar songs. The result is a cohesive, whirling record about love and loving life – even the bad moments, because there are many. The concept is a tricky tightrope but they pull it off throughout. (My most played album of the year! To be fair, it was released in January.)

School of Seven Bells – “SVIIB”

It’s fair to say that School of Seven Bells didn’t have a great run. Originally a trio, the band consisted of just one member when their fourth and final album came out. But Benjamin Curtis appears posthumously on the album, so the group is at least a duo. And what an album it is. Easily my favorite dream-pop release of the year, the album struck me in a way that other dream-pop albums – or bands – haven’t. This album is completely immersive, creating a dream-like state that makes it feel like you’re in the studio with the musicians. But, just as you really feel it, it gets taken away by a short runtime, and the dream is dashed. And it’s a great way for this group to bow out.

ScHoolboy Q – “Blank Face LP”

I’ll admit that I was surprised by this album. I didn’t know much about ScHoolboy Q, and while my limited knowledge of him being a profane rapper was correct, this album threw me a lot of curveballs. It’s a tonally and lyrically diverse effort, with honest and forward odes coupled with dirty rhythms and dirty lyrics. More than anything, it’s psychedelic, which isn’t a word thrown around in hip-hop too often. It’s a long LP, but there aren’t many wasted moments. C’mon TDE, where’s the ScHoolboy/Kendrick collab?

Solange – “A Seat at the Table”

One of the only people to upstage Beyonce this year was her sister, Solange. Unlike many of the year’s lengthy albums, “A Seat at the Table” is a flowing, consistently changing narrative that is as concerning as it is groovy. The album centers a handful of excellent R&B songs around spoken word interludes and short tracks, so no one idea sticks around long enough to feel comfortable. It flows like one long epic, centered around the struggles of black America today. It has memorable tracks, but it constantly disorients the listener. As I said in a different post: it’s an album meant to be enjoyed by many, but understood by some.

Vince Staples – “Prima Donna”

One of my favorite rap releases of the year is a brief, disturbing look into the psyche of Staples, one of the best young voices in the genre. The EP is unflinching, a few moments of unfiltered, uncomfortable moments like rapping about having “Kurt Cobain dreams” in a hotel. A full album of this material might be unsustainable, but in a brief dose, it feels like a bad trip down through our worst insecurities.

Swet Shop Boys – “Cashmere”

Heems and MC Riz joined together to create a quick, rapid-fire rap album that somehow flew way under the radars. Both men are at peak form, tackling racism conventions and the idea of being Indian in America. By signaling out Indian pop culture that’s big in America, like Zayn Malik, and Life of Pi, they highlight what life is really like. But it’s also fun, the duo wrote a bunch of quick bangers chock full of incredible lines and quips. Heems remains one of my favorite rappers, and he is as high-energy and funny-sad as ever here. A delight missed by most – pick this album out.

A Tribe Called Quest – “We got it from Here…Thank You 4 Your Service”

Another of the year’s best rap albums went to the only group who could truly save 2016, a group that hadn’t released an album this millennium. But they picked up where they left off – with an eclectic, jazzy, bluesy and pertinent rap record that throws away any masks and directly tells Americans what Trump’s America will be like. It only deepens the album’s impact when you learn that Phife Dawg passed away months before the album’s release. An upfront and necessary farewell from one of the country’s most important groups – we’re on our own now.

Kanye West – “The Life of Pablo”

I personally found Kanye’s seventh studio album to be like every one before it – hit-and-miss. But this time around, I have to admire his artistic ability. Kanye established himself as a true artist on this album, by ‘releasing’ the album, and then making frequent and consistent changes and additions to it on a streaming website. As a whole, it stands as art in a way no other album has. And also as a whole, it’s wildly inconsistent. Kanye’s best and worst desires are given in to. But the best tracks and the best moments outweigh the missteps, and even provide a few of the best songs to come out of West’s whole career, even if one of them is just a Chance the Rapper feature in disguise.

YG – “Still Brazy”

Another contender for my favorite rap release of the year is YG’s subtle nightmare, “Still Brazy.” The best tracks on the album are ones like “Who Shot Me?” where YG lets his insecurities filter through his usual tough demeanor. Unlike his debut, YG is imperfect here – not scared, but unsure of who his enemies are, and threatening to unload on anyone. But the album’s coda takes a serious and important left turn. The third-to-last track is the now famous “FDT,” which gets followed by two songs about police brutality. It’s a call-to-arms for the black community, to put down petty fights and turn to the bigger enemies.

The only albums I discredited from this list were Run The Jewels’ “RTJIII,” as the official release date lies in 2017, and Jack White’s “Acoustic Recordings 1998-2016,” as it featured some previously-released songs. There were also many albums I didn’t get to.

Check back in next year! If we make it that far.

-Andrew McNally

Radiohead Through 10 Videos

On the release of Radiohead’s ninth album and their two excellent new singles, I thought we should take a look back on some of the band’s best videos. They’re a cultural institution as much as any classic rock band, with one of the best singers and a pair of the best guitarists in modern music. They followed a legendary-status album with two more, and even their worst album is still a pretty solid rock record.

When you ask someone what they think the greatest music videos of all-time are, you may get some stock answers: “Sabotage,” “Thriller,” “Sledgehammer.” But it won’t take long to mention Radiohead. The difference from person to person is which Radiohead video they think is the best. This is because there has never been a band who has captured the meaning of their own songs in video form as well, and on such a consistent basis, as Radiohead. The sound, tone and emotion of their songs is delivered expertly in exciting and often surreal videos. This is not meant as a list of their best videos; far from it. I’m not even getting to “House of Cards,” “Paranoid Android,” “There, There,” or “Go To Sleep.” It’s a celebration of what makes Radiohead so damn good at their own visual arts.

“Daydreaming,” 2016 –

Radiohead’s newest video may also be one of their most direct, or at least directly related to the song. The video, directed by Paul Thomas Anderson, is six minutes of Thom Yorke walking through doorways into varying locales – kitchens, hospital rooms, the beach, and finally a frozen tundra. While maybe too reminiscent of Eternal Sunshine, the video has the look and feel of daydreaming. It’s nice that this is the video that came out right when I decided to make this post, because it has that direct music-to-video correlation that Radiohead nails almost every time.

“No Surprises,” 1998 –

If “Daydreaming” seemed minimalistic, then “No Surprises” seems downright cheap. Whether the video is a tense look at someone testing their own mortality, or just using the title to taunt the audience, it’s one of their best videos. If you haven’t seen it, it’s one long shot of Thom Yorke in some kind of chamber, water rising up to and over his head as he stares blankly at the camera. When he blinks, the water goes rushing beneath him and he gasps for air as the song continues playing. It’s alarming and a little scary, even if it’s one long, unchanging shot. The minimalistic quality matches the song’s tone, somber, even by the band’s standards.

