Best Albums of the First Half of 2017
As we’re now rolling into September, it could seem like it’s too late to be posting about the best albums from January through June of 2017. But it’s better late than never!
Loving and respecting an album takes time. Multiple listens allows a record to grow on you; it becomes part of your life. To write about an album, you must truly know the album.
The 10 albums featured here are part of my record collection; they are special. These Long Players were released between the months of January and June, 2017. It has been a good year.
Pissed Jeans : Why Love Now (Sub Pop)
It has been a long, agonizing road for Pissed Jeans — 13 years, five
LPs, and plenty of amazing live shows. It’s painful because, at
the end of the day, Pissed Jeans plays devil music, albeit the best of
such kind. And over all that time, Pissed Jeans have wasted not one
ounce of precision or might; their music has reason. Pissed Jeans gets
under the skin, the feeling of invigoration boiling over into endless
head banging. Dinner might be cold.
Pissed Jeans is like any timeless band — songs played over and over,
never getting stale. Their debut album, Shallow, from 2005, still hits
hard today. That’s why Pissed Jeans’ new 2017 release, Why Love Now,
cuts so deep. Why Love Now encapsulates everything Pissed Jeans does
well — dank sludge, invigorating rhythm, and thoughtful lyricism with
impressive vocal range — while being the most well produced album of
the bands heady career. Matt Korvette (vocals), Bradley Fry (guitar),
Sean McGuinness (drums), and Randy Huth (bass) are in their mid-30s;
Pissed Jeans are sitting at the top of the punk rock summit, spitting
on the inexperienced. Some critics have said that punk rockers aren’t
true musicians, but when it comes to Why Love Now, that’s probably the
dumbest opinion that I have ever heard. Why Love Now is an
extraordinary assault on the senses, and if you can get through the
morbid nightmare of opening track “Waiting On My Horrible Warning,”
you’ll be hearing one of the better punk LPs in recent memory. Pissed
Jeans might be singing the blues; it sounds legendary.
Ty Segall : Ty Segall (Drag City)
Despite not having a download card accompany the vinyl edition of his
new self-titled album, Ty Segall is back in stride as the psychedelic
garage rock provocateur. Last year’s Emotional Mugger was probably
Segall’s worst LP to date (It’s him; it might be better than most of his
contemporaries). The first seconds of Ty Segall (“Break a Guitar”)
reveals feeling unlike the nine Segall albums that preceded it. As a
multi-instrumentalist, Segall has overdubbed his recordings. Here,
Segall is playing live with The Freedom Band — Mikal Cronin (bass),
Charles Moothart (drums), Emmett Kelly (guitar), and Ben Boye (piano)
— as master recording engineer Steve Albini helps the musicians
achieve greatness. And we’re glad that Segall and Albini worked
together; this is a relationship bound by proficiency and love for
noise. Ty Segall has no fluff, and it could be heard as a mixture of
velocity from Slaughterhouse with the acoustic beauty of Sleeper.
Almost one-third of Ty Segall’s running time (36 minutes) is captured
by “Warm Hands (Freedom Returned),” maybe Segall’s most ambitious song. So far; it has three parts, and enough trickery for a lifetime.
Between all his solo stuff and collaborations, Segall has released an
unprecedented amount of music for a 29 year old. Ty Segall is another
notch in his ever-growing belt.
Run The Jewels : Run the Jewels 3 (Run The Jewels, Inc.)
Technically, Run the Jewels 3 is a 2016 release (it dropped on
Christmas Eve), but since the physical 2xLP arrived in January —
colored GOLD— it’s OK to count this album for 2017. Also,
almost every 2016 best albums list was published before RTJ3 set fire
to the world, giving us an entire year to sift through the ashes.
Run The Jewels — the super fabulous duo of Killer Mike and El-P — is a
hip-hop monopoly. For their third album, RTJ has its own label, a
boatload of marketing, and enough merchandise to bury the Trump
administration. The beats? Dude. The rapping? Incredible. Check these
collaborators on RTJ3: Danny Brown, Tunde Adebimpe (TV on The Radio),
BOOTS, Kamasi Washington, and Zack de la Rocha (he’s a surgeon). El-P
and Killer Mike probably have the tightest alliance in hip-hop. These
dudes should be untouchable, but they’re so friendly towards the fans.
