Helloooo everyone! Welcome to INAUDIBLE’s15th (almost) annual BEST OF list. Perhaps a bit more abbreviated than years gone by, but brevity is the soul of wit.
So please, grab your headphones, hit your vape, and have a lil listen…
TOP 25 ALBUMS of 2024 (in random order)
(click on artist and album title to sample some tunes)
Less late-night dancefloor, more rainy day introspection, Dark Portrait is Elina Shorokova aka Soela’s most accomplished album to date. After solid releases on Kompakt, Dial, and Shall Not Fade, she joins the Scissor & Thread family and pushes her sound into exciting new territory.
Featuring her own haunting vocals, beautiful production, and stalwart guests like Lawrence, Module One, and label head Francis Harris, this is definitely one to get lost in after dark and during the colder months.
I hadn’t listened to any of her earlier records, but My Method Actor by London-based musician, Nilüfer Yanya was an instant crush for me, with its Sade meets radio friendly 90’s light grunge feel.
I’ve returned to this one again and again, it continues to sound fresh after repeat listens, plays out super well as a full album, and I’m constantly impressed by her great songwriting and effortless guitar hooks.
Prolific rapper/producer, and darling of the DMV, Oddisee, just does not quit. He’s been hustling for twenty years now and keeps on getting better. Seeing his live Christmas show in D.C. with his band Good Compny was fantastic.
He called up local artists in the crowd to come on stage and do a track, and the concert played out like a history lesson of who’s who in the D.C. hip hop scene. Loved the live show and this breezy EP builds off of last year’s excellent album, To What End, with a focus on R&B tinged hip hop to great success.
She’s been in the game for way more than a minute, but thanks to TikTok, Tinashe landed the song of the year with “Nasty”, and saw her underrated star finally catapult into the major leagues. Quantum Baby is a victory lap, building off her equally great BB/ANG3L from last year. It features a tight 30 minutes of her signature evocative R&B smooth jam stylings, once again tapping Nosaj Thing among others to provide fantastic production with tons of low end bass.
I saw her in a Ray Ban commercial with James Blake and Anderson .Paak a few months ago, and then I saw her do her thang in Vegas on New Year’s Rockin’ Eve, so you know it’s only up and up up up from here on out for Nashy.
The Dublin boys shoot for the stars and go BIG and glossy with their fourth full-length, Romance. I really liked early single “Starburster”, with that crazy inhale moment during the chorus from Grian, but I resisted the whole album once it dropped and didn’t listen to it until the fall. On the first couple of spins, I couldn’t believe how “nice” it sounded, the edges were so soft, the vibe was super melodic, it had some Oasis feels, and I wasn’t sure what to make of it all – but then it became a sort of soundtrack to our move from Montreal to Washington, D.C. and I became obsessed with it, as with all their previous releases.
I saw them on their Skinty Fia tour and I have tickets for when they come back to D.C. this spring, so I am excited to see this further evolution of their sound live. Keep goin’, lads!
Vince Staples’ newest record, Dark Times, treads down the same low-key but super introspective path of his last two releases, but for one reason or another, this is the first album of his that’s caught my complete attention since 2017’s Big Fish Theory. It’s an immersive, personal listen that I have returned to again and again, and I feel like his flow is starting to sound more like Devin the Dude the older he gets, which is definitely not a bad thing.
Another one of my most jogged to and shout aloud hooks of the year comes from standout jam “Little Homies”, when Vince crows: “Life hard but I go harder!”
Nate Amos, one half of indie royalty, Water From Your Eyes, records solo stuff as This is Lorelei, and put out a grab bag of catchy lo-fi songs this year on Double Double Whammy, that are super fun and earwormy and at times remind me a lot of Alex G.
I bought tickets for his show in January but lamely skipped it because it was on a Monday and I was cold and tired and had to work early the next day. Oh well. He seems to be maximizing all that youthful energy because he tours a ton and records even more. I’ll go see him next time, and hopefully his creative streak doesn’t end anytime soon! Great stuff.
Founder of the great West Mineral Ltd. imprint, Brian Leeds aka Huerco S. aka Pendant aka Royal Crown of Sweden revives his Loidisalias for an early oughts throwback LP of patient, shimmering minimal and dub techno and it absolutely slays.
Leeds has shown us time and time again that he’s of the absolute best in the electronic scene, no matter what moniker he’s using. Soooo good.
Mr. Prolific, Bryan Müller aka Skee Mask puts out so much gosh darn new music it’s hard to keep up.
And holy cow, I don’t know how the heck he does it, because it’s pretty much all amazing, whether it’s random hard drive dumps, short EPs, or full-length propers. And with Resort, we get the full spread: blissed-out breakbeats, lucid-dream techno, ambient haze, and gauzy downtempo, all easy enough to put on as background or get completely immersed in. The choice is yours, it’ll be great either way.
IDLES’ track “Mother” from their debut, Brutalism, is one of my favourite songs to jog to. I like to put it on in the last kilometre or so of the run for that extra boost of bombastic fuck you fuck yeah energy to help keep me going. I also really like to scream out the lyrics to the chorus on the street lol.
With Tangk, their fifth studio album, we see the blokes following a pattern I have seen time and time again with UK bands that put out a heavy as fuck first record: slowly shift their sound to something more palatable and dare I say, radio friendly. Foals, Fontaines DC, and Shame (just to name a few), all veered more melodic with each release, and IDLES have followed suit.
But it doesn’t matter, because I love it. This is my fave album by them and my most listened to record of the year. It’s still got all the grit and grime even though the edges are a bit polished, and I’m fine with that.
Elevating, uplifting and beautifully arranged, alto-saxophonist, Jasmine Myra‘s sophomore album Rising, builds on the success of her breakthrough Horizons, but kicks it all up a subtle notch.
Produced by Gondwana label head Matthew Halsall, Rising strikes a similar chord to Halsall’s Journey-era Alice Coltrane aesthetic, and it’s an album I just keep going back to. Super smoooove.
Infused with hip hop, Afrobeat and polished amapiano drums, South African star Tyla’s debut record is pure pop novocaine. This album makes pop music sound exciting to me again – even the overplayed, Grammy winning, “Water”, a song so ubiquitous you’ll hear it at the pharmacy and then again playing in the car next to you at the red light. Definitely one of my most jogged to albums of the year.
My fave tracks are “Breathe Me” and “No.1” ft Tems and “PUSH 2 START”, but it’s all good vibes and I am all ears for it.
Diamond Jubilee plays out like a fever dream – disparate fragments of melodies and memories all mashing together to create one truly dazzled sensation. This whole album feels timeless. It could have easily been a lost classic discovered in the archives of some defunct studio from 1976.
At 32 tracks, and two hours long, it’s a lot, and I am still getting to know this record myself, but every damn time I put it on, I feel relaxed, and I feel nostalgic for things just outside of my grasp. It’s weird, but I feel like I’m a handsome teen again, listening to a CD I got in the mail from Columbia House in 1992 that wildly exceeds my expectations.
This is Pat Flegel aka Cindy Lee’s magnum opus and swan song, their mic drop record, which originally was only available to download on Geocities or via a junky YouTube stream. After the non-stop praise, it’s finally been pressed on vinyl and available on streaming services.
If I had to pick one absolute AOTY on my list, I think it’s this one. So much to get lost in over and over. Scroll through the comments on the YouTube link and see all the praise for your self. It’s wild.
Robert Carlos Lange’s Helado Negro project has been floating on a cloud since his slow-burn masterpiece This is How You Smile came out in 2019. 2021’s Far In saw him expanding his songwriting to ever groovier heights, and Phasor sees him somewhere in the middle of those two records, and the end result is an effortless listen of subtle yet addictive electronic pop.
Well, I sure listened to this one a lot. Dom and Kai go shoegaze post-rock with The Sunset Violent, and it ticks off a ton of aural boxes in both of my clogged ears. Adding two new members to the group, they have now effectively become a band, and left behind the “post dubstep” sound they helped carve out 100 years ago.
Some fans are still asking for the Mount Kimbie of old, but I think this album has some fantastic songwriting, gritty guitar hooks, and great vocals, including two hot takes from King Krule.
The ever consistent Kieran Hebden, releases his 12th album under the lauded Four Tet moniker, and quietly reminds us he’s a GOAT with his quirky knack for melody, texture, and intricate rhythms on a record that plays to all of his strengths, which by now, are many and multi. Album opener, “Loved” should be enough to hook you with its classic electronic BOC drum pads and lush synth lines.
Whether he’s putting his ear to the dancefloor or way up into the blue sky, Four Tet is always pure class and always worth a listen…
This is actually a 2023 release, but I didn’t start listening to it until January 2024. Doesn’t matter because Swells went on ultra-heavy rotation on my morning commutes basically until the spring thaw. So many bangers on here, as well as, really wonderful songwriting. “Love Me A Little” may be the kitchen dancefloor jam of the year.
What makes this album sing, is that K-LONEdoesn’t just focus on loops to build his tracks, so they feel a bit more complex – a song can completely shift mood halfway through, but it only makes his music stronger overall.
Bottom line: Swells is an expansive record that looks to deep house, synthpop, and leftfield R&B for a winning collection of melodic electronica.
Wow, what an effortless flex from two hip-hop legends that already had nothing left to prove. Reminds me of the post-Phife Tribe record, We Got It from Here, and how surprised and impressed I was at how goddamn good of an album it is.
Common and Pete Rock give us hip hop in its absolute purest form. Check it toute de suite.
Saccahrine and groovy post-rock jazz from the Danish duo courtesy of Gondwana.
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All right then, friends! We made it to the end! Yesssss! Miss you and love you all. Happy 2025. Be good. Be honest. Be vulnerable. Keep sifting through all the muck, and keep your ears wide open.
Hello world! Hello universe! Another spin, another list! Better late than never, right? So let’s get down to it, shall we? Welcome to INAUDIBLE’s 14th almost annual BEST OF LIST!
Montreal ambient drone king, Tim Hecker, released his eleventh full-length album No Highs this year on the stalwart Kranky label, and it’s an unsettling yet soothing listen. It’s a contrasting juxtaposition of sounds and swirls that immediately drew me in and had me playing it every morning for a month while writing.
I remember telling my friend Mike that it kept a low-level anxiety churning in my gut at all times while listening, but it also made me feel calm and allowed me to be super productive. Songs slowly build in mood and depth and there’s barely any release as similar motifs play throughout the duration of the album, but once you allow yourself to get lost in the greyscale ambience, it’s easy to want to stay put.
L.A. based artist, Laurel Halo, has released music on Hyperdub and Honest Jon’s, and has resisted classification over the course of five albums, yet over her last two she’s embraced a more ambient modern classical sound, and Atlas showcases her strongest music to date.
The album begins conventionally enough, with a subdued surge of strings that might not sound out of place on a Stars of the Lid record, but as the album expands, it becomes stranger — competing string passages swell and bleed into one another, deep in the murk piano chords clang like far off church bells. It feels like you’re standing outside the venue only hearing the muffle, or in a grand hall wandering about trying to find the room where the music is coming from.
In this sense, it reminds me a lot of The Caretaker’s amazing album, An empty bliss beyond this World from 2011, and I can’t think of a more glowing comparison. Atlas is definitely an album I can put on and decide to pay attention to or not. It can comfortably fade into the background or open up into so much more for the careful listener, however, there are moments such as the crescendo in “Belleville” that demands your attention or makes you pause from whatever it is you’re doing to acknowledge its beauty.
Born and based in Cape Town, South Africa, Gonubie is an interdisciplinary artist with a background in fine art and architecture. Known in the Cape Town dance scene as DJ raresoftware, her Gonubie project finds her taking a break from the beats and the dance floor, finding her inspiration in nature (namely the Gonubie River), and crafting a beautiful ambient record.