“Lotus Flower,” 2011 –

This video is also minimalism pushed to the fullest (or emptiest?), but in an entirely different way. By 2011, Radiohead seemed to know that they had hit a legendary status and, as they grew older, felt like they didn’t have to prove themselves. “The King of Limbs” received pretty mixed reviews, but I love it because they’re not trying to make the artistic statement that all of their other albums strive for. That, in itself, is a paradoxical artistic statement. And to celebrate, the album’s only video is just Thom Yorke busting out his worst dad-dance moves in a big, empty room.

“Karma Police,” 1997 –

Arguably their best video, “Karma Police” is yet another work in fantastic minimalism. The POV shot follows a car moving down a pitch-black Southern road at night, catching up to some poor, unfortunate man, until he can make the tables turn. It’s an incredible slow-burner (pun intended), that adds tension by beefing up the mystery. And it’s one of their many, very Lynch-ian videos. I shouldn’t have to explain how the video relates to the song. Even though we have no context for the video, we can feel empathetic for the man being hunted, and the karma he delivers.

“High And Dry,” 1995 –

So if you’ve never seen a Radiohead video and you’ve just watched these four, you might think they’re the kings of understatement (and you might also think that Thom Yorke is the only member). But this video is downright cinematic. It is reminiscent of the then-recent Pulp Fiction, with the band sitting innocently in a diner while a key to a suitcase is passed through a pie to a different table but, unfortunately, the wrong table. This is maybe the only video that would probably benefit by the band not being there, but their presence does add some authenticity. It’s a beautiful but tense song, and it plays out perfectly in this Shakespeare-cum-gangster video.

“Pop Is Dead,” 1993 –

Speaking of cinematic qualities, Radiohead allowed themselves to slip into weirdness in their videos before they did in their music. Their first album, “Pablo Honey,” is easily the least exciting in their discography (even if it does have their only true hit). It’s a fairly standard early-90’s wannabe-grunge album, and although this song was a non-album single, it shows. The video even looks like Alice in Chains’ “Them Bones” video. But with Thom dressed up like a corpse, and a funeral procession moving in a serpentine fashion through a field, it has a strong David Lynch aura. They may have felt constrained on their first album, but this video shows it didn’t last long.

“Fake Plastic Trees,” 1995 –

On top of being one of the band’s most beautiful songs, “Fake Plastic Trees” has a certain childlike innocence to it. Thom’s vocals and the band’s music resemble a child learning the harsh realities of the world. The lyrics are notoriously cryptic – rumor has it they’re about abortion – but it doesn’t matter. The feel is captured perfectly in the video, with band members riding around like children in shopping carts and make a ruckus in a faux-grocery store filled with bright lights. This is a song that transports you back to your childhood just to make pain even worse, and the video emphasizes it even more.

“Burn the Witch,” 2016 –

Radiohead have had a love affair with animation – aside from this, their other new single, they also have the videos for “Paranoid Android,” “Go to Sleep,” House of Cards,” “Pyramid Song,” and “There, There.” All of them have animation of some kind, and all strikingly different from each other. Their new video continues this affair – with claymation. “Burn the Witch” is a pretty bleak video from the get-go, with an inspector surveying a town and seeing a witch being attacked, a hanging square and a massive effigy to be burned – only to be put in it himself. The strings in the song have a confusing impact, sounding equally joyous and shameless, and the video’s irrepressibly morbid tone plays off of both.

“Knives Out,” 2001 –

Michael Gondry hadn’t yet directed the as-previously-mentioned Eternal Sunshine of the Spotless Mind, but he brings the same feel to Radiohead’s 2001 single. The video, done seemingly in one-take, details a woman being operated on and her lover sitting close-by, while their history plays out on a television. They love each other, but we also see them battling with axes. It’s surreal to the fullest – at one point, Thom’s head is replaced with a heart that opens and absorbs a picture of her – equal parts creepy and heartfelt. The video establishes a whole world within seconds, and makes a brief song feel like a whole movie.

“Just,” 1995 –

My personal favorite Radiohead video. “The Bends” provided some of the best (see above), this one being even better than the others. It’s another take on minimalism, with a middle-aged businessman walking to work and suddenly laying down in the street. A man, and then a few people, and then a crowd, try to figure out what’s wrong with him, even though he demands they just leave him alone. Eventually he tells them, but not us, and we see the whole crowd laying down. The song is not-so-subtly-but-poetically about depression, and having a man – an everyday man, but not the face of depression – suddenly take to bed on the sidewalk is a perfect encapsulation of how suddenly it can come on. The intercuts of the band playing in an apartment overheard are unexpected, especially since the members who aren’t Thom Yorke have become notoriously absent from their videos.

Radiohead have worked with some big name people, and here’s to hoping it continues. Some bands can make memorable videos, and some bands can make videos related to the song, but not all bands can do both – and Radiohead have been doing both since 1993. Their excellent new album, “A Moon Shaped Pool,” is available now, and I cannot recommend enough that you pick it up.

Grammy Predictions: Who Will and Who Should Win

(Photo Credit: The Grammy’s)

Well, it’s that time of year again. It’s the time for awards to distract you from taxes and the bitter cold. And music’s biggest night is quickly approaching! With performances from Adele, The Weeknd, Kendrick Lamar, Justin Bieber, a David Bowie tribute from Lady Gaga, a Glenn Frey tribute from The Eagles and Jackson Browne and a Lemmy Kilmister tribute from Hollywood Vampires (the band that includes Alice Cooper, Joe Perry, and Johnny Depp), it’s bound to be an eventful night. While I cannot comment on every award, I’m presenting the major ones with my predictions, as well as who should win and who should have been nominated. The Grammy’s are notoriously unpredictable (remember this?), so if I get every one of these wrong, blame them.

Best New Artist: Nominees: Courtney Barnett, James Bay, Sam Hunt, Tori Kelly, Meghan Trainor

Will Win/Should Win: Meghan Trainor/Courtney Barnett.

Although Trainor technically isn’t even qualified to be nominated for this award – she was nominated for a major award last year – this is hers to lose. She’s an excellent songwriter and a talented performer, and does the kind of just-barely-biting-but-still-bubblegum pop that the Grammy’s love. Her album, uh, wasn’t great, though. Barnett deserves this award. Her debut full-length was a wholly original blend of 90’s guitars, Dylan vocal ramblings and suburban Australian apathy.

Should Be Nominated: Fetty Wap. Where was Fetty Wap?

