10 Year Reunion: February - k-os' Atlantis: Hymns For Disco

February 20, 2017

Without diving headfirst into his entire discography (because that would make this article too long for even my *~best~* readers) I'll just say this: k-os hasn't made a bad record. That's the statement I want to you to sit with. As an artist he seems to find inspiration everywhere, and in doing so his sound alters from record to record. The fact that he remains a consistent talent despite an inconsistent sound speaks more to his ability as a creator than anything else I can say. And for those of you who follow the site regularly, you know there's nothing I love more than innovative consistency. Pushing yourself as an artist should always be what comes first. I understand commercial appeal is what may keep you around, but there is a way to do both. There's always a way! There's ALWAYS money in the banana stand! At the beginning of this paragraph I mentioned I wouldn't delve into all his records BUT for context I do want to speak about his first two records, as they set the tone for a career that has, and hopefully will continue, to bring me joy.

His debut record Exit came out 15 years ago, and even then his sound strayed from the norm. While pretty firmly grounded in the realm of hip hop, the record's approach was eclectic, featuring influences from reggae to funk to soul. Add in his ability to fuse a singer-songwriter atmosphere with his rap vibe gave him a freedom most artists attempt to have but fail, allowing him to expand his style in any direction. I was so taken with Exit when I first heard it, and though it's not my favorite of his it does have a number of his greatest songs, including: "Fantastique" (one of my favorite beats of all time), "Heaven Only Knows," "Freeze," and "Follow Me." For new listeners, this album exists as the perfect intro, good enough to get you excited for what's to come, while not being so good the rest feels like a struggle to live up to the hype.

As strong as Exit was, his sophomore release Joyful Rebellion was the one that brought him into the spotlight. Think of it as Exit 2.0, improving on everything from flow to structure to him further defining his unique brand. It's spectacular in the same way that Late Registration complemented College Dropout (for context's sake, I think Late Registration is superior). The record is filled to the brim with confidence and was the perfect stepping stone to get to Atlantis, an album that is an entirely different animal that the first two records. Joyful Rebellion was a bold critique on the state of hip hop at the time, though it's content concerned me less than what it made me feel. Once I heard "Crabbuckit" into "B-Boy Stance" I knew what I had felt upon my listening to Exit was no fluke. Which meant that my curiosity had turned to enthusiasm, which bred anticipation, which forced expectation; a word that can be dangerous if the artist doesn't meet them.

We're going to talk about Atlantis: Hymns For Disco now because HOT DAMN is it great. Right from the first second you knew it was going to be a groove. "ElectriK HeaT - the seekwiLL" is the opening track and everything about it breathes life into me. I know I’ve spoken on this before but for album’s I desperately love I rarely know how to speak on their behalf. I want to say the right things to both respect the record and perhaps more importantly, I want to get you to listen to it. For me, like so few records, this album is all encompassing: it’s old, it’s new, it’s soul, it’s hip hop, it’s rock, it’s worldly, it’s funk, it’s reggae, it’s R&B, it’s everything! Gospel in the divine sense, pure entertainment in the artistic sense. Even among single tracks there are groupings of genres. “Equalizer” is one of my favorites on the record and I can’t even tell you the genre it uses as a base. I wish I could put this more eloquently, but his vision as an artist is a blast to explore. You read that correctly, it's "a blast." I am 10. But seriously, nothing he does feels forced, he’s doing what the music inspires him to do. It’s easy and natural. Much like Anderson .Paak’s album from last year (Malibu), K-OS does a lot of things, and he does them all right.

The mood is primarily upbeat, and if I was forced to give it a genre it would be still be hip hop, but it definitely feels like something else. The alternative sound that's constantly present adds an energy that is rarely present in hip hop. That's not to say hip hop isn't energetic, hip hop thrives largely on it's energy, but this is specific. I still haven't heard a record quite like it. None of the 14 tracks compete with each other, all operating on a sometimes largely different plane. It's beautiful. I'd say the song that represents the album best is "born to Run." It features so many of the elements that make him who he is, but in all the variations of the melody I think what stands out to me the most is how easily the song transitions from it's tireless pacing and upbeat nature to finish with an acoustic breakdown of the same melody. Find me an artist who can not only make that work, but also be completely engaging in both formats.