Like Atlas, I can also tune in or tune out to Signals At Both Ears, but the music ebbs and flows like the soft moving current of a river or stream. Working with short synth loops, melodic chimes, and samples, Gonubie’s music offers calm in a world seemingly in gross disarray. Give it a whirl.
Berlin-based, Peruvian producer Sofia Kourtesis showed listeners what she was capable of over the course of several EPs on the Studio Barnhus imprint, but with her debut full-length Madres on Ninja Tune it all comes into high relief.
This album has received a lot of hype and praise and I’m happy to say it’s all worth it. I hate terms like “instant classic” so I won’t use it, but Kourtesis hits the ground dancing and she doesn’t let up the whole way through. There is joy in these songs, ready for you to embrace as you close your eyes, tilt your chin skyward, and shake your big fat asssss goddammit. Shake it hard, my friends. Shake it good. No matter where you may be.
There’s lots of talk about embracing spirituality and her mother’s illness online for you to read about which adds depth to the album’s narrative, but from a strictly “house music” standpoint, this album feels timeless to me — I hear Villalobos, Akufen, Luciano, 2000’s Kompakt, Sutekh, Apparat, and early Axel Boman, just to name a juicy handful.
Kourtesis is already on the bill for Mutek Barcelona, so my fingers are triple-crossed that she also makes it to Montreal this year, because to be able to lose myself to “El Carmen” and “Habla Con Ella” on a sweaty dancefloor would be absolutely delightful.
A Peggy and D.B. collaboration at long last! Revitalizing Danny Brown’s drugboi status and making him sound as stoned and fresh as ever.
JPEG brings a DIY-lofi-asf production style to the project that only makes it sound even cooler in my opinion. There’s a punk rock aesthetic that permeates throughout the whole album. I dare you to listen to those dirty guitars in “Garbage Pale Kids” without hard-bopping your head.
Many have complained that Danny’s voice is too quiet and mumbly in the mix but I don’t mind, you just have to work a bit harder to decipher what the fuck he’s saying (pro-tip: it’s prolly about drugs or pu$$y).
Danny’s debut XXX is still one of my favourite hip hop albums of the last 15 years, and although Scaring The Hoes now feels like an amazing outlier among his recent releases, as his Q-Tip produced album from before and his just released Quaranta don’t feel as urgent to me, Danny Brown is still one of the most unique voices in the game.
I’ve always been impressed with Peggy’s music, but also always found it hard to digest an entire album, but thankfully this one just works. Lots to enjoy and jam out to here, from more soul-based beats to spastic crunk shizzz. Check it.
This album originally came out in 1986, so it’s definitely not a 2023 album, but it’s one that has been on steady rotation since I discovered it this summer. I’ll have to thank the algorithm for this one, because I had never heard of Gigi Masin until I clicked on “Similar Artists” while listening to an album called Light Patterns by David Horridge and Kevin McCormick (more on these guys later).
And as soon as that slow pulse synth beat begins in “Call Me”, I was enraptured. The same synth line is used in the next song “Tears of a Clown” as well, just kicked up a few bpm’s, and it’s even more enveloping.
There’s a meditative quality to this record, while some songs evoke Eno and Budd and New Age, others mix in tenor sax adding an experimental jazz touch. There’s also some definite influence on Aphex’s and BoC synths. After some research, I realized Masin is also in Gaussian Curve, which have two lauded releases out on Music From Memory. He has an enormous discography, so I’ve got loads more to discover, but his debut Wind from 1986 is an absolute quiet stunner and comes highly recommended.
Darren Cunningham returns as Actress, with the beguiling LXXXVIII on Ninja Tune. Cunningham’s M.O. hasn’t changed much since Splazsh came out over a decade ago, nor does it need to — he’s still deftly using spliffed out eclectic melodies and piano tinkle melded avec uber hazy beats that skirt with the dance floor as well as your favourite spot on the couch.
Covid made a lame comeback into my entire family’s life this Christmas holiday, and while I was isolating (until we realized it was too late and I’d already spread my holiday cheer to everyone), I pretty much listened to LXXXVIII exclusively — while reading, while finishing up some very late grading, while staring out the window or napping, it was my soundtrack.
The percussion, bass, and subtle melodies are all on point, and I love how the album jumps from beat-based tracks to wide-open ambience. With song titles like “Memory Haze”, “Chill”, “Hit that Spdiff”, and “Green Blue Amnesia Magic Haze”, I think you get a solid sense of where Cunningham is trying to take his listeners. He’s playing here in Montreal at Le Ritz in February and I am ready to experience the haze. Yes!
Over the course of their last four albums, Yves Tumor has evolved from amorphous noise experiment to full on glam rock star. Although a part of me still yearns for Safe in the Hands of Love era Yves, this is their most accomplished and fun work to date.
Mining the sound of 90’s rock radio, Prince, and MBV, Praise A Lord is ambitious in scope, but what clinches the deal is that it sounds so fantastic. The guitars sound like James Iha is playing side by side with Kevin Shields thanks to the tight as balls production by Noah Goldstein (he’s worked with everyone from Frank Ocean to Bon Iver to Rosàlia). Praise A Lord is probably my most jogged to album of the year.
This is the third time Yves Tumor has made my end of year list and seeing their live show this year was fantastic. I am interested to see which direction they will push the Yves Tumor sound next…
Well, you won’t be able to find this album on your preferred streaming service anymore, thanks to an ugly fallout with FXHE label head Omar-S. You can read about his shitty behaviour here, but suffice to say Omar went from Detroit success story to techno tastemaker to cancelled turd. Bleh.
But no worries, King Milo, Milf Melly, and 47Chops, the three rapper-producers that make up HiTech won’t have any trouble finding a new distributor for their gritty, hilarious, ghettotech party record, Détwat.
Détwat is the trio’s second full-length, and it deftly uses frenetic 808s and a grab bag of crate-deep samples to kick off the raunchiest club night since the heyday of Detroit techno. It reveals the steady evolution of the Detroit sound and showcases some of the freshest artists currently reppin’ the D.
You just have to hear it to believe it, but probably my favourite line from any song this year comes from the aptly-named “POCKETPUSSY”, in which the chorus rings: “I think I might . . . I think I might buy a Fleshlight!”
The lyrics are ratchet, grimy, and funny as f. The beats are spastic, catchy, and designed for booty shaking. This was my second most jogged to album of the year. Only up and upwards for these next-gen Detroit ghettotech heroes . . .
London based, eight-piece jazz crew, Kokoroko, released their debut full-length in 2022 on Gilles Peterson’s Brownswood label, and I was a little bit late to the party. Glad I made it though, because this band takes me back to my formative undergrad jazz boogie heydays.
The album features Afrobeat, soul, funk, smooth jazz, and highlife all melded into one singular steady ass groove. As a bass player, man, does Kokoroko’s bass player, Duane Atherley know how to hit deep in that smooooth pocket. Not to mention: the horns are so infectious, the guitar and synths absolutely on point, the percussion masterful.
As you may have noticed, my musical tastes are varied, yet what I feel like I stopped listening to the most over the last twenty years is music that made me joyful, or simply made me feel real darn good inside. I was a massive fan of Jamiroquai in their prime, no shame. Why? Because their music made me happy, it had a fat ass groove, Jay Kay’s voice was Stevie and Michael at once, and man, could you ever dance to it.
As a moody indie rock teen, I was a wallflower and shoegazer, too cool to be seen letting my guard down and vulnerably shaking my fat ass. Jamiroquai and acid jazz and hip hop helped bridge the gap to techno and house and all things dance floor. Now, fuck it y’all, the world is my dance floor, and good lord, this old buck’s got some real nice swanging hips! Shiiiit! Watch out! And goddamn, if Kokoroko doesn’t hit that groovy wheelhouse sooo nice.
Seems only fitting after Kokoroko to talk about this baby banger, Sault’s 2020 release Untitled (Rise). Sault came out of nowhere in 2019 and put out so many albums in such a short period that I felt overwhelmed. Many friends rec’d one album or another, but I didn’t quite know where to start, so I didn’t bother . . . until 2023.
It was actually the new Little Simz album NO THANK YOU that made me want to check them out, since it’s produced by Inflo, defacto head of Sault. So I sort of randomly chose this album to start. It was evening in the kitchen and opening song “Strong” started and within 30 seconds, my kids Sylvia and Simon, were up and dancing around, and then so was I and Kat.
“Strong” is a truly amazing song. Propulsive bass, Quincy Jones guitars, uplifting vocals, and that marching drum breakdown and kick back into the chorus — oh myyyyy — the kids go bonkers! And ding ding ding, there it is! That joy I’m talking about. Pure simple joy for its own sake. Dancing in the kitchen with my kids while the water for pasta boils over on the stove.
Them simple pleasures are becoming the most meaningful.
And shit, that’s just the first six minutes of the album. The rest is equally just as molten hot. So many grooves and emotions packed tight. This is music for the resistance. Music that says fuck you to racism and fuck you to close-mindedness. Music to move your mind, body, and heart. This is a nod to all the great Black musicians that came before and will come after.
And shit, it’s just one of the 10 albums Sault has released in the last five years. Good heavens, this music is fire.
billy woods second album collab with LA beatmaker, Kenny Segal, is a high watermark release for him, and my favourite hip hop album of the year. This is old-head shizz for sure, and it’s not an easy listen, but it sounds positively melodic compared to woods’ heavy Armand Hammer release this year with ELUCID.
Kenny Segal’s beats venture from boom-bap to piano looped jazz to dark apocalyptic. The production on “Year Zero” and “Hangman” is so grim it borders on post-fall dystopic (I just coined a new term lol). It makes the beats on El-P’s Fantastic Damage sound like K-pop.
woods’ songs rarely dole out a hook, and his rhymes are often metaphorical and super cerebral. There’s a creeping sense of paranoia throughout. He remains suspicious of many things: of gentrification, technology, our post-pandemic world, of sell-out rappers, and the true intentions of his friends, but he’s a storyteller who creates laser sharp images that ring as clear as any great poet.
On opening track, “Kenwood Speakers” woods is at a dinner party at a neighbour’s newly renovated apartment, drinking “natural wine”, eating a fancy meal with “capers” and “sprigs of thyme”. He keeps turning the music up little by little during the dinner, and whispering “mischievous lies” in the host’s ear all night. And then the song ends with the host’s fate: “I hear they found him in the morning / Hose run from the exhaust pipe.” Fuck yeah. What an opener.
On album closer, “As The Crow Flies”, the song’s last verse ends with woods wondering about mortality, as he pushes his son on the swing at the park, and fast forwards through his thoughts on the trials and worries of fatherhood, and then he anti-climactically mic drops the closing line: “I watch him grow, wondering how long I got to live” as a light and airy jazz piano tinkles softly in the background and the and the album slowly fades out to nothing . . .
Pure class. Listen to all the songs in between those two tracks and see for yourself how damn good Maps really is. Fire guests on here too: Aesop Rock, ELUCID, Quelle Chris, ShrapKnel, and Danny Brown.
Kevin McCormick put out an album with fellow Manchester musician, David Horridge, called Light Patterns in 1982. It was a quiet success at the time, but slowly disappeared into obscurity. Thanks to Smiling C Records, the album received a much needed repress in 2022 and brought these two musicians back into the light.
2023 sees Smiling C putting out never-released solo material from both McCormick and Horridge, and I enjoy both of their solo albums even more. Sticklebacksconsists of a series of bedroom demos McCormick wrote in between 1984-1987, and sheds the acoustic sound of Light Patterns, instead adopting a swelling electric palette to explore different moods. These songs are a shift towards a more sparse and ambient style, and their hazy, repetitive movements create plenty of space for some subtly evocative melodies.