If you asked Run The Jewels for a hug, they might oblige and pass the
blunt. We’re excited for future installments.
Spoon : Hot Thoughts (Matador)
A mainstream band that isn’t known for being mainstream, Spoon has
never disappointed in its two decades of existence. Recently, Spoon
has been silky smooth and bombastically sexy. This might have
something to do with Spoon’s relationship with Dave Fridmann, who
started recording the band for 2014’s They Want My Soul; he continues
the fine production with Hot Thoughts. Sometimes, a band and a
producer can find impeccable chemistry; I would love to be the fly on
the studio wall when Britt Daniel, Jim Eno, and Fridmann are doing
work. Spoon is making edgy, attractive pop music. Something lit a fire under Spoon and it’s spreading.
Mac DeMarco : This Old Dog (Captured Tracks)
From Montreal to Queens to Los Angeles, Mac DeMarco has made a steady
climb. His patented “jizz jazz” has grown on listeners since “Ode to
Viceroy” became an Indie anthem back in 2012. This Old Dog is not only
Mac’s longest album (42 minutes), it is his most mature; he really got
to know the songs during his move from Queens to Los Angeles. Demarco
makes a handful of lyrical references to his father, and one to his
sister; how This Old Dog sounds, his family should be proud. And there
is the introspective sway — synthesizer sounding so crisp — of “On the
Level,” which is a nominee for Song of the Year.
We love multi-instrumentalists who record/produce their albums, and
Mac DeMarco has reached a high level of songwriting with little help.
He’s probably the most coveted artist on Captured Tracks; the label
better hold on to him.
Kendrick Lamar : DAMN. (Top Dawg/Aftermath/Interscope)
During the later happenings of DAMN., a harmonic voice sings “it was
always me vs. the world, until I found it’s me vs. me.” This statement
weighed on me heavily, sitting at the dining table with a bright light
over my head, somewhat inebriated. I thought of the last two years,
struggling to build my own brand as a writer after being fired from a
reporting position that I held for seven years. It’s too easy to blame
the system; the only object in my way is procrastination and lack of
focus. Kendrick Lamar became our generations’ greatest rapper by
working unbelievably hard; I must do the same to become the writer I
strive to be. It was as if Lamar was sitting at the chair across the
table. DAMN. arrived in the mail earlier that day; I made sure to have
a personal therapy session through the music. It’s interesting how
albums burn into our souls. Lamar’s influence is as vast as the Grand
Canyon, his talent impeccable. Success has to be earned.
Tennis : Yours Conditionally (Mutually Detrimental)
Vinyl Me, Please is an amazing record club to be a part of for many
reasons. We’ll save that entire ass kissing for another time, but
here’s an accelerant for VMP: exclusive releases from artists on the
rise. They did it with Torres for her all-encompassing sophomore
album, Sprinter; they introduced the voice of Lapsley to the world
(Long Way Home); and they continue to run with the torch in 2017 with
Yours Conditionally by Tennis, a dream pop band that’s been around a
lot longer (2010) than people realize.
Yours Conditionally was written during a sailing trip in the Sea of
Cortez, just like Tennis’ debut, Cape Dory. And the listener can tell;
it’s a whimsical record draped in love, made by two lovers, Patrick
Riley and Alaina Moore; their relationship sprouted from a philosophy
class at the University of Colorado in 2008. And since Yours
Conditionally was born out of the waters between California and
Mexico, the music floats in way most land-made albums cannot. Yours
Conditionally isn’t the most innovative LP this year, but it might be
the deepest narrative.
Ryan Adams : Prisoner (PAX AM/Blue Note)
Sixteen albums in 17 years? That’s dense. And that doesn’t count Ryan
Adams’ early career work with Whiskeytown, which I’ve never heard.
With all the noise Adams creates in social circles — his most recent
spat with The Strokes was a good one — it took me a while to get past
his public idiocy and focus on his angelic heartland rock. I’m not
familiar with half of Adams’ catalog (picked up his 2xLP Gold for
cheap some years ago), but I have enjoyed what I’ve heard. When an
artist has a ridiculous amount of material, sometimes you must latch
on to what you like and leave it at that; there’s too much other music
out there to benefit from.