Best Pop Solo Performance: Nominees: Kelly Clarkson, “Heartbeat Song,” Ellie Goulding, “Love Me Like You Do,” Ed Sheeran, “Thinking Out Loud,” Taylor Swift, “Blank Space,” The Weeknd, “Can’t Feel My Face”

Will Win/Should Win: The Weeknd, “Can’t Feel My Face.”

Unabashedly one of the best songs of the year, The Weekned brought semi-subtle darkness to the best rhythm MJ never moonwalked to. The song’s explosive bassline counteracted the lyrics, that sound like a love song, until you realize they’re about an inevitable cocaine overdose. It was the second biggest hit of the year!

Should Be Nominated: The utterly neglected Carly Rae Jepsen. Not for “I Really Like You,” but for the non-single “Run Away With Me.” It’s my blog, I can say what I want.

Best Pop Duo/Group Performance: Nominees: Florence & the Machine, “Ship to Wreck,” Maroon 5, “Sugar,” Mark Ronson & Bruno Mars, “Uptown Funk,” Taylor Swift & Kendrick Lamar, “Bad Blood,” Wiz Khalifa & Charlie Puth, “See You Again”

Will Win/Should Win: Khalifa & Puth/Swift & Lamar

This one is really tough. Swift, Ronson and Khalifa all stand a big chance. But I have to give it to “See You Again.” While I have made my thoughts on Khalifa known, it is a genuinely great song. It also has two benefits: one of the 10 YouTube videos with over a billion views, and a now very famous spot in a movie – used in Furious 7 to commemorate Paul Walker’s untimely death. Plus, it was shunned by the Oscars, where it failed to even be nominated in a category it was expected to win. That said, “Bad Blood” was one of the most entertaining songs of the year, and brought together two artists that are usually hesitant with collaborations, and two artists who are otherwise competing tonight.

Should Be Nominated: Selena Gomez & A$ap Rocky, “Good For You.” Selena was among many former Disney stars who went through a whole career reboot this year, and the lead single from her great (and aptly named) album “Revival” is a sultry and engaging duet. Now, frankly, A$ap doesn’t help the song, and when it was released as a single, his verse was cut.

Best Rock Song: Nominees: Alabama Shakes, “Don’t Wanna Fight,” Elle King, “Ex’s and Oh’s,” Florence & the Machine, “What Kind of Man,” Highly Suspect, “Lydia,” James Bay, “Hold Back the River”

Will Win/Should Win: Alabama Shakes, “Don’t Wanna Fight”

I will hesitantly say that this one is almost guaranteed to the Shakes. “Don’t Wanna Fight” is not only one of the bluesiest and spine-tingling sons of the year, it’s one of the most this decade. Brittany Howard’s booming vocals are reminiscent of Ella or Aretha, but it a modern-tinged setting. It’s one of the best songs of the year, and the type of thing the Grammy’s love.

Should Be Nominated: After frustratingly finding out that Royal Blood’s “Figure It Out” was eligible last year, I’ll say Courtney Barnett’s “Pedestrian at Best.” It’s one of my favorites from the year. It would go under Best Alternative Song, but that’s not a category.

Best Rock Album: Nominees: James Bay, “Chaos and the Calm,” Death Cab For Cutie, “Kintsugi,” Highly Suspect, “Mister Asylum,” Slipknot, “.5: The Gray Chapter,” Muse, “Drones”

Will Win/Should Win: just throw a dart at the list/anything besides these nominees

Muse’s album was terrible, Death Cab’s album was worse. “Kintsugi” was the only album in 2015 I couldn’t make it through. Slipknot haven’t been relevant in years. I cannot say I am overly familiar with the music of Highly Suspect or James Bay and cannot comment on them further, I imagine they’re talented acts, to share the bill with three outdated artists. I have to make a prediction? Ugh. James Bay probably.

Should Be Nominated: METZ. Motorhead. Viet Cong. More than anyone else, Marilyn Manson.

Best Alternative Album: Nominees: Alabama Shakes, “Sound & Color,” Bjork, “Vulnicura,” My Morning Jacket, “The Waterfall,” Wilco, “Star Wars,” Tame Impala, “Currents”

Will Win/Should Win: Alabama Shakes, “Sound & Color”

With all due respect to Wilco’s phenomenal album, this is again the Shakes’ to lose. I mean, it’s also nominated for Album of the Year, so it’s a surefire. Through and through, the best rock album of the year. Might as well take this time to highlight on of my favorite songs of the year, Tame Impala’s “Let It Happen,” which vaulted the album into nomination.

Should Have Been Nominated: How many times do I have to say this? Courtney Barnett, for “Sometimes I Sit and Think, and Sometimes I Just Sit”

Best Rap Song: Nominees: Fetty Wap, “Trap Queen,” Kendrick Lamar, “Alright,” Common & John Legend, “Glory,” Drake, “Energy,” Kanye West, Theophilus London, Allan Kingdom & Paul McCartney, “All Day”

Will Win/Should Win: Kendrick Lamar, “Alright”

As much as I want to see Sir Paul McCartney pick up a Best Rap Song award, I don’t see the Grammy’s giving this to anyone other than Kendrick. His album is filled with topical and devastating muses on the state of black culture, and “Alright” cuts the deepest. It’s a true rap song for the ages. That said, if Fetty Wap wins, it is well deserved.

Should Have Been Nominated: anything from Nicki Minaj’s “The Pinkprint.” How about “Want Some More”?

Best Rap Album: Nominees: J. Cole, “2014 Forest Hills Drive,” Drake, “If You’re Reading This It’s Too Late,” Dr. Dre, “Compton,” Kendrick Lamar, “To Pimp a Butterfly,” Nicki Minaj, “The Pinkprint”

Will Win/Should Win: Kendrick Lamar, “To Pimp a Butterfly”

Easy. This is a stacked category – really, these are all great albums – but Lamar is fighting T. Swift for Album of the Year, and none of these will stand in his way. His album is one of the greatest rap albums ever, and the Grammy’s owe him one from last time. That said, “Pinkprint” was my favorite album from last year, and a win for Nicki would be huge for her career.

Should Have Been Nominated: I don’t really have a true answer for this one so a personal pick, Heems, “Eat Pray Thug”

Record of the Year: Nominees: D’Angelo & the Vanguard, “Really Love,” Mark Ronson & Bruno Mars, “Uptown Funk,” Ed Sheeran, “Thinking Out Loud,” Taylor Swift, “Blank Space,” The Weeknd, “Can’t Feel My Face”

Will Win/Should Win: The Weeknd, “Can’t Feel My Face”

So, let’s get this straight. I still don’t entirely understand the difference between this and the next category, Song of the Year. From my understanding, it relates to the overall production of a song, not just the writer/performer. All that said (or not said), The Weeknd made the best damn song of the year, and although he has competition here, I’m pulling for the Grammy’s picking him. It’s truly one of the grooviest songs in years.