McCormick’s songs are gentle and evoke a feeling of peace, there’s a pastoral countryside motif that runs through his song titles – coves, lakes, mountain tops, church bells, evening drives, and feeling lonely in a crowded room are all inspirations here, as McCormick leans hard on the delay and various sub-octave pedals to make it sound like you’re listening to more than just one guy and his guitar.
I can’t tell you how many times I’ve listened to Sticklebacks and David Horridge’s A Journey Within, Wind by Gigi Masin and Surround by Hiroshi Yoshimura as a makeshift playlist while working, reading, and writing this year. The music by these artists basically create my ideal sonic mood — full ambience, a little electronic, a little guitar, deep bass, some synth and soft drone — it all hits my brain cloud jusssssst right.
Like McCormick’s Sticklebacks, Journey Within, is David Horridge’s unreleased bedroom studio recordings from 1982. The album is barely a half an hour, but it packs quite an emotional punch as every second of the EP is a gem.
Horridge’s playing comes in the form of well-timed melodies and carefully placed bass lines. Nothing is forced or rushed, and each movement really sits with whatever mood he’s trying to build. The album’s greatest strength is in creating a peaceful, hypnotic vibe that allows for a completely relaxed listen. He really knows how to lay down some great bass in the mix, especially in penultimate track “Dark River”, which may be my favourite song of the year. I just love the way it makes me feel like I’m floating a few inches above myself, and each time the little bass lick comes in it pulls me back down to earth.
There’s a bunch of labels out there like Smiling C, Music From Memory, Light in the Attic, and RVNG Intl, that are exposing modern listeners to a treasure trove of forgotten classics, and for me in 2023, 1982-1987 seems to be my aural sweet spot.
So much absolutely wonderful music coming at me this year from several timelines at once. 2023 had me looking back but also ever ahead, stubbornly optimistic that 2024 — the Year of the Dragon — is going to be consistently exciting and incredibly memorable.
Yves Tumor brought the freak to Montreal and played to a sold out crowd at Metropolis on Sunday night (I will forever feel weird calling it MTELUS).
I had tickets to see Yves in April 2020 and was super bummed when the early days of the pandemic shut it down. Slow forward three years, two albums later, et voilà, finalement, Yves en spectacle à la belle ville!
Touring in support of their biggest album to date, Praise a Lord who Chews but Which Does Not Consume; (Or Simply, Hot Between Worlds), Yves and bandmates came on stage ready to glam out and get the Sunday night party rollin’.
I started the show on the balcony, cozy on a stool, but by the third track of their set, “In Spite of War”, I ran downstairs and jostled my way through the crowd until I was close to the front. And it was perfect timing, because they played “Jackie” from The Asymptomatical World EP next, a track I love, and it seemed to be the moment when the show truly clicked for everyone on stage.
Yves has compiled one heck of a backing band to elevate their live show. Chris Greatti on lead guitar may have been the unsung star of the night, looking like 80’s era Eddie Van Halen up there, just shreddin’ with a smile. Bassist and vocalist, Gina Ramirez is Yves secret weapon, a double threat – she’s an awesome bass player, and every song she does backing vocals on is fantastic. Her voice on “Lovely Sewer” off of Praise a Lord, was a definite highlight, as was encore explosion, Kerosene! Her singing was a bit muted live, and could have been pushed up in the mix a bit overall, but I could say the same thing about Yves voice too, it was often muddled in all the distortion. But maybe that was the desired effect…
I know Yves is really trying to work the whole “rock star” thing, but I loved when they played “Noid” off of 2018’s Safe in the Hands of Love, which was the only song that displayed their more electronic and experimental side, and had Yves warbling through three different microphones all hooked up to pedals to great effect. I would have liked to hear more of that stuff too.
But they played every track off the new album that I wanted to hear, and for me the best stretch was “Meteora Blues”, “Interlude”, “Parody”, and “Heaven Surrounds Us Like a Hood” (which created a mosh pit in its end stretch). Overall, it was an absolutely fantastic live show, even if the sound was a bit wonky at times.
However, if I can make one (potentially salacious) critique: I was expecting more from Yves. I was expecting a larger than life freakshow persona, like the amorphous shapeshifter displayed on their album covers, a front person who is explosive, enigmatic, entrancing, and magnetic, but honestly in the end, I found Yves a bit wooden. Maybe it is supposed to be more high art, a strike-a-pose style vibe they are going for, but I couldn’t help thinking about their own lyrics a few times: “parody of a pop star … is this all just makeup?”
But at the end of the day, a minor complaint, I still loved the fuck out of the show, and as I’ve said numerous times on this sad blog, when an artist on Warp Records comes to town, you always know they’re going to turn it out.
Hello no one! Hello everyone! It’s time to try this again for the sake of posterity. I mean, how else will I ever remember what the heck I listened to in 2022? Let’s crack on then….
Welcome to the 13th edition of INAUDIBLE’s end of year list!
Are you surprised to see a William Basinski album on my list? Somewhere on the internet, someone wrote: “Basinski’s been making music for 30 years now, but somehow managed to put out the best album of his career with this quiet alliance with Janek Schaefer.”
Spanning eight years of long-distance collaboration, Schaefer and Basinski assemble twinkling piano, waking birds, tape hiss and warm drones that play out peacefully for three quarters of an hour, leaving this listener at ease even in dark times.
Three tracks, 20 minutes of near perfect IDM/deep reggaeton, or to put it simply, good ol’ fashioned electronica. Brian Piñeyro aka DJ Python aka Luis aka DJ Xanax seems to only get better and better with each release. He’s had a prolific year putting out collabs with Ela Minus, releasing EPs under both Luis and Python monikers, and dropping some killer remixes, mastering the ability to mine emotion out of machines.
Every track on this EP is something to get lost in, but my personal fave is “Club Sentimiental Vol. 3” for those gorgeous synth lines that make you feel like you’re floating above it all for four minutes, above the stress, anxiety, exhaustion, tedium, above the storm, way up above the clouds where there’s only sunshine.
DJ Python is playing in Montreal in February with Anthony Naples and heck yeah I’m excited for the show, it is sure to be a good’n.
I’ve always had a soft spot for Brit rock. Bands like Bloc Party and Foals blew me away when I first heard them. Silent Alarm by Bloc Party and Antidotes by Foals still kick ass fifteen (or more!) years later…
Even Oasis. I will never forget the first time I heard “Wonderwall”. I was 16, very stoned, and in the back of Dave Tedesco’s car driving around on a Friday night. The song came on 89X (local radio station) and when that drum kick came in, oh boy, my heart expanded three times its size. Still love that song, and I do not care what anyone says or how overplayed it is or how ridiculous those brothers are or how many open mic night hacks have sullied it’s wonder even further into shit.
I was late to the Fontaines party, not listening to Dogrel when it came out, despite or perhaps in spite of the hyperbolic reviews. But once A Hero’s Death dropped, I was immediately swept into their sound from the opening bass line and that album was a constant in 2021 during jogs and stroller walks with my son, Simon.
The Dublin lads third full-length, Skinty Fia, shows them opening up their sound palette a bit, adding more melody and harmony but still being total punk rock. Some listeners may not like the shift, but it totally works for me, and seeing their live show at Corona in Montreal this spring was just awesome. Their energy was infectious and seemingly limitless. Must be nice to be in your early twenties lol.
Fave track: “I Love You” – it reminds me of high school and a “they almost made it” local band called Soyl.
Yep, another list, another Freddie Gibbs album. The Space Rabbit dropped his major label debut and switched up his one producer format, working with an eclectic mix of musicians and achieved excellent results.
We’ve got Alchemist, Raekwon, Rick Ross, Offset, Kaytranada, Anderson .Paak, and the hugely underrated Scarface. Not to mention Pusha T, James Blake, Musiq Soulchild, DJ Paul, and more still. Yet even though it’s super varied, it flows really well, all tied together with voice messages from (some questionable?) guests. I’ve found myself getting happily lost in its vibe on many occasions, surprised even at how often I wanted to listen to it again and again.
I like Gibbs best when he gets personal (check “Grandma’s Stove”), and with each record he’s showing more and more vulnerability, talking about his actual life rather than just his thug lyfe — but don’t worry, there’s still plenty of that flex on $$$ for all y’all too.
One of Traumprinz’s many aliases, this album was released in 2018, but I didn’t get into it until this year. High off the quarantine albums under his The Phantasy and DJ Metatron monikers, I decided to go back and give this record a listen, and I’m glad I did, because it is now one of my favourite electronic albums of all time.
No joke. Like up there with SAW2 and Music Has the Right. Nothing 2 Loose is that darn good. Beautifully melancholic, transformative, and able to transport its listener to places they never knew.
“We Are Going Nowhere” is my personal fave, an endlessly hypnotic pulsing heart of a song, goddamn it’s so visceral.
It’s incredible that Traumprinz’s identity is still unknown and that his music is sold only on vinyl and in very limited runs. There’s plenty of myth-making involved and maybe that’s part of the allure, but at the end of the day, he is an artist that has always allowed the music to speak for itself, and I love him for that.
Montreal based artist Phoebé Guillemot aka RAMZi has been quietly building buzz for half a decade now releasing records on Mood Hut, 1080P, and Rvng Intl. With hyphae, RAMZi pushes her sonic boundaries even further, creating an album full of gentle beats and melodies to get absorbed in.
It is definitely an album I can put on and decide to listen to or not. It can comfortably fade into the background as mood music or open up as so much more for the careful listener. It reminds me ofan album by The Irresistible Force on Ninja Tune that I loved from like 25 years ago (dang we getting old now, sheeeeit). It has a similar low-key vibe throughout.
hyphae was recorded between November 2021 and May 2022, and began as an attempt to transcend boredom and frustrations imposed by severe restrictions in Quebec during the pandemic (remember 8 pm lockdown for 6 months anyone?), and is based around sketches she originally made as a score for a documentary about mushrooms called Fun Fungi. I should probably watch it tonight.
I missed her free show at MUTEK this year, but I’m sure I will see her play somewhere in Montreal in 2023.
23 year old, North Carolina rapper, MAVI released his second album this year, and it finds him bringing a poetic, intellectual vibe to hip hop, different but not unlike Earl and MIKE, yet perhaps more easily digestible than Earl thanks to a less fractured delivery and smoother beats. Still, the whole album feels covered in a haze of weed smoke, and provides a perfect soundtrack for stoned head-nodding on the couch.
MAVI is a real Renaissance Man, because when he’s not writing rhymes he’s studying Neuroscience at Howard University in DC. I expect his star to only shoot higher in the next few years, and I was bummed to see he’s skipping Montreal on his upcoming tour. Oh well, maybe next time, svp Mav?
Some of the best musical landscapes to get lost in this year, and all thanks to who? The Queen: Céline Dion.
Elusive UK group, Romance, use Céline as their muse, and take her music, slow it down, flip it upside down, pull it apart, grieve its loss, and then painstakingly put it back together again. And in the process, they somehow take the syrupy 90’s ballad format and transform it into a surprisingly emotional modern classical ambient album. Like OPN or Malibu, Romance can eke out all them sad-boy feelings.
Take the first track for example, a patient drone, an occasional reverb heavy piano loop, and Dion’s voice pushed into slightly irregular registers – either just too low or just too high – singing “Have You Ever Been in Love?” Sounds like a recipe for a cheesy disaster, but instead plays out like a Harold Budd slo-mo dream sequence.