As I listen to the record trying to find which songs I should be highlighting so you can feel how I do something hit me. The best way I can think to explain the beauty of Atlantis: Hymns of Disco is this. Imagine an artist's greatest hits record, now imagine if that album flowed as if all the hits were meant to be played in that sequence. That is this record. Start at the beginning and work your way through. Each song in it's place is what makes the best songs better, and, if you're like me, each song will be held high at one point in time. This record is a hip hop fusion dream and there isn't an ounce of it that lacks passion and genuineness. Put it on during your next run, your next drive, next ride, next situation that will be enhanced by good music (aka every situation). If you like it then get ready, you just woke up to a whole new world.

k-os 2009 to Present

Because he's released three albums following Atlantis: Hymns For Disco I thought it might be helpful to post some highlights from those records for those of you interested in listening to a little more from our Canadian friend. Enjoy!

Yes! (2009)

BLack On BLonde (2013)

Can't Fly Without Gravity (2015)

The Grammys Are The Exact Opposite of What They Should Be

February 14, 2017

As each passing year fades so does my tolerance of the Grammy Awards. My displeasure is steadfast and deep rooted, and barring a complete restructuring I think any genuine fan of music should feel the same considering how poorly they represent the very medium they stand for. It's a shame that I care at all; sadder still, I've come to settle for one or two merely decent nominees, accepting that scenario as a "win;" it shouldn't be that way. I'm not asking to agree with everything, it's impossible with so many different sounds being pushed forward, but I am asking for them to act like they give a damn. There is too much wonderful, innovative, polarizing, and truly groundbreaking work being done in the name of music for the Grammys to cast a perpetual blind eye. The worst part of it all is that this lack of recognition is being done by an institution whose sole purpose is to reward the innovators that make it's very existence possible! This criticism will be small in scope, though if wealthy benefactor feels like commissioning my manifesto I'd be happy to accept the task of breaking it down in it's entirety. But for now here's my, believe it or not, tempered take on the awards show that consistently provides me with one of my least favorite nights of the year (yet I still watch, such is life).

This post is rather long, and while I'd like for you to listen to music while you read, unfortunately the music I talk about within the piece would be distracting and I'd love for your attention to be undivided. With that in mind I've chosen excerpts from composer Yann Tiersen's 2016 instrumental record EUSA to accompany you through. It's a dream, so enjoy!

I love music more than anything and started this site to share that love, so seeing one of the biggest platforms blatantly and knowingly waste their voice makes me upset *stomps feet, curses night sky.* Let's start with the tagline itself. The Grammys labeling themselves "music's biggest night" might be the most misleading mantra in the world considering no awards show is less in touch with their art form. "Music's most contradictory night" seems more apt, as they support and reward the steadily uninventive sounds brought to us by musics most popular names. Even in the last two years, when the ballot tidily gift wrapped a winner who was well deserving of the (once coveted?) trophy, they STILL found a way out of crowning the correct winner. For those unfamiliar I'm talking about Kendrick Lamar's To Pimp A Butterfly (2015) and Beyonce's Lemonade (2016), both rare combinations where the artist in question is both wildly famous AND the creator of a bonafide masterpiece. Easy decision right? Apparently not, as they chose to honor the, by comparison, extraordinarily undeserving Taylor Swift (1989) and then doubled down this year by doing the same thing, gifting the top prize to the not terribly undeserving but undeserving nonetheless, Adele (25). I guess the question that weighs so heavily on me is why?