Should Have Been Nominated: There’s a million answers to this. Elle King? I love “Ex’s and Oh’s.” The production on Bieber’s album was excellent too, it’s surprising not to see him nominated in this category.

Song of the Year: Nominees: Kendrick Lamar, “Alright,” Taylor Swift, “Blank Space,” Little Big Town, “Girl Crush,” Wiz Khalifa & Charlie Puth, “See You Again,” Ed Sheeran, “Thinking Out Loud”

Will Win/Should Win: Taylor Swift, “Blank Space”

This is a surprisingly weak category, given all of the great songs that came out this year. Khalifa could easily take it, but I wouldn’t be surprised if the Grammy’s give Swift this award as a consolation prize (see below). It is probably the best song of the bunch, and Swift is deserving of at least some awards for “1989,” which really is a great pop album. Maybe the name she’ll be writing is “Grammy” or something, sorry, that’s, never mind.

Should Have Been Nominated: Although chart success does not necessarily equate award success, there is a conspicuous lack of both “Uptown Funk” and “Can’t Feel My Face” from the list. The Weeknd deserves this award. End all, be all.

Album of the Year: Nominees: Alabama Shakes, “Sound & Color,” Kendrick Lamar, “To Pimp a Butterfly,” Chris Stapleton, “Traveller,” Taylor Swift, “1989,” The Weeknd, “Beauty Behind the Madness”

Will Win/Should Win: Kendrick Lamar, “To Pimp a Butterfly.”

I saved this for last because I truly cannot decide if I think the Grammy’s will give it to Kendrick or Taylor. No discredit to the other nominees, who are all very deserving, but this is a two-person fight. There’s some factors here: 1) The Grammy’s love Taylor, who released what might be her best album yet, 2) The Grammy’s know they messed up by not giving “good kid m.A.A.d city” Best Rap Album in 2013, 3) “To Pimp a Butterfly” is a much better album than “1989.” I think it’s going to go to Kendrick. There will be upset if he loses, although Swift also deserves the award. But man, it’s been years since there has been an album as politically relevant and important as Lamar’s. Rolling Stone, Pitchfork, Vice, EW, Billboard, President Obama and me all agreed it was the best album of the year. If he doesn’t win this award, he’d better call for a permanent boycott of the Grammy’s. #GrammysSoWhite

Thanks for reading! Check back in tomorrow to see what I got right and what I got wrong. And tune in for next year’s coverage, to see how many awards Adele wins.

-By Andrew McNally

Best of 2015: Albums!

As my yearly best-of lists get comically later and later, I present my favorite albums of 2015. My Proper, Critic list can be found here, but this list is reserved for my exclusively personal favorite albums of the year. Songs from 23 of these 25 albums can be found in my previously-published 75 Songs of 2015 zenith playlist (#24 and #20 require outside searching, sorry). I am but one man and I did not make it to every album I wanted to in 2015; still, I listened to a big diversity of releases, and here’s my 25 favorite:

Well, almost. I have to honor five runners-up who didn’t make it: Grimes, Lightning Bolt, the Dead Weather, Cage the Elephant and Jenny Hval. Their albums are all worth mentioning, but I can only write about so many.

#25. Bully – “Feels Like” – This is an apropos album title, because it feels like 90’s alternative. The band can kick up the volume and anger when they want – see standout “Trash” – but they don’t rely on it for every song. Their ability to switch between indie and noise seems almost too innate for a young band. A beautifully talented group. Between you and me, I got to see them earlier this month, and they put on a hell of a show.

#24. Deafheaven – “New Bermuda” – With a title like “New Bermuda,” Deafheaven lead on that their follow-up to the perfect “Sunbather” would be another blackgaze album designed for indie kids. We were deceived. This is a black metal album, with 10+ minute songs and no breaks like “Sunbather” gave us. Deafheaven split the metal scene in half with their last album, and on this release, they’re pandering more to the purists than the newcomers.

#23. Meg Myers – “Sorry” – Myers falls somewhere in between pop and indie, as an unassuming singer armed with a guitar. The album is top-heavy, but early tracks like “Motel” and “Sorry” are some of the most desperate and emotionally affecting indie-pop songs you’ll hear all year.

#22. Father John Misty – “I Love You, Honeybear” – Father John Misty’s second album established the indie-folk singer as someone who isn’t one to shy away from jokes or uncomfortable topics. There’s so many songs about sex on this album (many of them graphic), that you’ll completely forget he was ever a part of Fleet Foxes. He’s vying for the role of class clown in the folk scene, although his album isn’t without serious moments too. “Bored in the USA” is an affecting ballad about America’s shortcomings.

#21. Jeff Rosenstock – “We Cool?” – Jeff Rosenstock, one-time singer of my all-time favorite band Bomb the Music Industry!, put out his first proper solo album and went on about 10 brief tours for it. Although the album has punk tracks like “Hey Allison!” and standout “You, In Weird Cities,” it also ends on some more rambling, other-worldly songs that wouldn’t have fit on any of the albums by Rosenstock’s previous bands. Is it maturity? Who knows.

#20. Vince Staples – “Summertime ’06” – Staples long-awaited debut album feels very laid-back, which is odd considering that it is overflowing with both rhymes and emotion. Staples crams his album full of guests, with everyone sticking lines in everywhere they can. The fact that its a double-album for no real reason contributes to the mood – Staples has a lot to say, but he gets it out quickly. Never have chill and frantic intertwined so well.

#19. Carly Rae Jepsen – “E*MO*TION” – Look, I love Adele just as much as the next person. But this year’s best pop album belonged to Carly Rae Jepsen. It’s a shame that no one in America bought it because we missed out on a real classic. The album, Jepsen’s second and first since “Call Me Maybe,” is just her having fun in the studio and trying on some different outfits. Sure, some work better than others, but it is fun throughout. “Run Away With Me” especially is one of the pop gems of this decade so far.

#18. Le1f – “Riot Boi” – After Macklemore stole the “Thrift Shop” beat off of Le1f’s “Wut,” it was expected that his first full-length would be angry. And it is, although Le1f keeps it contained. Really, it’s an avant-garde rap album. Le1f uses his standing as a queer rapper to make a rap album that stands out against any other album. It ranges between angry and content, but it’s always unexpected.

#17. Will Butler – “Policy” – If you’ve ever found a piece of an Arcade Fire song that’s unexpectedly fun or upbeat, it’s because of Butler. As the multi-instrumentalist in AF, and younger brother of lead singer Win, Butler doesn’t quite share in the band’s downtrodden emotions. He showed that on his debut solo album, a brief collection of fun indie-rock that’s brimming with comical and unexpected lyrics. There’s an innocence to his odes to “beating the shit out of some birds” and “pony macaroni.” It’s the most fun on an indie record this year.