The closing track, fittingly titled, “Crying is the Only Thing That Gets Me Through” is the clear show-stopper, working a Stars of the Lid vibe, but the whole album is worth checking out. And apparently, there’s a follow-up album now too.
There is virtually zero info aboutsrwnonline, except that they are a duo from Paris, France. I was tipped to this EP on a music site I frequent, and I liked it from the first track. It has that smooth lo-fi deep house vibe pulsing throughout that I am an eternal fanboy for.
Brooklyn musician, Yaya Bey, released my fave album of Badu-style RnB jams of 2022. I was a big fan of Jazmine Sullivan’s Heaux Tales last year, and North Star has a similar smooth neo-soul vibe, not to mention, a candid sexuality.
Effortlessly listenable, and perfect for the start of a party or the end of one. I am looking forward to seeing what Bey does next…
Atlanta’s JID releases his third proper album, and it plays out like a history lesson of hip hop music. Coming from the ATL, one of rap’s meccas (Outkast, Killer Mike, Migos, Young Thug, Playboi Carti, Future, 21 Savage, just to name a few), JID was my students most rec’d rapper of the year, and it was for that reason that I decided to check him out.
And I’m glad I did, because he’s got bars for days, slick production, and a smooth cadence to his delivery that I enjoy. He’s only going to blow up from here.
Stephen Wilkinson released his tenth album as Bibio, and offers up a sort of retrospective of the varied styles and genre flips he’s done in his career. The Bibio project has been shape-shifting for almost fifteen years now – from folktronica to glitch hop to yacht rock to ambient drone with many other deviations in between, and with BIB10, we get a smattering of it all.
That isn’t necessary a great thing, as there’s more than a few tracks I have to skip (bad jazz and cheese rock in middle of album) but there’s enough music on this album that I really enjoy. For example, the outro of “Rain and Shine” may be some the prettiest and wistful music of the year, and “Lost Somewhere” was ear-wormed in my head for weeks.
I really enjoyed his last two more pastoral folk leaning albums and so I find those type of tracks the strongest on BIB10. Still he’s one of the most consistent artists on Warp’s roster and never afraid to take chances — thank goodness he’s good enough to pull most of them off.
In-demand producer, Kenny Beats, has been on the upward trend for five years now, working with Denzel Curry, Vince Staples, Rico Nasty, and more.
This year he dropped his solo debut, Louie, and it’s bursting with smooth soul samples, warm emotions, and fire guests like JPEGMAFIA, Foushée, Dijon, and Benny Sings.
The album is a tribute to Kenny’s father, who was diagnosed with pancreatic cancer at the time Kenny was working on the project during the lockdown in 2020. It harkens back to the glory days of instrumental hip-hop albums by legends like Madlib and Dilla, and you can effortlessly listen to it from start to finish, and find yourself dancing in the kitchen while making dinner, and showing the kids how to do the two-step or the cabbage patch or some shit.
Bottom line: soul-heavy jams that are easy fun, and also hit that nostalgia nod for good measure.
I got into Australian musician Alex Albrecht’s album Campfire Stories last year, and enjoyed its classic jazz meets ambient music filtered through the rainforest aesthetic very much, but with A Clearing, Albrecht finds himself directly in my aural wheelhouse.
To quote the label: A Clearing is “Home listening elegant slow House Music”.
To quote some guy on Discogs: “I agree this is some serious magic on here. For context I’m hanging out here at 8:30am on a saturday morning, in my jam-jams and every track is hitting my ear perfectly. Coffee and an enchanted summer morning :)”
Some tracks remind me of long-ago Glasgow legend Pub’s music on the ampoule records imprint.
To quote me: “Immersive ambient jams with a steady pulse and infectious low-register bass swirls. So lovely.”
Norwegian-Mexican artistCarmen Villain makes atmospheric music made up of tapestries of field-recordings, acoustic instruments such as flute, clarinet, piano, and electronics, all culminating into her own distinctive style that combines elements of fourth world, dub and ambient.
I discovered her last year and listened to Both Lines Will Be Blue and Sketches For Winter IX: Perlita EP constantly. They are both unique ambient albums that seem to still get better with each listen. With Only Love From Now On, Villain has mastered her mélange of styles, and put out the best record of her career thus far. With the help of trumpeter Arve Henriksen, and flutist Johanna Scheie Orellana, this album plays out like a slow, soft, daydream.
Villain showcased the album this year at MUTEK, and there’s only one word to describe the set: sensual. Cloaked in darkness and smoke with minimal visuals behind her and flutist Orellana by her side, Villain created a sumptuous mood that I immediately was swept up in. It was an excellent live show that exceeded my expectations and the highlight of the festival for me. She is definitely on an upward trajectory and an essential electronic artist to check out.
Indie darling Alex Gis another artist on the big fat pile of musicians that I never really got into despite all le hype. But as I’ve said before somewhere on this blog, the way I see it, if a good band or artist puts out a good album, I will eventually get into it, and I really don’t care if I’m riding the crest of the hype-wave or not.
I’ve had a rule for the last few years that if an album makes me cry then it is good enough to own on vinyl, and God Save The Animals is on that list. This record caught me instantly to the point where I was listening to it pretty much exclusively for three weeks. I don’t listen to music like that anymore these days. When I was a teenager, and would buy CD’s and only have what I had, I’d listen to the same shit over and over and over, however, with virtually all music available somewhere on the internet, my listening habits have inherently changed. But with GSTA, I was back to my late 90’s on repeat ad infinitum.
The songwriting is so good, and I love how he’s not afraid to weird a song out with pitched or screeched vocals or a wall of distortion or change up a groove right in the middle and start something else.
And the lyrics are also fantastic. “Mission” was the first track to turn on the early morning waterworks on the subway one morning. “Aint gonna right you’re wrong with a stupid love song” followed by an absolutely lovely little guitar solo, oh yeah, that’s the stuff right there.
And then later, “my teacher is a child, with a big smile, no bitterness”, that line is powerful, as 97% of my life is consumed with my two children. And sometimes it’s really fucking hard to be the best Dad I can be without any bitterness, ya know? I love them so much, I am literally tearing up as I type this lol (hey, I’m an emotional sap, aight?), but man alive, it’s been one heck of a hard ass year raising two young kids without any family around to lighten the goddamn load every once in a while. So that line hits me.
And if that wasn’t enough, he does it again in penultimate track “Miracles”, when he sings “You say one day we should have a baby, well, God help me, I love you, I agree…” There’s something so joyful and innocent in his tone about the possibility of starting a family. A future as more than just a couple, but also as parents.
Having children has been without a doubt the greatest most challenging wondrous experiment of my life. I am shocked to realize how much I have learnt about myself in the process, many good things, but also many not so good things. All I know is I am still growing up and evolving myself, and slowly chipping off all the petrified shit that’s been there for way too damn long, and trying to let my children be my teachers, and to look at life wearing their “pure wonder” sunglasses as much as humanly possible.
And somehow, some 29 year-old bedroom producer dude from Philly has given me so much to think about, all thanks to his wonderful songs on God Save The Animals.
For ten years now, Sam Prekop has been releasing solo records where he noodles around with synths and tries to make electronic music. And for ten years, I’d give those albums quick skims, feel like he wasn’t quite hitting the mark, wish he’d put out a new Sea and Cake record, and then go listen to a quote-unquote “real electronic musician”. I’m such a hack critic lol.
He got close with Comma from 2020, which had some pretty solid songs on it, but it took until this year (in my humble hack critic opinion) for Prekop to finally release an excellent electronic record. Maybe he needed the help of Johnny Mac to get that percussion tight? Who knows? All I know is that Sons Of fires off on all cylinders, and even though it’s still full of some serious synth noodling, it totally works this time.
One night during the summer, I was staying at my in-laws and was lying outside of the room my son was sleeping in, waiting for him to fall asleep. To bide my time, I popped in my headphones and put this album on. After the first track or so, I dozed off, and woke up 15-20 minutes later and had no idea what on earth I was listening to. I would have never guessed Sam Prekop in a zillion years. In short, Sons Of sounds like nothing either of them have released up to now, and shows two artists who have continued to evolve and innovate for more than 30 years now.
Prekop also released the equally intriguing The Sparrow on German label TAL this year, further showing this listener that he’s found his electronic stride and is on a hot streak.
Also quick side note: I saw John McEntire play with Tortoise as part of POP Montreal this year and man, what a great show. Took me back twenty years but still sounded as fresh as ever.
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Conway The Machine – God Don’t Make Mistakes (Shady Records)
As I’ve said earlier, I like my thug lyfe with a dose of vulnerability, and shit, if Conway The Machine doesn’t deliver exactly that.
Conway uses this album as catharsis, a platform to grieve, confess, and count his blessings. Take this quick verse from “Stressed” as an example:
And not too long after my cousin hung his self I never told nobody, but I lost a son myself Imagine bein’ in the hospital, holdin’ your dead baby And he look just like you, you tryna keep from goin’ crazy That’s why I drink a bottle daily For all the shit I keep bottled in lately
As someone who has personally lived through more than one miscarriage with his partner, that shit hits hard, and is most welcome flanked by heavy boom bap beats. Guests like Lil Wayne, Rick Ross, Westside Gunn, Benny the Butcher add flow to the album, but Conway can handle the record all on his own.
Great track: “God Don’t Make Mistakes” — the whole “what if?” idea is done so well here, gives me chills, and Alchemist beat killing it as usual
This album came out in 2020 and I’ve been listening to it steadily ever since. Leafar Legov aka Rafael Vogel is a young producer from Germany, and he is skilled at creating mood using synthy ambience and 4/4 beats.
Mirror was one of my quarantine albums, and it helped me get through those early pandemic days at home with a newborn, and having to teach classes on Zoom during that seemingly endless winter. I remember thinking it was a perfect winter album, because it was dark but also had those moments of warmth and light that made you dream that the spring thaw and a return to some sort of normalcy couldn’t be too far away…
Definite hints of Boards of Canada at times and Kompakt-esque pop ambient and deep house, as well as, 90’s minimal techno. Legov is adept at sustaining a cohesive flow throughout as the album blisses out to a gentle climax.
Mirror is an underrated and understated soon to be classic and highly recommended by yours truly.
Yes, it’s true, dream pop heroes Beach House did put out an album in 2022, but for meCate Le Bon’s Pompeii checks the same feels and does so more effectively.
She first popped up on my radar in 2019 with her production work on Deerhunter’s last album Why Hasn’t Everything Already Disappeared? and the first four songs on Pompeii are so ear-wormy, I had to take listening breaks because I could not get the songs out of my head. A testament to her powerful songwriting no doubt.
Lord of the Isles aka Neil McDonald lives in Scotland, and this EP came out in 2020. My friend Mike sent me a link to the closing track “Inheritance” while I was at the in-laws for an extended stay during the second wave of the pandemic. I remember he wrote something like: “Play it as loud as you can handle”.
I decided to listen while out for a jog, and it definitely is not good exercise music, because it stopped me in my tracks. Ellen Renton’s poetry and wondrous Scottish accent gave me pause. I slowly walked down the sidewalk, looked to the left of me and saw two deer grazing in the sunny afternoon grass (not an uncommon site in their neighborhood but still felt like some kind of omen).
When Renton says, “maybe the sun is knackered too…” I don’t know why, but it gets me every time, and the song’s beat-heavy climax is stunning. Definitely on my need to buy on vinyl list. “Waiting in Arisaig” is also fantastic. On the end of that trip to the in-laws, we were waiting at Dulles airport for our very delayed flight, and I was pushing Simon around in his stroller up and down the anonymous halls, and it was pretty much the perfect soundtrack for the moment.