A perfect example is the aforementioned 2015...situation. To put Taylor Swift's win into perspective as logically as I can (after all, art is subjective), on the site Metacritic, which is in my opinion the best site out there in gauging critical response, they do a year-end roundup by pulling album rankings from the country's top publications (newspapers, magazines, blogs, etc.). In that collection of just over 100 publications Kendrick's To Pimp A Butterfly received 51 album of the year votes. The second highest? Sufjan Stevens' Carrie & Lowell with eight. EIGHT, PEOPLE. The way they do the overall ranking is a simple point system: three points for a first place vote, two points for a second place vote, and one point for just being in the top 10. Kendrick received a total of 225 points. The album in second didn't even crack 100. Taylor Swift's record? 33 points. Now, keep in mind her album actually came out in 2014, not 2015, so technically her record wasn't directly compared to Kendrick's in critical circles. Though 2015 was much stronger than 2014 so I'd imagine her score would have dropped considerably had they actually gone head to head. Nevertheless, when you're honoring songs that are turning two years old, something is wrong. If that doesn't make sense to you, you're not alone.

The Grammys' eligibility period is structured like this. Albums taken into consideration are ones released from October of x-year to September of the following year for an award show in the year following that one....go ahead and wrap your head around that. Why no one within the committee has mentioned, or rather forced, pushing the show back a few months and making the qualifying period span a calendar year is beyond me. Which, if anyone from the Grammys is reading, a calendar year is January through December. Fingers crossed they just...didn't know? Except they do, those sneaks! Remember how I said it's all about the ratings? The reason they do this is so they can keep big stars in the spotlight for multiple years. How this works is, if an album's single comes out during 2014's eligibility period it can be placed into the running even if it doesn't have an album to accompany it. This way, when the album is released after that years' eligibility window has closed, the artist can be nominated again the following year, further limiting the number of artists outside of their favorites they have to acknowledge. If only they worked this hard to, I don't know, maybe do something like...the exact opposite of that?? What a world that would be!

Now, back to the nominees themselves. Obviously there are exceptions, as there are to every rule, and the Grammys seem to always work just hard enough to acknowledge a limited few who are genuinely deserving, though "just hard enough" loosely translates to not hard at all. They state that they receive over 20,000 entries every year. TWENTY THOUSAND. And with all those submissions they somehow end up with the same best album nominees that would be chosen by local high school students (no disrespect to well informed high schoolers). It blows my mind that Drake's Views and Justin Bieber's Purpose were even mentioned. Those albums aren't good enough to be nominated in their respective genres, let alone for the top award. If they so desperately wanted popular nominees for that category why not toss one to Rihanna (who in fairness did receive eight nominations); ANTI was far and away her best album ever and one deserving of a nod. In fact, the Best Urban Contemporary Album nominees would have made up a stronger Best Album of the Year field with: Beyonce - Lemonade, Gallant - Ology, KING - We Are KING, Anderson .Paak - Malibu, and Rihanna - ANTI. Which brings me to another conversation.

In an age when exposing the beauty of diversity is paramount, and the urgent necessity of that has jumped to the forefront of conscious minds, there is no easier task then the one the Grammys have had/ currently have/ and will continue to have before them. While many groups of people are putting out material worth a deeper look I'd like to focus on a specific one, as it seems to be most prevalent. I've read countless times that the Grammys don't understand black music, and while I'd go as far as to say they simply don't understand music, their relationship with black music is a crying shame, because in the industry right now no collective is doing more creative or original work. Culturally, black artists have been at the forefront of almost every genre that we know and love: blues, jazz, rock and roll, funk, hip hop, etc; and considering all the sub-genres that developed as a result of these, it would almost be easier to say they birthed popular music as we know it today. What we experienced this year, and honestly have been experiencing in some way or form as long as I've been alive is a progressive renaissance, a blending of classic sounds and genres made new. Whether it was loud or subtle, this movement is constant: Esperanza Spalding's Emily's D+ Evolution, Laura Mvula's The Dreaming Room, Amos Lee's Spirit are just a few of the great albums that went unnoticed. In 2016, 14 of my top 25 albums were from black artists, including seven of the top 10 (you can read that list HERE). So when the they refuse to acknowledge these artists who are creating something that's as expansive as it is important, it begs the question...what are they actually looking for?