#16. Motorhead – “Bad Magic” – No reason to fix what isn’t broken. On what proved to be Motorhead’s last album, the band marched on with yet another collection of hard-rock grooves. Songs like “Thunder & Lightning” rock harder than almost anything done by younger contemporaries. And as Lemmy’s last album, it’s a proper sendoff to an extraordinary career. Rock on, Lemmy.

#15. The Weeknd – “Beauty Behind the Madness” – After a few EP’s and a false-start LP in 2011, The Weeknd finally delivered the big-league album that was expected of him. Okay, it does bleed over with casual misogyny, certainly, and that can’t be overlooked. But he also made sure he didn’t center the album around a few singles. “Can’t Feel My Face” and “The Hills” both became #1 hits, but every other song on this album could’ve done just as well. “Earned It,” has, in fact, picked him up an Oscar nomination.

#14. FIDLAR – “Too” – Man, FIDLAR got less fun. But it’s okay, because people have to grow up. And after their self-titled debut (one of my all-time favorites), some traumatic things happened behind the scenes. Their sophomore album was written and recorded amidst tragedies, and it switches between “drugs are fun!” and “drugs are bad.” It isn’t coherent, but it leaves messages both ways. The album’s first four tracks show the band’s full width, and are four of the best songs in their catalog.

#13. Death Grips – “The Powers That B” – According to Spotify, Death Grips was my most-played band of 2015, which is, well, embarrassing. Death Grips is only exciting on first listen of under the age of 17. But their “””final””” album (they have another coming out soon) is still a great listen, especially in the latter half. The album was split into two sides – the disappointing “Ni***s on the Moon” and the enthralling “Jenny Death.” Both sides have great songs (and both sides have Bjork), but the second side has standouts like “Why a Bitch Gotta Lie” and the excellently-titled “I Break Mirrors With My Face in the United States.”

#12. Viet Cong – “Viet Cong” – One of the most hotly debated bands of the year released an undeniably great debut album. With excellent tracks like “Continental Shelf,” “March of Progress” and “Death,” it’s easy to see that the post-punk band mean trouble. The songs jump from catchy to grainy to discordant in no time, like post-punk quartered and sliced. Unfortunately, their damn name has cost them. Change your name, guys, please change your name.

#11. Torres – “Sprinter” – I didn’t know anything about Torres jumping into this album and, based on critical acclaim, expected an indie-folk singer. What I got was far darker. One of my favorite songs of the year, “Strange Hellos” literally starts the album with a song about dementia. The album follows with songs about missed connections and identity. The album also continuously gets lighter, from guitar crunch to acoustic ballads, like someone fading away.

#10. MisterWives – “Our Own House” – I had the opportunity to see this band play three years ago in a hole-in-the-wall NYC club opening for Pyyramids, and was so taken aback that I wrote their name down in my phone. Two years later, their song “Reflections” is racking up Spotify plays. Their debut album is a piece of gorgeous indie-folk, with varying influences. Mandy Lee’s voice drives the band, a sweet and unique voice that fits any mood. I usually don’t care for the lighter indie fare, but I make exception for MisterWives.

#9. Wilco – “Star Wars” – About a decade ago, Wilco was dragged through such a hell that they really don’t care anymore. What I mean is that they titled a new, free album “Star Wars,” knowing there was a movie coming out months later, with no proper permission to use the phrase. Wilco have always fought titles, and just as they were starting to settle into a “dad-rock” phase, they fought against it. This is their shortest album, and filled with their shortest songs. They feel comfortable in guitar blasts and quirky little tunes that feel like older Wilco. It’s nothing revolutionary, but when Wilco is great, they’re great.

#8. Heems – “Eat Pray Thug” – The first solo album from Heems sets up amazing parallels. He is a native New Yorker, a city he loves more than anything. But he is also Indian, and as he watched the towers fall from a classroom on 9/11, and after learning about the ethnicity of the terrorists, he knew NYC would never love him back. The album is equally political and funny, and full of parallels between humor and seriousness. Rappers tend to be rigid in their image; Heems aims to be the direct opposite.

#7. Nerina Pallot – “The Sound and the Fury” – British singer/songwriter Nerina Pallot has been continuously putting out stellar releases for years, and her new album is no different. Compiled largely from recent EP’s, the album switches courses on almost every track. “There Is a Drum” has a haunting Tibetan rhythm, “Rousseau” is a simple but effective guitar track and “The Road” mixes in some other cultural influences. It is a tremendous indie record from start to finish, and I’m going to do my damndest to get her known here in the States.

#6. Sleater-Kinney – “No Cities to Love” – Sleater-Kinney originally disbanded around a decade ago, partially because they felt their message was becoming outdated and partially because they didn’t want to tarnish their legacy of seven excellent albums. But they’re back, as politically energized as ever, and with another great release. It was no accident that the album was released early in January, with opener “Price Tag” heralding a miserable but sweaty ode to the economy. The girls haven’t missed a beat since 2005 and really, they’ve only become more important.

#5. Peach Kelli Pop – “Peach Kelli Pop III” – Peach Kelli Pop is the project of Allie Hanlon, who’s three albums under the moniker only stretch to 63 minutes. This album, 20 minutes total, sounds just her like her first two. It’s the direct mix between hardcore punk and mermaid imagery. Ostensibly, it’s power-pop, but really it’s ultra-fast punk songs set alongside bells and girly-girl vocals. There’s nothing else really like it. It’s only fitting that she covers the Sailor Moon theme song. Catchy at it’s catchiest.

#4. Courtney Barnett – “Sometimes I Sit and Think, And Sometimes I Just Sit” – Courtney Barnett had high expectations going into her debut album, and she didn’t disappoint. The Australian singer/songwriter blends an incomprehensible mix of early Dylan and Pavement. She muddles her way through existential and empty odes to suburban Australia, seemingly disconnected to the music around her. But a closer listen proves that’s not the case, as Barnett really sticks her poetical words in every spot she can, around the music. It is crunchy, existential, 90’s alt at it’s best.

#3. Alabama Shakes – “Sound and Color” – The best rock record of the year was also my favorite. The band’s 2012 debut was an excellent Southern rock record, but the follow-up saw the band exploring their own influences. The band blisters through punk and avant-garde, among other stops. But the Shakes are at their best when singer Brittany Howard is howling above everyone else. “Don’t Wanna Fight” is one of the best vocal rock songs of the decade, at the very least. This group can switch from fun punk tracks to sending chills down your spine at a moment’s notice.