Whities 029 has been on consistent rotation here for two years now. A unique vibe and an exceptional release that will be heavily sought after and imitated, for its peculiar results and new exploration of the intersection between electronic music and literature.
It’s been waaaay more than a minute since Kendrick Lamar’s Pulitzer Prize winning album DAMN. And damn indeed, if every second of it hasn’t weighed down on Kendrick’s shoulders like the weight of all worlds.
Things have changed since DAMN. Pandemic, Artificial Intelligence, war, global political nightmares, conservatism, fake news, idiocracy, hell, even Kanye was still relevant back then (thank goodness Ye’s finally cancelled), and it’s all imploded and exploded in the span of five years.
The world is fucked, no doubt, and even though it may seem on the surface that Kendrick has some sort of Saviour complex, the only person he’s interested in saving with his fifth studio album, Mr. Morale & the Big Steppers is his damn self.
Morale is no easy listen, and I’ll admit to letting myself be swayed by early underwhelming reviews, but this record is an ambitious and anxious beast of a double album. It definitely has some missteps (“Auntie Diaries” anyone?), but its highs are so much stronger than the lows.
Take “We Cry Together” for example. The first time I listened to it, I made it about 30 seconds in before rushing to turn the volume down as I was with my daughter, Sylvia. Definitely not a song to jam out to with a 5 year old, but when I finally had a chance to listen to it in its entirety I was wowed. Yin to Kendrick’s yang, actress Taylour Paige, gives an incredible performance throughout this song, as the duo play out an argument between a dysfunctional couple in a toxic relationship.
Another high, “Mother I Sober” featuring Beth Gibbons, has Kendrick in full Vulnerable Mode, rapping out traumatic moments and mistakes of his life — the whole song playing out like a confession about generational trauma and K’s own addictions and regrets.
As the song builds to its climax, Kendrick’s voice grows louder in the mix, above the swirling strings, and Gibbons’ haunted harmonies, and ends with him shouting: “This is transformation!” Gives me shivers every damn time, and as the song fades out, Whitney (his wife), says she’s proud of him, and then their daughter says: “Thank you Daddy”, and I usually have a few solid seconds of private ugly crying before I can move on.
Flawed but powerful as f, Kendrick shows us he is still the GOAT. And heck yeah, I’ll shed off my Osheaga retirement to see him at the festival in Montreal this summer.
OK then, holy shit, I finished the list! Happy belated 2023 to all of you. Only good tidings to you and yours. Be vulnerable. Be honest. And keep on listening to good music.
Damn, what a year. I have so much to say but zero energy to say it.
Above everything else this nutso year, music kept me sane.
There was a glut of good stuff, but here are my faves, in no particular order.
And I love you all, in no particular order.
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Freddie Gibbs/ The Alchemist – Alfredo (ESGN)
Another year, another Freddie Gibbs album on my list. Am I that predictable? Or is Gangsta Gibbs that goddamn consistent? You decide. In my opinion, this is absolutely his best collab since Pinata, as he and The Alchemist find some beautiful chemistry. Whereas last year’s Bandana with Madlib was a bit inconsistent, here Gibbs’ flow and Al’s soulful beats just click. Future classic right here.
Pro tip: Alchemist’s collab with Boldy James, The Price of Tea in China, is also a great record from 2020 worthy of many listens too.
Joel Shanahan aka Auscultation has put out an album of beautiful 90’s inspired ambient techno, and it took about ten seconds of the opening track for me to be quickly swept into its eerie soothe.
Smooth synths, pulsing basslines, deep house rhythms with “up in dem cloud” soundscapes. This was my morning album for the entire covid spring, and I keep returning to it again and again. Hype.
Dan Snaith’s first Caribou record since 2015 finds him working with all his various strengths and writing a more subdued yet arguably stronger album than Our Love, with the warm and ear-wormy Suddenly.
Flirting with hip-hop, soul, techno, folk, psych and R&B, some critics have said it lacks cohesion, but even so, every song has something about it that makes it special or stand out or subtly get lodged in your head.
Worthy of repeat listens with great songwriting from beginning to end.
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Pure X – Pure X (Fire Talk)
Pure X are rock and roll. They take their sweet time, and they write beautiful songs. Check “Middle America” and/or “Slip Away” for exemplars.
The Austin-based band made their name writing reverb-soaked druggy slow jams, and ten years in they’re still writing those same slow jams — but it seems like maybe now they’re waiting until after they record before they get super stoned, because this is their clearest most focused collection of songs yet.
Great guitars, always solid bass lines, and smooth af vocal melodies. To be honest, I was just happy to see a new album by them, since 2014’s Angel has been a constant play in my living room for 6 years now.
And I hope I’ll get to see them play live again, once the world shifts back to a place where I can actually sway shoulder to shoulder with strangers in a sweaty venue.
I can’t wait to not have to wait for that…sheeit.
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Oddissee – Odd Cure (Outer Note Label)
The humble and always underrated Oddissee released my favourite quarantine album of this most fucked up year.
Oddissee deftly captured the helplessness and hopefulness of our 2020 Quarantine Lyfe with Odd Cure.
And throughout the album, he uniquely displays our anxiety and fears living through a pandemic, as well as, the opportunities we all had to rest, reflect, and reconnect with loved ones during the slow-pace imposed on us by covid. The phone calls to his fam spliced in between tracks are heart-warming and really capture the feel of those initial first wave lockdown days.
The whole album is chock full of soulful beats, flawless production, and some of Odd’s most thoughtful rhymes yet.
PG County represent!
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Ulla – Tumbling Towards a Wall (Experiences Ltd.)
Ulla Straus has recorded in the past under her full name, but here she needs only her prénom with the enchanting Tumbling Towards a Wall— an album that straddles the line of blissful ambient with touches of experimental composition.
Ulla’s music is sonically diverse, oscillating between piano, strings, field recordings and hazy, soft pads.
Usually I’m one to say that I think most albums sound better through a good pair of headphones, but with Tumbling, I like hearing it on big speakers in an open room, it sounds completely different that way, and more alluring somehow.
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Shinichi Atobe – YES (DDS)
The man, the enigma, the legend, Shinichi Atobe returns with his first batch of songs since 2018’s stellar Heat.
Shinichi serves his techno straight-up, no fuckery, and builds his songs from the bottom up until they are bursting with subtle melody, and with YES he’s at his warmest, overflowing with rich grooves, head-bobbing bass, and I’d be remiss if I didn’t mention those goddamn beautiful handclaps. He’s also a pro at dropping a heavy piano lick deep into the mix when you least expect it, and it’s always pure class.
I think if I had to pick one absolute fave from 2020, it would have to be YES, as this album accompanied me on many “newborn needs to sleep” walks throughout the summer, and even when I was so goddamn tired I could barely go on, it kept a shimmy in my step, and kept lil Simon a dozin’ on my chest.
YES, INDEED.
Check out: “Lake 2” and (my personal humdinger) “Ocean 1”
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Adrianne Lenker – songs/instrumentals(4AD)
The first time I listened to “anything” off this album, I was on (yet another) walk with Simon. It was a chilly, grey October morning, and I couldn’t even make it halfway through before I started to cry. But it felt good, so I put it on repeat, pushing the heavy stroller down the sidewalk and bawling. On the third listen one of my contacts popped out of my eyes, and I thought I should probably stop after that. So I put on the new Deftones to cleanse the palette.
That definitely wasn’t the first (or last) time I could be seen crying while walking around my neighbourhood with my newborn son this year (hey man, second baby + pandemic + sleep deprivation = crying Papa, aight?), but good lord and goddamn, that track is a sure fire doozy.
The rest of the album floats a similar melancholy vibe of pitch-perfect simple break-up songs. Just a woman and her guitar, a few chirping birds, and the creaks of the old wood floor of the cottage she recorded in. So good.
The companion piece, instrumentals, is two songs featuring soft finger-picking, more birdsong, light rainfall, and lots of wind chimes. The second track “mostly chimes”, really feels like you’re sitting on the porch of a weekend cottage, up early with a coffee, and listening to the birds and gentle chimes in the breeze.
Side note: I had also never really listened to Big Thief until this year, but U.F.O.F is also an absolutely amazing record and I highly recommend it.
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KMRU – Peel (Editions Mego)
Kenya based sound artist Joseph Kamaru, aka KMRU put out several albums this year, my favourite one being Peel.It was conceived as a time-restricted experiment in texture, influenced by “experiences travelling in Montreal, as well as being back in Nairobi just before lockdown.”
The album was recorded in just 48 hours, but its heavy drones feel almost timeless. Kamaru said he is “always happy to have limitations while making music, and Peel is a good example of this.” He gives the impression that more time wouldn’t have yielded any better results.
The second KMRU album of 2020, landed three weeks after Peel. If you want to hear the breadth of Kamaru’s talents, check out Opaquer. If you want to hear his ability to laser in on a very focused idea and extract from it 75 minutes of special music, choose Peel.
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nthng – hypnotherapy (Lobster Theremin)
Elusive Dutch producer, nthng, released his second album for the great Lobster Theremin imprint, and goes far beyond the deep house he made his name on. Hypnotherapy is a trippy and dark record that spans dub techno, heavy 4/4 beats, hazy ambient and mind-bending trance.
Tracks like “I Just Am” and “Heitt” hit hard with the after midnight dancefloor in mind, while other tracks like “Beautiful Love” and “With You” will veer you more towards the couch, but this album is one that keeps on giving and sounding better the more you listen.
The first time I heard “I Just Am”, I was (you guessed it) on a walk with Simon, and when the beat cracks in at the 3 and a 1/2 minute mark it was so thrilling that I just pushed his stroller into oncoming traffic and started dancing.
I pictured all the Muteks and music festivals and countless special dancefloor and live music moments that did not happen this year and I cursed covid and cussed out corona, and then slowly picked Simon’s mangled stroller up off the curb. Luckily, he was completely unharmed. He smiled at me, blew a raspberry, and we kept on a-walkin the year away…
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Yves Tumor – Heaven To a Tortured Mind (Warp)
In the days before the big covid shift, I bought tickets to see Yves Tumor in April 2020, and was totally stoked to see this new glam version of the artist. I had tickets to see one show a month up until June when lil Si Guy was set to arrive and throw a wrench in our routine. But instead, the ‘rona came and tossed in the whole rusty tool box.
So Heaven To a Tortured Mind became my go to jogging album for all of spring. And while it perhaps doesn’t quite hit the heights that Hands of Love did for me in 2018, I still totally dig Yves’ move from noise freak to weirdo pop star.
It seems like he can get away with anything now.
Like the guitar solo on “Kerosene!”, for example. If you had told me 10 years ago that the best song Warp Records would release in 2020 would have a full-on wank shred of a guitar solo in it, I would have belly laughed and probably farted. But here we are. 2020. You tricky asshole.
Haha, but yeah, I seriously love that song and the video is pretty great too.
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HONORABLE AUDIBLES (click album to sample a track)
Soela – Genuine Silk (Dial Records)
(Dial kicks off their 20th anniversary true to form with Soela’s buttery debut full-length)
Hello everyone and welcome to the 10th edition of INAUDIBLE’s end of year to-do list!
For a limited time, check it out in stunning alphabetical order!
INAUDIBLE’s TOP 10 ALBUMS OF 2018
1. Amen Dunes – Freedom (Sacred Bones)
I saw Amen Dunes live at Le Ritz in Montreal and the show made me love the album even more. It sounds like the sum of its numerous rock and roll influences, but Freedom, is still unassumingly a style all its own.
Such a great record! “Believe” is one of my favourite songs of the year.