Prisoner was on the personal release radar; something about the
prospect created excitement. The record spotlights Adams’ strengths:
supple, inviting sounds; glossy sheen; heartbreak without the sorrow;
and classic rock stunts. My fandom with Ryan Adams’ music goes as far
as sounding like charm out of my speakers. That’s all it takes.
Perfume Genius : No Shape (Matador)
Mike Hadreas (Perfume Genius) might be the most powerful homosexual
man in the music business. He’s not muscular or tall — more flamboyant
and feminine — but his gargantuan pop is delivered with the utmost
passion and strength; Perfume Genius will move you. Hadreas used to receive death threats for being gay, but now the wonderful sounds he produces bridges all gaps. In Perfume Genius’ world, homophobia does not exist. No Shape is music for all people in all places. Hadreas’ first album, Learning, in 2010, was recorded in a bedroom; No Shape was produced by Blake Mills with such interesting instruments as Wurlitzer, trumpet, baritone guitar, marimba, tablas, mellotron, celeste, and woodwinds. Perfume Genius went big, and came out with a stunner. No Shape is 13 mini earthquakes from a musician/performer who defines progression.
Kevin Morby : City Music (Dead Oceans)
City Music is the only vinyl in my collection that resembles a Creamsicle. Smooth and vibrant, just like the tasty treat, made by an underrated young man who might be better known for his work with past projects (Woods, The Babies), but who has four solo albums in four years time. If 2016’s Singing Saw put Kevin Morby on the contemporary map, then City Music makes him a universal talent. It’s a subtle record, but has enough hooks — especially the chorus (“and you cry, crybaby, c’mon cry crybaby”) of “Crybaby” — to get jammed into your head. Oh, and there’s a Germs (“Caught In My Eye”) cover, too. Morby might have the best guitar record of 2017; the ghost of The Velvet Underground is seeping out like smoke under a closed door. And as a Vinyl Me, Please exclusive pressing, the fruitful packaging — full of stories and explanations — further allows the listener to get lost in the magic.
Here is a list of some other albums worth listening to from the first half of 2017:
Sampha : Process (Young Turks);
Japandroids : Near To The Wild Heart of Life (Anti-);
Priests : Nothing Feels Natural (Sister Polygon Records);
Meat Wave : The Incessant (SideOneDummy Records);
Methyl Ethel : Everything Is Forgotten (4AD);
Drake : More Life (Republic Records);
Fu**d Up : Year of the Snake EP (Tankcrimes);
Pallbearer : Heartless (Nuclear Blast);
Strand of Oaks : Hard Love (Dead Oceans);
Gary Clark, Jr. : Live North America 2016 (Warner Bros. Records);
Pile : A Hairshirt of Purpose (Exploding In Sound Records);
Future Islands : The Far Field (4AD);
The Black Angels : Death Song (Partisan Records);
Feist : Pleasure (Polydor);
Forest Swords : Compassion (Ninja Tune);
Here Lies Man : Here Lies Man (RidingEasy Records);
Woods : Love Is Love (Woodsist);
Arca : Arca (XL Recordings);
Thurston Moore : Rock N Roll Consciousness (Caroline International);
The Afghan Whigs : In Spades (Sub Pop);
Electric Guest : Plural (Downtown);
Taiwan Housing Project : Velben Death Mask (Kill Rock Stars);
Pharmakon : Contact (Sacred Bones Records);
Portugal. The Man : Woodstock (Atlantic);
Fred Thomas : Changer (Polyvinyl Record Company);
Cherry Glazerr : Apocalipstick (Secretly Canadian);
Julie Byrne : Not Even Happiness (Ba Da Bing!);
Vince Staples : Big Fish Theory (Def Jam Recordings);
Algiers : The Underside of Power (Matador);
Ron Gallo : Heavy Meta (New West Records);
Amber Coffman : City of No Reply (Columbia);
Washed Out : Mister Mellow (Stones Throw Records);
Beach House : B-sides & Rarities (Sub Pop); and
Blanck Mass : World Eater (Sacred Bones)
No doubt, we’ll be revisiting some of these titles at the end of the year (or the beginnings of 2018) when I produce a best-albums-of-the-year feature. Sadly, that’s only four months away. Keep your ears to the sound.