#2. Kendrick Lamar – “To Pimp a Butterfly” – This is a subjective list, okay? It’s #2, sorry. Still, this is one of the best rap albums ever produced. Lamar starts many, many storylines here that he doesn’t entirely finish. He raps about Compton, about his childhood, about depression and addiction, about police brutality, about rap itself. And he twists and turns all of them as the album goes on. It features almost no guest stars, but does include Snoop Dogg, and invokes Tupac, telling of how Lamar knew this album would be perceived. There’s nothing to say about this album that hasn’t been said already – he’s the greatest of our time.

#1. Nicki Minaj – “The Pinkprint” – Technically this album came out in 2014, but it’s release came alongside my lists then. Honestly, this is one of the most diverse and open rap records I’ve ever heard. It’s got older, flashy Nicki in “Anaconda,” and it’s got newer, mature Nicki in “All Things Go.” It also hits every point in the spectrum in between. There isn’t a weak track, and not even a weak moment on this album. Ballads like “The Night is Still Young” sound just as good as bangers like “Trini Dem Girls.” I’ve listened to this album so, so many times this year and I urge you do the same. Nicki has been through heaven and hell, and puts them both on record. In five years Nicki has become the highest-grossing female rapper of all-time: here’s why.

Great comedy releases:

I usually do a separate piece for comedy records and specials, but frankly, there wasn’t many released in 2015. So here’s a rundown of the seven comedy releases I paid attention to in 2015:

#7. Sara Schaefer – “Chrysalis” – The former co-host of Nikki & Sara Live put out her first true stand-up album, and although it might rank last on my list, it’s still absolutely worth a listen. Her bit “Pumpin’ Pussy Like Gas” had me in stitches on John Oliver’s stand up show on Comedy Central a few years ago. The twenty-track album is full of brief musings on sex, love, tattoos, and teenagers.

#6. John Mulaney – “The Comeback Kid” – Mulaney’s previous special, “New In Town” is my all-time favorite comedy release, audio or video. And although he doesn’t quite live up to his peak, his new special hits all the right marks. His stories are longer here, but the standouts are his memories of working for a start-up with a really, really old, quirky boss, and a closing story about the time his mother tried to bed a young Bill Clinton.

#5. Brooks Wheelan – “This is Cool, Right?” – It takes a real stand-up to make an album that’s actually comprehensive, and that’s what Wheelan has done on his first try. Wheelan, as you might not remember, was a cast member on SNL for one season. The best bits on his album cover New York, his time living there and his time on the show. He ends by mentioning all the pitches of his the show rejected (a 9/11 one elicits massive groans from the audience even in Madison, Wisconsin). The whole set seems to be aimed around youth in a way, with the title emphasizing that Wheelan is still new at this, just give him time! Honestly though, this is a great stand-up album.

#4. Jen Kirkman – “I’m Gonna Die Alone (And I Feel Fine)” – The title says a lot. Kirkman’s last album, “Hail to the Freaks,” was a mix of introspective-cynicism and reflective-optimism, as she had just gotten married. Four years later, she’s divorced and more famous than before, and her cynicism hits far more deeply. Kirkman’s stories about other married couples, children and hooking up with a 20-year old drummer are among the best material she’s ever done.

#3. Eugene Mirman – “I’m Sorry (You’re Welcome)” – Perhaps the most innovative comedy album ever produced, this 9-disc, 4 1/2 hour odyssey is like nothing else ever made. The first disc is actual stand-up, with great riffs on religion, hipsters, and the internet. It also includes the stories of the time Mirman got a parking ticket in New Hampshire and took out a full-page newspaper ad to fight it, and the time he got mugged in Mexico by police, alongside Michael Stipe. The other discs? One is voice mail messages, one is sound effects, one is orgasms, one is basic Russian, one is the effects of hard drugs presented through music, one is a full-body massage in audio form, and one is just him crying for 45 minutes. The zenith is available on LP, CD, and in the form of a chair or a robe, both with the MP3s embedded and, for one fan, a puppy.

#2. Ron Funches – “The Funches Of Us” – As a cast-member on “Undateable” and the all-time winning-est guest on @midnight, Funches capitalized a huge 2015 with an excellent debut album. At the album’s best, Funches presents himself as an innocent, relatable comedian. His big laugh and giggly attitude make him seem like the snuggliest comedian in the land. But he also occasionally goes into dark territory, making jokes at the expense of his autistic teenaged son. No, we probably shouldn’t be laughing, but Funches is able to show us how much he cares through his jokes, even if they are dark. Rarely do we feel warm and comforted through stand-up, but Funches is able to do that.

#1. Kyle Kinane – “”I Liked His Old Stuff Better”” – Kyle Kinane’s sharpest special sees him slowly creeping into a middle-aged life. Kinane is uncomfortable, with the aches his body makes now, and reminisces on old parties. With all of the innovative comedy albums this year (and the youngsters releasing debuts), Kinane was able to blow them all out of the water with a sharp and cynical-but-not-mean take on the differences between youth and whatever it is that comes after. Also, all of the track titles are based off of the tracks on “Straight Outta Compton,” so, one extra point there.

Thanks for reading, maybe next year I’ll have my 2016 best of out by St. Patrick’s Day.

Best of 2015: Songs!

Now that it’s halfway into January, I finally have time to do my personal best-of lists. As a critic, I’m obliged to do a “Best Of” list, but that can be viewed over here. Here is my “best of,” list, less capitalized, less formal. Posted right below is a Spotify playlist of 75 songs that I loved from 2015. It’s not in order of love, but ordered to make a nice playlist. I was originally going to make a 50-song one but there were too many songs I was leaving out (quick shoutout – I finalized this playlist and realized I forgot Selena Gomez’s “Good For You,” I love that song, so 76 songs). Under the playlist you’ll find a spelling out of my top 25 with a short description. Listen at your leisure.

Top 25 Songs of 2015! (Relative. Take with a grain of salt.)

#25. “I’m a Ruin” – Marina and the Diamonds – This is an utterly tragic, introspective look into personal failures. As Marina sings about the inevitability of ruining someone in a relationship, we feel it. With a big chorus and a guitar rhythm that masquerades as catchy, this song doesn’t shy away from emotion.

#24. “Thunder & Lightning” – Motorhead – Lemmy’s last album on planet earth gave us this parting gift, an angry, raging song against…ambition? It doesn’t matter. This is premium Motorhead, and an unexpected final track from an ambivalent legend. Wherever you are, Lemmy, rock on.

#23. “Dreams” – Beck – Beck’s follow-up to the Grammy-smashing “Morning Phase” is proving to be funkier, with this single. Although lengthy, “Dreams” is an energetic jam like 90’s Beck. Unlike 90’s Beck, it’s focused and polished, ready for the radio.