2. Aphex Twin – Collapse EP (Warp Records)
It’s nice to know that even after 100 years, Richard D. James is still an innovator. These songs sound fresh and joyful, and mang oh mang, do they bump in dem headphones.
Although technically not a 2018 release, this gem was released as a cassette in 2016, and finally pressed to vinyl this year. This is the best ambient compilation I have heard in a long time.
It features gorgeous tracks from Pendant (aka Huerco S.), DJ Paradise (aka uon), and Naemi. It easily rivals the very finest of Kompakt’s long-running Pop Ambient series. This album will be on rotation for years to come.
Again, not a 2018 release (it came out in ’17), however, this was the album I played at the hospital while my girlfriend was in labour. It will be forever connected with the birth of my daughter Sylvia, and that absolutely incredible and surreal night (and day! and year!).
Slow Spark is calming and drony and beautiful. Pioulard seems to be able to make lo-fi ambient music with ease and grace, as he also released the equally as chill, Lignin Poise in 2017 too.
5. bvdub – Drowning in Daylight (Apollo Records)
This album is Brock Van Wey‘s 31st full-length! He is beyond prolific. I can’t say I’ve listened to even 1/3 of his output, but Drowining in Daylight has been on consistent rotation since it was released in September. The addition of beats to his ambient soundscapes brings his music to a whole new level.
6. The Internet – Hive Mind (Columbia Records)
Even after a Grammy win, I still think they have one of the worst band names around. Nevertheless, Syd and her crew have re-purposed funk and R&B slow-jams for the kids. I saw them play live at Metropolis in December and the band brought it — Syd smiling and hamming it up for the crowd, and Steve and Patrick were tight as hell on guitar and bass. Really fun show and a great album with some next level low-end bass lines.
7. The Sea and Cake – Any Day (Thrill Jockey Records)
As I said earlier with AFX, it’s amazing that after 100 years, The Sea and Cake are still releasing consistently fine records. Yes, you definitely know what you’re gonna get with a Sea and Cake record, but it’s surprising how enjoyable their albums always seem (at least to me).
They’ve been one of my fave bands for close to 75 years, so I’m able to just slip into their familiar sound instantaneously. Still, I’d argue that Any Day is their strongest album in a cool decade.
8. Shinichi Atobe – Heat (DDS Records)
Cult legend, Shinichi Atobe does indeed bring the mafuckin’ heat with this collection of stripped down, bare-bones techno. Like Omar S, Atobe serves his techno straight-up, no fuckery, and builds his songs from the bottom up until they are bursting with subtle grooves. This is my fave record to date from this mysterious producer. More hand claps please!
The music nerds are calling this one a future classic, and I think they are absolutely right. Compro’s sound is already timeless and it’s real easy to get swept into its world of beats, glitches, grooves, and low-end bass.
10. Yves Tumor – Safe In The Hands Of Love (Warp Records)
No album felt as thrilling upon first few listens, than Yves Tumor’s Safe In The Hands Of Love. I called it emo-thrash-tronica at one point, and think it’s fitting.
It’s punk rock in a world where rock and roll is long dead. It can be gentle and moving at one moment, and then chaotic and challenging the next. “Licking an Orchid” and “Lifetime” are two incredible songs that grow with each listen, and the entire record is chock full of earworms and an (un)healthy wall of fuzzzz.
HONOURABLE AUDIBLES(click album titles to sample a track)
Here it is, ladies and gentlemen. The long-awaited, seventh annual INAUDIBLE best of 2015 listy list! I hope you enjoy it!
BEST EP’s, SINGLES and 12″s of 2015
(click album cover to sample a track)
Palms Trax – In Gold
Route 8 – This Raw Feeling
Palms Trax and Route 8 are two young producers that have been making huge strides in the techno scene over the last few years thanks to consistently awesome releases on Lobster Theremin, Dekmantel, and Nous Records. Here’s hoping for more of the same in 2016!
Pender Street Steppers
Jack J – Thirstin’
Vancouver, BC is having a major moment right now and these two Mood Hut heroes are leading the way with their quality spliffed-out stompers that play just as well on the couch as they do on the dance floor. Check ’em, son.
Junktion – Monologue
Andrés – Believin’
Junktion is a relative newcomer from the Netherlands, and Andrés is a 20 year veteran from Detroit, but both of them got that deep soulful groove thang on point. These aren’t just club tracks, they’re proper songs to get the party started and keep you in the moment all night…
Art Crime – Obsession
Various – Workshop 21
Although very different, both of these albums pack an emotional wallop. Art Crime makes you wanna lose yourself on a black as pitch dance floor, while Workshop 21highlights four different artists and four different moods, and in doing so has crafted one of its finest releases. Left of centre house jams!
The Green Kingdom
Lnrdcroy – UNTHANK008
The Green Kingdom never fails to disappoint with his take on hushed dub-tinged ambience, while Lnrdcroy returned with three tracks to remind me why I loved Much Less Normal last year. Yet another young and talented Vancouver artist to keep your ears on…
Thundercat – The Beyond/Where The Giants Roam
When I first heard Thundercat’s “Them Changes”, I played it six times in a row. It had an Isley Brothers sample that was infectious as hell and a Steely Dan vibe that I just couldn’t resist. It was summer and the sun was shining through the kitchen window and with each listen I turned up the volume a little more.
Yet, when I finally started to focus on the lyrics I realized that although the song was as bright as that July sun, there was something more sombre under the surface. And to be sure, the album is actually about grief and mourning and an attempt at catharsis for Thundercat. The Beyond/Where The Giants Roam actually sounds more like a post-rock record than funk or soul or hip-hop, but all I can say is that it’s Thundercat’s strongest statement to date…
HONORABLE AUDIBLES
Snoop Dog – Bush (Columbia Records)
Does Snoop just keep getting smoother and cooler with age? With the help of Pharrell, I’d say the answer is hells to the yes.
Bush was conceived as a tribute to the funk and R&B of the 1970’s that has always inspired Snoop’s music, yet it is so much more than that – it places Snoop back up on the West Coast pedestal he briefly left for his turn as a Lion. And even though he didn’t sound half bad on his Rasta tip, it’s the G-Funk vibe that’s his real wheelhouse.
Bush is a feel good album from start to finish and shows that Snoop and Pharrell can still drop it like it’s hot.
Deerhunter returned this autumn with Fading Frontier, a subdued yet more pleasant album than their 2013 effort Monomania. Yet even though it’s the band’s catchiest album to date, with great hooks and choruses, I feel like it falls short of their earlier releases.
Deerhunter have always outdone themselves with each album, and this feels more like a revisiting of Halcyon Digest rather than a reinventing of. That said, I’ve still listened to it tons of times and find Cox and Pundt’s guitar work fantastic, I was just hoping for a little more…
Thomas Bücker resurfaced this year with the third album under his Bersarin Quartett guise and offers up another collection of rich neo-classical ambience. Bersarin Quartett’s music is minimal but it’s also really emotive, and he’s a natural at exploring textures, mood, and atmosphere in an abstract way. Yet with III we find him at his most cinematic with some of these tracks actually reminding me a bit of J. Swinscoe himself, albeit at his most quiet.
All three Bersarin Quartett releases are excellent and Bücker’s music should be enjoyed by more listeners. Check it.
In my very first end of year list in 2009, I dubbed Sam Shepherd my “Fave New Artist”. Fast forward seven years, and he’s finally released his full-length debut album, Elaenia. And in many respects a debut it is, as it offers up a much different Flo Po than the house boogie hero I was championing back in 2009.
Shepherd flirted with jazz and orchestral arrangements a few years ago with his Floating Points Ensemble project, but now that vision is truly realized, and with Elaenia we have a full-blown production of mature nu-jazz numbers recorded with a live band.
These tracks go from swirling to quiet to jazzy to funk with synths holding the whole thing together – in fact, it’s not until the last track (where a John McEntire-esque drum beat blasts its way through six minutes) that the album really lights up, building to a wild climax and ending right in the middle of it. It’s a jarring way to end the record, but it leaves this listener wanting to hear where he’ll go next…
Judging from earlier releases on his White Material label, I figured Grind was going to be a noisy and scrappy affair, yet DJ Richard’s jump to Dial Records for his first full-length shows him turning down the grit a bit for more melody and the results are excellent. Grind is analogue in feel, melancholy in mood, and rough around the edges, yet it’s still elegant.
DJ Richard’s style is all his own, with tracks like “Nighthawk” and “Bane” being great examples of how he can work stuttering drums and several different synth lines at once, and have the effect be both harsh and enveloping, depending on his listener’s mood. Bottom line: he’s definitely one to watch in the years to come.
“I go to loud places to search for someone to be quiet with…”
That lyric has been drifting in and out of my head since the beginning of summer, when Jamie xx’s long-awaited solo album In Colour dropped to great acclaim. It’s been pretty much lauded by everyone, and even though it took me a few spins, it was Jamie’s skill at tapping into nostalgia that completely won me over. He’s put out some great jams leading up to this, slowly honing his skills as a first-rate producer, and In Colour is the culmination of the last six years, gathering up elements of everything he’s done – moody ballads, floor-filling bangers, and off-kilter collaborations with vocalists – and jamming them all into a tight bright package.
In some respects, even album cover wise, this record reminds me of Caribou’s Our Love from last year, as it mines the same wistful aural territory. And what’s nice is that it offers a couple tracks that might as well be songs by the xx, with Romy singing on “Loud Places” and “See Saw” which are both excellent, and Oliver staying moody and chill on “Stranger in a Room”. And how can I leave out “I Know There’s Gonna Be (Good Times)”? The smashing yet unlikely collab with Popcaan and Young Thug. That track has gotten me fired up and feeling fine many a time since I first heard it and will continue to do so well into 2016.
In Colour is an album you can play at the height of the party or walking home from work on a Monday evening in the rain, and in both settings it plays out just as smooove.
Big tings still ahead for this bloke!
8. Project Pablo – I Want To Believe (1080p)
Montreal via Vancouver producer, Patrick Holland, makes hazy funky soulful house under the moniker Project Pablo, and like his contemporaries Pender Street Steppers, he stepped up his game in 2015. With the cassette version of “I Want To Believe”, Holland has released a collection of songs that are deep and groovy and filled with an innate sense of fun.
This album was a slow burner and didn’t fully grab me from the start, yet with each successive listen it only continued to sound better and better … and here’s hoping for more of the same in 2016!
7. Kurt Vile – b’lieve i’m goin down… (Matador Records)
Philly’s everyman Kurt Vile is at his most Kurt Vilest with his latest long player b’lieve i’m goin down… showcasing a perfect mix of lo-fi rock and roll and Americana. The beauty has always been in the subtlety and strength of his songwriting, yet here he’s toned down the rock just a bit, showing a little more restraint than on Wakin’ on a Pretty Daze. Vile’s lyrics are dark and lonesome and occasionally funny, delivered in a laconic style that’s all his own. He tends to drag out words or syllables providing the perfect counterpart to his skilled finger-plucking or guitar strums.
The album starts off on a high note with the fantastic “Pretty Pimpin”, in which Vile contemplates his existence in front of the bathroom mirror, however, for me it’s the slower more meditative tracks that highlight his finger-plucking skills that are the big winners for me, like “All in a Daze Work”, which shows him at his most patient – just a dude completely lost in the moment of playing his guitar.
What’s a bit different is that there’s a bit more banjo and a lot more piano on display in these tracks, the best example being “Lost My Head There”, which has a great outro with a vibraphone flourish and the occasional “Wooh!” from KV. Not a huge departure here, but that ain’t a bad thing at all…
6. DJ Koze – DJ Kicks (!K7 Records)
I’m pretty sure DJ Koze and I would get along. I’ve always been a fan of his style both as a music producer and label head, so it makes sense that I’d like a DJ Kicks mix of his as well – I just never thought I’d dig it so much.