As of now, that question can be answered with one word. Ratings. It's obvious. Music itself is the least of their concerns. They promote artists that everyone knows for that exact purpose, everyone knows them. It's guaranteed viewership and that's guaranteed money. It's business, nothing more. The unfortunate part of that is most people don't care enough to change it, I mean I'm writing this and I still tune in. I have to. Because here's the thing, I still like most of the artists being nominated. I like pop music, I like mainstream music, I'm a fan too! This year's show was the most fun that I can remember having during the program. The performances, from the grandiosity of Beyoncé to the simplicity of Gary Clarke Jr. and William Bell, were incredible; but wouldn't it be even better if the awards themselves were great too?? Just because something is fun doesn't mean it deserves to be glorified. It's the equivalent of nominating Captain America: Civil War for Best Picture at the Oscars. The movie is entertaining, but it's not art. There is a difference. Yes, artists worked on the film, but it's nothing more than fun. And that's not to say an action movie can't be both fun and art. Just last year Mad Max challenged the idea of what an action movie could be. It was an absolute spectacle, big and beautiful, an exercise in controlled chaos, and it was recognized justly. Music should be held to the same standard.

To make things a bit clearer, here is a chart I made based upon my research of the esteemed institution. It's extremely accurate.

A Study Showing The Time Period The Grammys Cared About Music

The height of the bar indicates the rise in their respect of art.

Unfortunately, not all winners fall into the Captain America category. Some are a little bit trickier. The trickiest of all? Adele. The Grammys PRAY for artists like Adele. She's someone that both casual and dedicated fans can generally agree on. While she isn't breaking any ground artistically, she does rise into the rarified stratosphere of being perfect at what she does. Her vocals, her emotion, her passion, all 10's. With all those accolades, a singular talent like her transcends generational tastes making her the perfect out. While we might believe someone was more deserving, no one truly dislikes Adele winning. I want to award her too. She's classic. And yes, that word is a compliment, but it's also where the problem lies. Classic is good, but it's not progressive, and with the Grammys so reluctant to evolve, artists like her provide them reason not to, at least for one more year. And when it's involving an industry that seems to be moving a mile a minute, remaining stagnant is the worst thing you can do, especially when you have the funds and connections available to be on the forefront.

Considering who the voter list comprises of (industry professionals on both the creative and technical side), it's equal parts surprising and unsurprising why the nominations end up like they do. It's easy to get lost within ones own work, so I understand why people employed within the industry aren't necessarily up to date on everything being released. Their focus is on the album, or albums, they're directly involved in, and I'm sure that for many the last thing they want to do when they get home is spend hours scouring through new records and singles. Obviously there's a percentage of artists that do keep up, but I'm speaking in a general sense. Then again, I would also imagine that those in the industry would be more willing to reward new sounds. Hearing the same thing over and over again would get tiresome, so when they come across people doing things differently you would think they'd be excited to cast the spotlight on them, the innovators, the risk takers. Because of this conundrum it's hard to decide where the fault lies, but I guess my concern is less where the fault lies and more why are we leaving it up to this group to decide in the first place?

I love speaking to musicians and getting their insight. As merely a fan of music, my perspective and reception of sound can be largely different from that of an artist, because of that I find their input and point of view fascinating. But if the artists aren't willing to, or simply can't take the time to explore the years sounds, then they shouldn't be the ones voting. On top of that, you have to recognize that there are conflicting emotions for voters if it's an album they worked on, or one from their label, or one from their friend, all of which could sway their decision. In addition to that, these compromised votes could also be associated with job security, a promotion, a pay raise, etc. With that in mind, an unbiased third party is the only option, but unfortunately there's just too much money at stake to leave the power in the hands of critics. It would be too unpredictable, and unpredictability doesn't make for good business. Case in point, even after all the votes are tallied, there is a group of unspecified individuals who look at the results and decide if they're what they want. I WISH I were kidding. And while I would love nothing more than to go off on that, that job has already been done, and done well. Read Vox's article on the voting process HERE.