#22. “Switchblade” – Holy White Hounds – I know nothing about this band/artist, and I only came across this song on western Massachusetts rock radio (in between Seether and Disturbed, probably). What I do know is that it’s a cool, innovative rock song that uses the provided instruments very well. I don’t know where this person or these people are right now, but I bet they’re wearing leather jackets.

#21. “In the Clouds” – Diamond Youth – The band responsible for my favorite song of the emo revival (“Cannonball”) put out another solid song in this pop-punk track. While their debut album was middling, this song from the album’s mid-point is a strong vocal track, layered over gaze-y guitar.

#20. “In the Night” – The Weeknd – One of 2015’s biggest breakout artists put out an album full of bangers. This was my personal favorite, as The Weeknd channels his inner Michael Jackson in a song about pain. Even a song as dark as this did well on radio – because the Weeknd is that good.

#19. “Truffle Butter” – Nicki Minaj (feat. Drake, Lil’ Wayne) – One of my favorite albums ~~of the last year~~ ever is Nicki Minaj’s “The Pinkprint.” This track was only on the expanded version but served as the fifth single. It’s one of the least subtle songs on the whole album, especially when Lil’ Wayne raps about a woman snorting cocaine off his penis. That probably didn’t happen, but who cares, it’s a fun song.

#18. “Price Tag” – Sleater-Kinney – The opening track to Sleater-Kinney’s comeback album is about, well, the economy. Sl-K always had a political message, and in the 10 years since their original departure, it’s welcome to see they’re still angry. It’s a raging pseudo-punk song with a brutal chorus. If they weren’t angry, what would Sleater-Kinney even be?

#17. “Feel Right” – Mark Ronson (feat. Mystikal) – Throughout his career, Mark Ronson has made an effort to bring other musicians into the mix, especially ones that might be out of their comfort zone. But “Feel Right” digs deep, bringing long-lost Mystikal back into the fold. On one level, the song is creepy, knowing Mystikal served time for sexual battery, but on the other hand, it’s a groovy song that shows an underappreciated rapper at his prime. Your call.

#16. “Sometimes” – Heems – “Sometimes” served as a mission statement for Heems’ first proper solo album, “Eat Pray Thug.” Unlike other rappers, Heems serves to point out differences and paradoxes in his own life. The album – which will be in my top list – serves as two parallels. Heems loves New York, he was a student when he watched the towers fall on 9/11. New York doesn’t love Heems, an Indian man. The whole album sets up a political parallel, but in “Sometimes,” Heems examines what it’s like to be human. Very sad and very funny, which are congruent, and exactly the point. Catch the topical ‘Mad About You’ reference.

#15. “WTF (Where They From)” – Missy Elliott feat. Pharell – If this is a song of what’s to come on Missy Elliott’s first album in 11 years, then rejoice. The song is a rapid-fire attack on ~~Miley Cyrus~~ young girls who appropriate black culture, with Pharrell in his truest form. Make way, Missy is back.

#14. “Sucker” – Charli XCX – This song stands as my favorite opening track of 2015, a surprisingly tough competition. No one can open an album like Charli XCX – “If you wanna bang, well fuck you, sucker.” Its just a great, energetic pop banger through and through.

#13. “The Metal East” – Lightning Bolt – The band Lightning Bolt has been going strong almost as long as I’ve been alive, and their 2015 album “Fantasy Empire” showed no signs of stopping. “The Metal East” is a ripping noise-rock song designed to make you sweat and let me say, I’ve seen it done live, and it is loud and magnificent in every single way.

#12. “Run Away With Me” – Carly Rae Jepsen – One of the best pop songs of the year wasn’t released as a single, and it kills me that I don’t know why. Although her sophomore album sold well in England and her native Canada, it didn’t in America, and we missed out on a real masterpiece. Please, buy E*MO*TION.

#11. “Motel” – Meg Myers – Rarely is indie-pop this affectionate. Actually, that’s not the right word to use, because this song is downright existential. Over relatively simple music, Meg Myers is able to transform a simple tale about someone holed up in a motel room into a sad tale. Throw in an audio sample of a 23 year old Townes Van Zandt interview, and you’ve got yourself the saddest pop song of the year. Myers’ voice in the background of the song is going to rip through your spinal chord.

#10. “Acetate” – METZ – Although their second album doesn’t stand up to their first, Canadian noise-rockers METZ put out their best song with “Acetate,” an extremely metrical and sweaty song with just a hint of a groove to it. Unlike some of their non-stop songs, this one has a lengthy breakdown section that leaves the ending pummeling you even harder. Coincidentally, I just saw this band last month, with opening act…

#9. “Trash” – Bully – …Bully! This might be from a debut album, but the folks over in Bully sound weathered. Namely, they sound like they ate nothing but Dinosaur, Jr. and Pavement records for breakfast. Their debut album alternates between alternative and more noise elements, but “Trash” is the most abrasive of the album. Alicia Bognanno’s screamed vocals propel the song into very angry territory.

#8. “Lampshades on Fire” – Modest Mouse – The first album from Modest Mouse in nearly a decade was subpar, but the leadoff single ranks among my favorites of their career. An environmentally-friendly single rocks with a steady beat and a vocal rhythm that could only belong to Isaac Brock. Modest Mouse at its best.

#7. “Don’t Wanna Fight” – Alabama Shakes – The most emotionally charged rock song of the year came from ‘Bama, with Brittany Howard’s vocals howling above the rest of the song. An ode to a troubled relationship, the band draws emotion from volume and intensity, escalating a quiet beat into a wholly consuming tune.

#6. “Figure It Out” – Royal Blood – I think this song technically came out in 2014, but I first heard it in the latter half of 2015. Inspired by bands long gone, Royal Blood have crafted a near-perfect ode to garage rock, but with better production. “Figure It Out” is like the best part of Foo Fighters mixed with the best part of Count Five. Bring it on.

#5. “Death” – Viet Cong – The longest song in this playlist, this 11+minute odyssey is post-punk at it’s finest. The band, lambasted for their offensive name, still put out an impressive debut, culminating in this noisy epic. It is an aural assault, with repeated guitar rhythms being driven into the brains of the listener. The closing song of the year, listen to as much as you can.

#4. “Let It Happen” – Tame Impala – One of the most sonically engaging songs of the year, Tame Impala’s intro to “Currents” is like this generation’s “Blue Monday.” This song builds even as the vocals disappear, into a sonic abyss, carrying a ship throughout. I cannot overrecommend listening to this song with headphones – it’s a journey. Without full engagement, it’s background music.