It’s definitely more for home listening than the club, but it has a steady trajectory to keep your head bobbing. Koze kicks things off with a Dilla-inspired original “I Haven’t Been Everywhere But It’s On My List” before sliding into some great obscure hip hop tracks and then a slowed down mid-section featuring the classic “Tears In The Typing Pool” from Broadcast and a spoken word piece from William Shatner that is oddly powerful. It isn’t until the last five songs where Koze really heats it up and provides a selection of perfectly mixed house numbers, nailing the vibe with penultimate track, “Surrender” by Portable.
What a beautiful song. What a beautiful playlist. DJ Koze just keeps getting better with time. Check this mix please and thank you.
5. Tame Impala – Currents (Interscope Records)
Kevin Parker has come a long way from down under in the last half decade or so since his band Tame Impala started making waves with the still excellent Innerspeaker. No longer is he just that long-haired barefoot Aussie stoner dude who sounds like John Lennon and riffs like Tony Iommi . . . well I guess he still is, but he’s also become a veritable production artist not unlike George Martin.
The first single to be released off of Currents was the 8-minute psych-rock jam “Let it Happen”, and I dug it upon first listen, however, the first time I listened to the album all the way through, I remember thinking “where’s the fuzz, yo?” And so my initial reaction was that it definitely sounded good but I wasn’t totally feeling it.
Fast forward two or three weeks later and cue up four king cans of beer, a joint, and some headphones. I was typing away on my laptop working on a story when “Eventually” came on, and everything immediately clicked – I stopped typing and stared at the screen like a doe-eyed deer about to get hit by a truck. The production! Holy shit! Everything sounded so crisp and alive! How did I miss this before? And of course, once I had heard it like that, I couldn’t unhear it, and I was officially obsessed and listened to the album on repeat for weeks.
The best part of the songs is the little flourishes Parker is so adept at adding, like the chiming synth line at the end of “Eventually” or the soft Fender Rhodes tinkle in “The Less I Know The Better” or the vocal delay in the chorus of “The Moment” that really make the songs stand out. Great album!
4. William Basinski – Cascade (Temporary Residence)
The prolific William Basinski has made a career out of decaying audio tape – a fitting foil for our accelerated times and the proliferation of all things digital. And by now I think it’s safe to say his name belongs up there next to Eno and Budd as one of the finest ambient artists ever.
It’s been over fifteen years since The Disintegration Loops, and it’s arguably still his finest piece of music to date. I can put that record on at any time and be immediately lost, an hour can go by in the twitch of an eye, or can feel drawn out like the setting sun on the horizon. It’s timeless.
With “Cascade”, Basinski offers up about twenty seconds of piano and loops it for 40 minutes. That’s it. It sounds too simple to be effective, but as the loop repeats itself endlessly it morphs into something more murky and broken as the tape loop slowly decays, and in doing so creates a feeling of calmness and peace in the listener.
This is my top morning album of the year by far. Sometimes I play it twice in a row and have to stop myself from hitting play again.
Scrolling through the comments section on YouTube, two comments stuck out in between the “Beautifuls!” and “Profounds”. The first was: “It’s so odd to think that these works are simply just tape looping and decaying, with textures added over top, but this seemingly simple art form has the power to bring you to tears and think deeply on the past.”
And the second: “I was listening to this for 10 minutes before I even actually noticed I was listening to it and then I was like HOLY SHIT WHAT IS THIS?” My thoughts indeed, my thoughts indeed.
3. Freddie Gibbs – Shadow of a Doubt (ESGN Records)
Gangsta Gibbs keeps up the hot streak he started by teaming with Madlib last year for the fantastic Pinata and released three records in 2015. Earlier in the year he put out two EP’s, The Tonight Show and the hot as fire Pronto, before releasing the unexpected full-length Shadow of a Doubt in early November. And since it’s dropped, I’ve listened to it at least once a day. I wake up with the hooks and rhymes in my head and can’t seem to get enough.
Unlike DJ Koze, who I honestly think I could be buds with, I’m not sure the same thing would apply with Freddie Gibbs. I imagine him taking one look at me, smirking, and thinking to himself “who’s this phony silver foxin’ ass nigga?” before turning around and never acknowledging me again. He drops the n-word so many times during Shadow of a Doubt, I figure he would have to use it when he saw me, even though I’m whiter than Marshall Mathers.
But if he’d turn around again, I’d tell him the reason why I’m so drawn to his shit is because he’s a storyteller who just so happens to be a rapper who just so happens to sound like no one else in the game right now. On Shadow of a Doubt, all the songs tell some sort of story, either about his drug-dealing past, a pill habit, or the deepened sense of purpose he’s felt since the birth of his daughter in April. So even though I can’t really relate, I can totally relate, you know what I mean?
He makes his listeners feel his struggle regardless if they’re young kids on the corner in Gary, Indiana, or some white Canadian dude in his mid-thirties bumping Freddie in his kitchen while he and his girlfriend make dinner. They’re ain’t a shadow of a doubt that Freddy Corleone is one of the freshest voices in hip hop in 2015.
2. Kendrick Lamar – To Pimp A Butterfly (Top Dawg)
How do you know if you’ve really made the big time? By getting eleven Grammy nominations for your sophomore record? Or having the President of the United States say that one of your songs is his personal favourite of the year? Or being in the top three of virtually every end of year list being written in 2015 (including even this highly respected blog)?
Yes and oui and si, I’d say.
Kendrick Lamar returned this year trying to outdo the accolades bestowed on his last album good kid, m.A.A.d city, and pretty much blew the roof off of everything with To Pimp A Butterfly. A fusion of old school and new school, funk and soul, R&B and jazz, a swirling collaboration with so many artists from Snoop to Bilal to Fly Lo to Thundercat to Boi-1da, Pharrell, Kamasi Washington, the ghost of 2Pac and more.
At the centre of it all is Kendrick, sounding more determined than ever to highlight what it’s like to be black in 2015 in America. Yet even though he may be on top of his game, it seems like Kendrick still be climbin’, and searching for guidance, trying to figure out where exactly he fits in the world around him, both as music superstar and lil homey from Compton. Unlike Kanye who has called himself “Walt Disney, Shakespeare, Nike and Google”, all in the same breath, there’s a humbleness to Kendrick’s personality that’s refreshing. And while Drake is dancing around, waiting for some girl to call him on his cell phone, Kendrick’s figuring out how to be a better person out in the world and a better rapper in the industry.
During the song “Momma”, Kendrick repeats the line “I know everything”, in between telling us what that everything is: Compton, morality, street shit, wisdom, karma, history, bullshit, highs and lows, loyalty, clothes, hoes, money, generosity, until he goes home and sits at the kitchen table with him Momma and realizes he doesn’t know a goddamn thing.
Earlier on the album, during “Institutionalized”, Kendrick reminds himself of some great advice his Grandma gave him when he was young: “Shit don’t change until you get up and wash yo’ ass, nigga!”
It seems to me like Kendrick knows that real change starts from within and with To Pimp A Butterfly he’s trying his damnedest to promote this idea and act on it and let everyone know that hopefully everything’s gonna be “Alright”.
To Pimp A Butterfly is a challenging listen to be sure but ultimately a very rewarding one.
Kendrick Lamar: “Untitled” (from The Colbert Report)
Stripping away the bells and whistles, the orchestration, the back-up singers, the electronics, the gimmicks, and the technicolor spectacle, Sufjan Stevens returned this year with just his guitar, a piano, and his voice, and released Carrie & Lowell, the best album of his career.
We all know the album’s premise by now, it’s titled after his mother and step-dad. In 2012, Sufjan’s mother died of cancer and although their relationship was strained (she left when he was young), she’s still his family, and this album focuses on how Sufjan coped with the aftermath of those early years, and the emptiness his mother’s death left in him.
In the last two years, I’ve had two friends lose a parent, and I’ve watched them struggle to make sense of life without them. They’ve grieved in their own ways, some healthy some not, and because of their losses, I can’t help but think of my own parents and my girlfriend’s parents and the fact that we ain’t getting any younger … and it’s scary and makes me want to press pause or somehow go back in time, because I don’t want it to ever happen. Carrie & Lowell has a similiarly sobering effect, and by looking inside himself, Sufjan is able to really connect with his listeners.
So as soon as I found out he was touring I immediately bought tickets for the show. I’ve seen him before and knew it would be stupid to miss him. Unfortunately, I didn’t look at the date, only to realize later that the show was on the same weekend we were going to be at a wedding in Yosemite National Park. I was surprised at how upset I was about having to miss the show. But Yosemite … damn, what a special place.
On our last morning there, I had to go pick up some things at the bride’s cottage, which was a 45-minute drive through the Yosemite valley. I put on Carrie & Lowell as I drove through the park, the early morning sun glinting off the Half Dome and El Capitan, and every view worthy of Ansel Adams’ camera.
I barely made it through opening track “Death With Dignity” before the tears came. And there was a lot of them. And I couldn’t stop. But they weren’t sad, they were joyous and oddly powerful. Two tracks later in “All Of Me Wants All Of You”, Sufjan sings “Landscape changed my point of view”, and as he said that I cheered. I put my arm out the window and pumped my fist in the air. I laughed through my tears. I realized it was a perfect spring day. I realized how much I loved the people in my life. I looked around at the dense forest and the giant rocks and shivered …
It was the closest thing to a spiritual experience I have ever had, and so that is why Sufjan Stevens tops my list for 2015.
Carrie & Lowell is an album of memories and stories. It’s covered in the dust of a turbulent family life and how one man, one child, learned to deal with it all. It may well be our first insight into the real Sufjan. It’s heavy, but so very beautiful.
Yeah, yeah, yeah, I know, I know … a deplorable output so far on INAUDIBLE this year. “What gives, man?” you may be wondering. Couldn’t tell ya, really. I just didn’t feel like writing about music for the last few months. But that doesn’t mean I haven’t been listening. In fact, I’ve been even more tuned in than ever…
So what I’m going to do to start things back up is a nouveau feature entitled Young Producers, or YP for short, in which I rep a fresh and exciting young musician each week. The criteria is simple: s/he must be no older than 25 and have yet to release a full-length album.
It’s bonkers how many amazing new talents are coming up in the scene and following in the footsteps of the legends that came before them. It’s a really great thing for electronic music.
—————————– YP#1 – PALMS TRAX
First up on the decks then is my man Jay Donaldson aka Palms Trax. This young DJ and producer is based in Berlin and has released three excellent EP’s, Equation in 2013 and Forever in 2014, courtesy of Lobster Theremin, and most recently he put out the bangin’ In Gold on Dekmantel.
Palms Trax’s style seems rooted in Detroit house and techno, with warm pads and uber-melodic synths being his signature. Smooth drum patterns with a 4/4 thump, high hat clicks, and hand claps (my fave) round out his sound and ready it for the dance floor. He reminds me of Kassem Mosse when he’s at his most melodic, while some of his synth lines (most notably on In Gold) are reminiscent of some early Plastikman 909 licks.
And it’s all so good. With Equation and Forever, Palms Trax found his groove and with In Gold he just keeps raising the stakes even higher – the beats hit harder, the melodies are groovier, and his songwriting is stronger. His tracks almost play out like pop songs in their construction, as he doesn’t just build off a loop, but has proper hooks and changes in his tracks, which makes for a dynamic listening experience.
He also has a radio show called Cooking With Palms Trax on Berlin Community Radio where he plays his favourite jams from his extensive record collection. Check him out ASAP if you haven’t already! Cheers. See ya next week.