Another thing I take issue with is the absurdity of the sheer number of categories (many of which are annoyingly repetitive). It currently sits at 84, and I'm sure your patience with me is growing thin so I'll save that conversation for another time, but of those 84 there is one that rises above all others as the biggest disappointment. Best New Artist. To look at the past list of winners is similar to seeing a who's who of music over the last five decades. To the casual reader this might give the idea that the Grammys know their stuff, handpicking artists from obscurity and propelling them into the public eye, and for many into the history books. This is not true. It's an illusion dear readers. What they do is simple, they nominate and reward acts who generally already have a solid fanbase, and my biggest complaint, artists who've already released an album, or even worse, multiple albums! The "best new artist" rarely recognizes genuinely NEW artists. The fact that they can have up to 30 singles/tracks or three albums and STILL be considered new is absurd. The definition of new in it's simplest form is "not existing before."

They use the word new in place of "new to me," which, by those standards, absolves them of actually doing the work of keeping themselves up to date with what's going on in the music world. It's an excuse to be lazy. They should be picking artists at the beginning of their careers who they feel will do great things in the future. Who, by giving them the push of even just a nomination, should ensure in some way or form that they have the means and connections to take that next step and really showcase what they're capable of, a chance to live up to the potential. Their concern shouldn't be a track record of success, the focus should be the future of music. The Best New Artist category should act as a grant, a "let's see what you can really do" challenge. This year was a little different, as Chance The Rapper (best new artist winner/ not new artist) being awarded truly anything is a win, considering he single handedly made them change the rule book in terms of eligibility. In short, the Grammys refused to recognize independent artists whose work is not for sale, only allowing ones who were associated with a label to be nominated. But alas, Chance fought and Chance won. Everybody thank Chance. This alteration was a massive deal, but there's also an unnoted underlying beauty to his accomplishment. It showed how quickly problems can be mended if there is enough support to do so. Whether we use this to our advantage remains entirely up to us.

There is a duty to showcase artists both big and small making waves in the industry. Challenging the format, doing something different, or even doing something we've all heard but doing it perfectly that we have no choice but to bow down. Instead, when I see these nominations it honestly feels like they just got together and said, "People like this right? This is a good one? Let's nominate it," or even worse, "People will watch if _______ performs, oh and we need _______ in the audience for reaction shots so let nominate their album to make sure they show up." It's embarrassing. And here's the thing, those artists can STILL PERFORM. There is a category in which they can be recognized, but how about this, and I know this sounds crazy but stay with me, what if....we make them earn it? *gasp!* I know, insane right?? Make them create something new. Make them prove their artistry. Because as it stands, even with all the resources major artists have available to them, many of these performers still make music that isn't unique, it's just easy. It will still be popular, it will still sell. These artists don't need the Grammys, but some do, and those are the ones that should be recognized. I think it's time for the Grammys to matter again, so the only question that remains now is, do they?

10 Year Reunion: January - The Shins' Wincing The Night Away

January 23, 2017

10 Year Reunion is a monthly post that recognizes my favorite albums from each month that turn, you guessed it, hit the 10 year mark. Generally it will focus on my favorite album from each month, though I will occasionally include other notables, ones I deem necessary. I'm in control! Me!

The Shins
Wincing The Night Away

How appropriate, that on the verge of The Shins new LP (Heartworms; due out March 10th) we get to revisit a bit of their past. Initially I was going to just do a countdown of my favorite albums of 2007, and actually, the way it worked out that may well happen considering many of my favorites came out in different months. However, overlap is unavoidable, and I thought it would be more fun to make it anniversary focused, because I love special occasions. Oddly enough, Wincing The Night Away actually was my favorite album of the year and since then has found a comfortable home in my favorite albums of all time (a list that will be available...maybe like...sometime before I die?).

Wincing The Night Away is perfect. One of two perfect LPs released in 2007. Each year has one or two records that warrant consideration for the "perfect" label, but to actually attain it is a rarity. Right from the start you're instantly hooked with the dreamlike whimsy offered during the opening of "Sleeping Lessons," slowly building until it explodes with sunlight at the halfway mark, leaving you dancing the rest of the way. An album opener carries so much weight for me, it's all about setting the tone. It defines your experience of what's to come, an introduction to your life for the next 45 minutes. And in regards to that, "Sleeping Lessons" is, like the album that follows, flawless.