#3. “Pedestrian At Best” – Courtney Barnett – Courtney Barnett had a career year in 2015, releasing an acclaimed debut and a flurry of great singles. This is her at her best, no strings attached. Poetic lyrics that alter between apathetic and angry mix over Malkmus guitar rhythms, resulting in a song thats far more fun than it should be. Like the 90’s? Listen to this.

#2. “Flesh Without Blood” – Grimes – Grimes went for gold in 2015, finally releasing her follow up to “Visions,” after scrapping a whole other album. Although the album was inconsistent, certain songs struck out, namely the first single. At first, I was somewhat cold to it. But it got stuck in my head almost immediately and still hasn’t left. With a pop-punk bassline and ambivalent vocal line, it’s a song to pay attention to. The nod between “Remember when we used to say……./………I love you almost every day” is utterly devastating in its dual meaning.

#1. “King Kunta” Kendrick Lamar – Look, “To Pimp a Butterfly” is one of the greatest hip-hop albums, ever. No ifs, ands or buts. The album’s mission statement was also my favorite and most played track of 2015. It’s funky as hell, which drives the song through the political and introspective lyrics. The album has a bunch of different messages, and they all come into play on this song. It’s a whirlwind of political, social, and personal remarks to America, with looks at Compton, Kendrick as a kid, Kendrick as an adult suffering from depression and a premonition of the Drake/Meek Mill beef. There’s simply no one like Kendrick working today. In any genre.

(Also a quick post-posting shout to “Magnets” by Disclosure/Lorde and “<” by Waxahatchee, which originally sat at #25 and #24 before I realized I had forgotten “Trash” and “Acetate”)

If you don’t want to sparse through my 75 song playlist to hear these, then listen here:

An Intimate Night With the Greatest Punk Band That Ever Was

Whomever said punk is a young man’s game is sorely mistaken. Last night, I got to see Television live, and even in 2015 they absolutely crushed it. I’ve been doing some thinking lately, nothing more than shower musings, about who I think is the best band in each genre of music, the one that defines it the most. I haven’t come to many conclusions, but one that I did come to was that Television was the best punk band. Sorry, Clash. The band’s attitude and style is what did it, but they convinced me as much in 2015 as they would have in 1976.

Punk, as I have come to understand in my years transitioning from Rancid to Patti Smith, is more a spirit than a genre. It’s not necessarily about anarchy and destruction, though a part of it. It’s about doing what’s unexpected, unwanted; breaking the status quo. Iggy & the Stooges did this in Detroit, so did the MC5. They rallied against the sex, drugs and blues-rock and roll of the time in the same way Black Sabbath did. They upped the volume and came out angrier. The Ramones changed the game again by setting a template – power chords, 2:30 songs with apathetic or political lyrics. This template is still in place today – everyone from NoFX to the Dropkick Murphys to FIDLAR follow this format in some way. But that’s the problem – it’s a format. Punk, itself, has an incredibly tired and ironic template to it.

Television was one of a few CBGB’s bands in the late 70’s that seemed to foresee this template problem. Blondie and the Talking Heads added pop elements, and took off a whole new genre. Patti Smith was setting her spoken word poems to music. Television looked less at the music and more at the template – short songs, fast, loud music, and did away with all of it. Their classic album “Marquee Moon” is marked with slow-burners, tracks over (or well over) five minutes, and long, technically proficient guitar solos on every song. A virgin ear might mistake them for a classic rock band living in the wrong part of the city. Their songs are restrained, but the band has an energy to them – noticeable on the very first chord of “See No Evil” – that says they can run with the big dogs, they’re just choosing not to.

Tom Verlaine’s lyrics, making allusions to poetry and art (the Venus de Milo, for instance), didn’t stand on the same platform as, say, “I Wanna Be Sedated.” Maybe Television was in the right place at the right time. Or maybe, when we look back at them today, we still consider them a punk band because their music demands so. Technically remarkable lead and rhythm guitars interlock across albums, with Verlaine’s and Richard Lloyd’s tension almost palpable. And with the general lack of guitar distortion, and a clean, jazzy sound, it was the purest of music. It was what the other bands weren’t doing. It was punk.

I truly had no worries about Television ruining this legacy for me. I knew that if they couldn’t sound great live, they wouldn’t tour. And they delivered, from a performance standpoint – next to nothing was changed in the songs. At first I was disappointed in the lost opportunity for longer solos, but then I remembered that their albums aren’t punk statements, they’re works of art, and fine art should not be tampered with. And as such, their setlist consisted of every song off “Marquee Moon,” out of order. Verlaine played piano sections on his guitar, muting his strings to sound like piano keys. And on a number of songs, he self-indulged and plucked and warped the strings to sound like a one-man string section. I couldn’t wrap my head around it and I still can’t.

The crowd was as diverse as expected – fathers and sons, lost young scuds like me, and older burn-outs. A man in front of me who could have passed for Hilly Kristal wore a Patti Smith Group sweatshirt and jammed to every song like it was his 200th time seeing the band, gleefully ignorant of the 35+ years behind him. To the right of me was a pretentious 30-something who played air guitar the whole night, despite having a drink in one hand and his other arm over his girlfriend’s shoulder.

But aside from the performance, Television delivered in the punk spirit as well. Permanent Lloyd stand-in Jimmy Rip came out in a bowl hat and beard that looked like a high-dollar Tom Waits Halloween costume. Verlaine, in an unzipped hoodie that may have been a size too big (he hasn’t gained a pound since they shot the “Moon” cover). The setlist consisted of “Marquee Moon,” but the encore was pure unpredictability – “Little Johnny Jewel,” a cover of Count Five’s “Psychotic Reaction” (always a staple of their live show), and an unreleased track called “I’m Gonna Find You.” Their second two albums “Adventure” and “Television” were left untouched. The show itself had an aura of unpredictability – opener Dennis Driscoll performed with an improvised saxophone, courtesy of Morphine’s Dana Colley, and his set ran long. Soon into Television’s set, someone behind me yelled to turn the bass up, to which Verlaine pointed to Fred Smith and said aloud, “Move closer to him.” Verlaine was louder when he was talking to the audience than when he was singing into the mic, the vocals lost in the music. And in the encore, when they were transitioning between “Reaction” and “Find You,” a game being played by an excruciatingly bored security guard on his phone was audible. For a show with 65+ year old men on stage, in a small but classy venue and a randomly assorted audience, a punk spirit still came through. The Ramones may have passed, the Sex Pistols riddled by death, the Clash riddled by maturity. But for one night, the spirit of 1976 came through, if only briefly. Television, keep doing your thing.

-By Andrew McNally (photo credit is mine)

Post-Grad Music Reviews

Music Reviews from an overanalyzing junkie. Submissions for LPs and EPs are open! amcnal817@gmail.com

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