Well, here we go again, friends! Welcome to INAUDIBLE’s sixth annual end of year list! For this edition my list will be a bit streamlined, but you’ll still be sure to find some choice selections.
Click on the album covers and titles to sample a track.Enjoy!
Molly Rankin et al came of age this year with the release of Alvvays’ debut self-titled album. A record that harkens back to the lo-fi East Coast rock of the 90’s (Eric’s Trip, Hardship Post, Thrush Hermit) with a touch of Camera Obscura thrown in for good pop measure.
The best thing about this album is that it’s hooky as all hell, every song has something that makes it special – a catchy guitar lick, a subtle synth flourish, or Rankin’s endearing vocals. Check it.
Sisyphus is the unlikely trio of indie king Sufjan Stevens, rapper Serengeti, and soundsmith Son Lux. They released a handul of singles and an EP last year under the alias S/S/S before fully realizing their aesthetic as Sisyphus. It’s an odd mishmash of each aritst’s talents, and finds Sufjan at his most playful as he sings alongside the irreverent lyricism of Serengeti.
At his best, Serengeti sounds like MF Doom, yet at times I find his non sequitir rhymes seem almost superfluous. The album most effectively showcases Son Lux’s growth as a top-rate producer with an ear for off-kilter melodies and dynamic beats. Sisyphus is not easy to digest, yet after a few spins it reveals itself as an album with a lot to offer its listener.
Road Hog is the alias of house revivalist and all around cool dude Galcher Lustwerk, who made a name for himself last year with his excellent Blowing Up The Workshop mix, as well as the equally smooth Nu Day EP that came out in early 2014, but it’s with his Road Hog moniker where he seems to really nail it.
The theme of D.W.B. is music to listen to while driving, and Lustwerk subtly crafts a propulsive set of tracks that will remind listeners of late 90’s Detroit heroes Theo Parrish, Carl Craig, Theorem, and more. While his music as Galcher Lustwerk uses vocals to anchor his songs, Road Hog is pure instrumental techno that’ll get your ass moving and your head bobbing. So smooove.
My ears first heard Icelandic producer Yagya in 2009 when he released his highly influential Rigning LP. I consider this album a highpoint in ambient dub techno, and so I was pleasantly surprised to find he had put out a new album this year entitled Sleepygirls.
Five years on and Yagya’s M.O. hasn’t changed a bit – we still get the buttery smooth yet subdued bass and 4/4 beats of before, but he has also added female vocals singing God knows what in Icelandic, but sounding amazing doing so. Also, the album flows as one continuous hour-long mix, expertly shifting from Deepchord style dub techno to downtempo moments to ethereal ambience, and further reveals Yagya as a master of the genre.
I dismissed Wild Beasts for years, thinking they were too artsy or that the falsetto vocals were too grating, until I finally actually listened to Smother. That record quickly became my favourite album of 2011 that I didn’t get into until 2012, and ever since then Wild Beasts have held a special spot on my list of revered ‘rock’ bands.
With each album they put out they seem to get a bit more subdued and minimal, while becoming better songwriters in the process, and the case is no different here with Present Tense. It is a much different beast than Smother and Two Dancers – it is spare and elegant where their earlier albums could at times be showy, cocky even.
Present Tense is undoubtedly their quietest and most emotional, and with the addition of prominent synth arrangements, it is also the band’s most electronic. Wild Beasts are one of the more interesting and compelling British bands out there, and they continue to outdo themselves. Check it.
New Jersey quartet Real Estate returned this year with their third album Atlas, a much tighter and fulfilling record than their 2011 album Days. It’s an album that displays what a difference a few more years on tour can do when it comes to becoming a more dynamic band. The tempo of the album remains pretty much the same throughout, all the songs languidly jive to the same introspective clip, but this creates a tranquil, hypnotic effect one can use to let thoughts drift about the halcyon days of youth.
The tracks on Atlas are no great departure from the band’s earlier sound, but they’ve filled out their melodies even further, and have somehow really managed to tap into a sensation of nostalgia, which is definitely part of the album’s success.
Their live show at Il Motore (RIP) in Montreal in support of this record was much better than their tour for Days, which was mostly due to Matt Mondanile’s showmanship on guitar – at times it seemed his Ducktails “sound” was definitely bleeding into the Real Estate set, but that just made the show more vibrant. Keep it coming, boys.
I’ve loved Andy Stott since Merciless came out in 2006, and still consider that collection of tracks to be some of the best techno out there, even if it was slightly derivative. Yet, when Stott began experimenting with murky dub and jungle I started to tune out a bit. With 2012’s Luxury Problems, I liked the direction he was moving towards and the addition of vocals from Alison Skidmore, but the record failed to truly captivate me … but the wait is over for that, because with Faith in Strangers Stott has captured my complete attention. It is the most fully formed and wholly unique record in his discography, weaving between moments of cavernous beats and spooky ambience, and an uneasy balance of beauty and menace, which is just a lot of dumb words to try to describe something that needs to be heard to be experienced.
“Violence” is arguably the best electronic song of the year. It feels old and new, dark and foreboding, and airy and light all at the same time. Let’s hope Stott continues on this upward trajectory, and for the love of God is he ever going to play MUTEK in Montreal? C’mon, book the guy already!
Holy shit! New Aphex Twin everybody! The Grand Puba of electronica returned this year with a release under his AFX moniker and has appeased the masses (for now). What else can I really say? There’s some amazing tracks on this album and I am very interested to see what Richard D. James will do next as he seems to be in an uncharacteristic “I wanna share!” mood as of late. Let’s hope it lasts.
My one qualm about the excellent SYRO is that the tracks are old. There’s nothing brand new here, but it’s definitely enough to tide us over until real new Aphex Twin drops in the next year or two. Keep sharing, sir!
I was drawn to Brighton producer Leon Vynehall’s Music For The Uninvited from the first seconds of the Zelda inspired “Inside the Deku Tree”, with its punctuated string arrangement that threatens to blossom into life but tantalizingly doesn’t. It’s an effort in restraint that pays off big time as the next three tracks kick up to dance floor tempo and beyond, effectively displaying some of the finest house bangers of the year. “Be Brave, Clench Fists” hinges on an even sweeter orchestral loop than “Deku” and builds warm synths and a nice 4/4 beat around it to great success, while later tracks “Christ Air” and “St. Sinclair” close the album on a more introspective note.
Vynehall is definitely a producer to keep your ears on, and Music For The Uninvited is some of the most eclectic and rewarding electronic music you will hear this year.
Freddie Gibbs and Madlib have both been in the hip hop scene for way more than a minute now, and although they seem to come from different sides of the rap game (Madlib operating on the jazz-funk side of things, with Gibbs working the straight-up thug angle) their unlikely collaboration is a fresh set of smooth beats and tight rhymes.
Gibbs’ sharp lyricism and technically precise flow on each track compliment the soulful and extravagant production from Madlib. People were waiting to see how these two would compliment each other, and the result is arguably just as good as the now classic Madvillian.
Gibbs has always sounded great as a featured guest on other rapper’s albums, but here he steps up to the spotlight and is able to maintain and sustain for Piñata’s seventeen tracks. Guests like Danny Brown, Raekwon, Scarface, and Earl Sweatshirt all help make this record one that all fans of hip hop can dig. Ya dig?
Dan Snaith has never been content to lock down a sound or remain in any one genre for very long. In his decade long career as Manitoba/Caribou/Daphni we’ve seen him shift from pastoral electronica to psychedelic pop to krautrock to house music and the dance floor. In a lot of ways, Snaith’s musical trajectory is very similar to Kieran Hebden’s Four Tet project, as both of these artists have slowly moved from cerebral IDM to more visceral and straight forward dance music that still remains somewhat off-kilter.
The strength of Our Love is how Snaith is able to make us feel the emotions he wants us to feel like love and wonder and nostalgia and even bliss. Sounds cheesy right? But his songwriting is so self-assured and personal here, he makes it easy for his listeners to happily float off on his vibe and occasionally wanna get up and dance too. Great stuff!
Run them jewels fast, run them run them jewels fast, fuck the slo-mo!
Building off the hype and momentum of their debut collaboration as Run The Jewels, El-P and Killer Mike returned this year and dropped an even tighter and more enjoyable set of songs with Run The Jewels 2. Their debut was number four on my Best of 2013 list, and just like last year I had this album on repeat while jogging and exercising, trying my damnedest to learn Killer Mike’s tongue-twisting rhymes and bopping along to El-P’s post-apocalyptic production which is even more percussive, abrasive, and dynamic than before.
RTJ2 is straight-up fight music and the best part is El and Mike make it seem completely effortless. The rhymes and beats come second nature to two artists who’ve been in the game for twenty years and are finally both getting the musical cred they deserve with the Run The Jewels project. And as with their debut, it’s clear they havin’ hella fun making this music.
I hate the fact that P-fork also picked this album as their number one, but at least they selected an album that challenges its listeners both sonically and thematically. As seems to be the case quite often for my number one pick, I’ve chosen Run The Jewels 2 as my favourite album of 2014, because it looks way forward to the future but also has its feet firmly planted in the past. It tapped into my mind and my gut and made me FEEL, goddammit. It’s old skoool fuckin’ with new skoool and its done with class, tact, intelligence, style, and vulgar bravado! Way to go Jamie and Mike. Ch-check it!
Yes! We made it to the mafuckin’ end!
HONORABLE AUDIBLES
There’s always more great music that I just don’t have the time to write about, but please click on the album covers to sample a track of some of my other 2014 faves!
Montreal based and Journey Prize nominated writer, Anna Leventhal, released her first collection of short stories, Sweet Affliction, earlier this spring and has crafted a subtle yet powerful debut. Most of the stories are set in her adopted city, yet as the book’s cover reveals, it is a Montreal flipped on its tête – one in which Moving Day is mandatory and sanctioned by the province, one in which Hasidic Jews socially interact with their non-Orthodox neighbours, one in which the Hippodrome is the set of a twisted reality show where illegal immigrants vie for citizenship, and one in which her characters feel justified in doing the wrong things for the right reasons.
Yet regardless of these creative tweaks to setting, Leventhal’s stories are all about her characters. She is skilled in character development, seemingly revealing so much about her protagonists, yet in reality giving her readers jussst enough to make them empathize and see and feel what her characters are feeling. A few stories are loosely connected by characters, giving us snippets of their lives from undergrad days living in a crowded house in Mile End to everyone grown up and dealing with issues like adultery, multiple sclerosis, academia, and donating sperm to a friend.
Leventhal is definitely not afraid to write about difficult subject matter, as cancer and terminal illness seem to be a motif that runs through several of these stories (“Wellspring”, “A Goddamn Fucking Cake”, and the title story). What’s more, she’s not afraid to put her characters in difficult situations as well – taking a pregnancy test at a wedding (“Gravity”), mourning the loss of a pet (“Horseman, Pass By), being exposed of date rape at a Passover Seder (“Maitland”), working at a rub and tug on Ste-Catherine Street (“A Favour”), and the list goes on.
This is a collection to be read slowly, and one that will stick with its readers after they’re done. With fifteen stories there’s lots to like here, with only a few that feel as if they don’t quite hold up in an otherwise strong collection. As a minor complaint, I find the endings of a few of the stories a bit lacking of a strong image or sense of cohesion, yet other stories like “Helga Volga” or “Horseman, Pass By” do a fine job of hitting the point finale on the head. And in the end, I had the same feeling that the narrator of “Wellspring” couldn’t seem to get rid of when I was reading Sweet Affliction – one of zzzzmmmmmmmmmm – joy.
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INAUDIBLE 