While the record would be categorized under the blanket genre 'alternative,' I've always regarded them as more in the realm of pop-rock. Either way works, or doesn't work depending on who you talk to; for me The Shins really don't offer themselves to specificity, the the sounds are ever changing, and that's how it should be. Surprisingly, it never complicates the soundscape, each offering complementing the surrounding tracks while at the same time succeeding on it's own strengths. For instance, you have a four song stretch in the middle of the record that touches on down tempo funk, dream pop, retro rock, ambient, etc. yet in the midst of all that division, nothing has ever flowed more smoothly. It's a beautiful thing, but even more impressive, it's an extremely rare thing.

I know my focus is generally on the atmosphere and feel of a record, a focus that will continue forever and ever amen. However, I do want to note that the strength of this record, and really all the work that band leader and only remaining original member James Mercer does, relies heavily on his lyrical prowess. Yes, the melodies he conjures are some of the best, but beneath the addictive bubble of sound lies one of my favorite lyricists of all time. He's equal parts descriptive and ambiguous, leading your mind just far enough and then releasing you to explore it in your own way. It's, dare I say...genius. I realize that I've quoted lyrics in the past in an effort to back up my description of a songs meaning, but it's an extreme rarity, and I reeeally don't like when reviews do that. I think the strength of the words lies in your own interpretation of them, especially since I often find that for me it's less the meaning and more the beauty of the wording itself. I've taken great joy in reading the lyrics while I listen, it enhances the experience and adds to the depth. If you're curious, my two favorite tracks from a lyrical standpoint are "Sea Legs" and the closer, "A Comet Appears."

It's sort of fitting that Mercer essentially disbanded the original group after this record. While this wasn't necessarily the reason, this album was the pinnacle of what they could accomplish within the confines of what they had created. They had to reform, venture to new frontiers, tackle different soundscapes, which they essentially did on the followup Port of Morrow, which was good but not great. What makes a record is the longevity of it's appeal. It's why music from 40...50...100 years ago is still being appreciated, dissected, restored, etc. And while I can't speak about Wincing The Night Away on that grand a scale, I will say that on a personal level, it's a record that in the last decade have I not only never tired of, but one I still often crave. Here's to 10 years of bliss, and cheers to many many more.

Top 50 Albums: B-Sides and Debuts

January 3, 2017

Remember when I had exclusions to my Top 50 Albums? Me too, I remember too. Because of that I've decided to make a complementary post to mention a few releases deserving of our love and affection. Or to make a music analogy, that first post was an album and this post is the B-sides. I'm clever, yes?

This post will be a two parter (does my dedication know no bounds??). The first will be five 2016 releases that didn't pass the restrictions test (I do NOT grade on a curve) aka film scores, musicals, b-sides, etc. The second will be my five favorite artists who debuted this year. Basically this is an excuse to extend my list, because who doesn't love love love inclusion. We good? Cool cool. Hold on to your butts!

Five Albums I Excluded from my Top 50 Albums Because of "Restrictions" But Definitely Should Be Recognized

(how's that for a title/ the records are in no particular order)

Ólafur Arnalds
Island Songs

The most beautiful album of 2016. It's an open and shut case. Honestly. I won't be discussing the matter any further. Arnalds builds are where he soars, taking simplistic melodies to new heights, creating a wall of sound that sounds every part of you.

While this isn't the first time he's impressed me, it is far and away my favorite release of his. The reason this was omitted from the initial list is that it compliments a short film, albeit HIS short film, but a film nonetheless. It takes place in seven different Icelandic cities (his home country) over the course of seven different weeks. Each city receiving a song to compliment it's story, built with local musicians at each stop.

It's a wonderful exploration and the images and stories paired with the music only elevate the beauty further. This is a masterwork.

Notable Tracks: ...the whole thing...

LIGHTS
Midnight Machines

This record has been a constant for me since it's April release, largely as my main falling asleep companion. I’m obsessed. The reason I questioned it’s placement on the main list is that it’s a re-imagining. Midnight Machines is a stripped down collection of tracks from her 2014 record Little Machines. It’s something she did with her 2011 LP Siberia as well (Siberia Acoustic).

The songs feature different arrangements than their original counterparts, so it’s not just simplified versions of old songs. She also includes two new songs, so there’s actually something genuinely original as well. This record is pure comfort. I love it, and I think you will too.

To read my full review of the album CLICK HERE.

Notable Tracks: "Same Sea" // "Don't Go Home Without Me"

Leslie Odom, Jr.
Leslie Odom Jr.

This was a re-release. The first version, funded by a kickstarter campaign, came out in 2014. The initial release, though appreciated, failed to gain any commercial steam. Then Odom was thrust into the spotlight by a little show called Hamilton, which gave him the means and the inspiration to get back in the studio.

Though he kept six tracks from the original release, they were updated and restructured. And as for the four new tracks? Gems. To be honest, it was until the release of this record that I realized Odom's talent level. His smooth but strong vocals, held together with absolute control. It's an album of covers, but he molds them into his own creations with new arrangements both instrumentally and vocally.

This album is worth your time, I promise.

Notable Tracks: "Look For The Silver Lining" // "I Know That You Know"

Kendrick Lamar
untitled unmastered.

While this technically could have been admitted into the main program, at it's core it is a b-sides record (of sorts) and I didn't feel like it was trying to be anything more than that.

untitled unmastered. however, is far from a b-sides album in terms of quality. In fact, I'd say this solidifies his reign atop the lyrical leaderboard. The songs here were built to complement his past works, making the improbability of flowing together near impossible; and yet, they do. Does this man's talent know no bounds?

He continues to challenge the structure of hip hop, both in production, storytelling, lyricism, and flow. I wrote a full review upon the album's release, so if you want to just get to the music I'll stop talking, and if you'd like to read a little more CLICK HERE. Not a bad way to follow up the best album of 2015, eh?

Notable Tracks: "untitled 02 I 06.23.2014" // "untitled 07 I 2014 - 2016"

Waitress (Original Broadway Cast Recording)

An absolute dream. Written by the ever increasing talent Sara Bareilles, the musical is based on the Keri Russell/ Nathan Fillion (love them both) film of the same name. This was one of my five most listened to albums this year. Much like Bareilles own albums, there is quite a bit of weight tucked into the pop tunes she crafts, creating an emotional journey that may be somewhat surprising to the unsuspecting listener.

The cast is headed by Jessie Mueller. To call her a star would be putting it lightly, as she is the glue that holds everything together (not mention sings my favorite song of the YEAR according to Spotify, "What Baking Can Do"). Her counterpart, Drew Gehling, complements her well, his voice smooth and sweet, much like his character; but my favorite part about the show has to be featured actress Kimiko Glenn, who's "When He Sees Me" is...everything. And her opposite Christopher Fitzgerald's "Never Ever Getting Rid of Me" and "I Love You Like A Table" are two of the best moments in the show. Those two steal it.

The show juggles complex emotions with a simple and sweet attitude, so when things do get heavy, you really feel it, but they never let you stay down for long. Due to unfortunate timing they missed out at this years Tony Awards (unfortunately timing aka go up against Hamilton), but since tickets are a billion dollars and it's selling out every night, I'd say they're doing just fine without a few trophies.

Notable Tracks: "What Baking Can Do" // "When He Sees Me"

Five 2016 Debuts: Artists To Watch

(once again in no particular order)

Miloux - EP 1

One minute into the first song and you know you've found something special. Atmospheric and consuming, her jazzy vocals blend into the synth heavy backdrop seamlessly. I remember when I first heard "Pockets," the lead single, and I couldn't contain my excitement/ joy. I just sat their smiling.

The rest of the EP follows suit, as she crafts catchy and unorthodox melodies over heavy drums, or over dreamlike soundscapres i.e. "Beaches." Miloux is the real deal, and I can't wait to hear what comes next. Hop on the wagon now, she's only going to get better.

This EP is SO. DAMN. GOOD. Press play already.

Notable Tracks: "Pocket" // "Beaches"

Perlo - Patterns

Perlo was put a slight advantage as 1/2 the duo is one of my favorite artists. The artist I'm talking about is Mree, whose brand of music is...my entire world? Yeah, I guess that's how I would put it. As a result, anything she touches turns to gold. He's she's joined by fellow folkster Henri Bardot, whose 2016 release Blue Night was solid as well.

The two complement one another quite well, especially in the quiet moments, as their softness combines into a level of comfort that was rarely touched this year. Another highlight is the harmonies, which felt equal parts natural and angelic, two words that could also be used to describe their respective voices. Beautiful, and much too short.

Do yourself a favor and CLICK HERE to get taken to Mree's Spotify page and be lifted on high.

Notable Tracks: Don't act like you don't have time to listen to the whole thing. It's 12 minutes.

berhana - berhana

berhana's self titled EP was a genuine sonic journey. With quite a few ideas floating around, the ambient hip hop/ R&B approach reminded me of one of the years best records, Cool Company's Slice of Paradise, which is to say, he's got potential.

In my review of the EP i touted the fluid nature of the record, which works partly because I think ambient based music generally flows well, but also due to berhana's attention to the tone and tempo throughout. It's a rarity when it comes to EP's and shows real artistry when those details are brushed to the side.

Janet is the main draw here, and no matter how many times I've listened it remains the main draw, which is saying something considering none of these songs warrant a skip. Hopefully 2017 holds more for us to love, until then...

Notable Tracks: "Janet" // "Grey Luh"

Kadhja Bonet - The Visitor

I had been listening for a few months when I finally decided to make note of it on the website a few weeks ago. It sounds like it's born of a different era and was one of the most refreshing listens of the year. While it was incredibly varied, it offered a different mood than everything I listened to throughout the year.

It’s very much a product of the late 60s/ early 70s, high on seduction and dream like melodies. The warmth in her voice is something to note, it’s the voice you want singing you to sleep at night, or at least me…you don’t? You sure? Listen more, you’ll get there.

I was actually fully ready to put this on my Top 50, only to realize it JUST missed the 30 minute minimum the album needed (it was 29 minutes, I WILL NOT COMPROMISE). I'd like to see her expand her scope a bit and explore other sounds of the era she inhabits. Only time will tell!

Notable Tracks: "Honeycomb" // "Gramma Honey"

KAMAU - A Gorgeous Fortune EP

I can't say enough good things, nor can my excitement ascend any higher. To put it as eloquently as possible, KAMAU's EP knocked me on my ass. It was lively, it was unique, it was genuine, it was everything. There wasn't another like it all year, plain and simple.

The opening track "Jambo" is all you need to hear. If you need more to be hooked then I can't help you, although the next song, "Jusfayu" is the best. Relying heavily on layered vocals, whether it be for harmonies or supplying the beats, it gives the feel of a army, despite being just one man. Tackling both humor and seriousness ("BooDha" // "Pohlease") with ease and poise, it seems that nothing is out of reach for the versatile artist.

What does an artist with infinite potential follow this up with? I guess we're going to find out.

Notable Tracks: "Jusfayu" // "Gaims"

And that's that. I hope you all enjoy listening, there's a lot to love, so get to it.

Merry Christmas!! (December Roundup!)

December 25, 2016

December is a busy month (did you know?!), especially music wise. I'm still trying to listen to new albums and singles that are being released while also compiling my 50 favorite albums of the year, which means sifting through everything that I listened to over the course of 2016. Initially I intended to wait until December finished so I could include the month's releases, but eventually I decided that I don't want to put albums on the list when I've had less than a month to explore them.

Instead I've opted to do a short roundup of a few albums released this month, as well as a few newer listens that have been keeping me busy when I just need to throw something on. My top 50 will be ready in a few days! I promise! Until then...

Quick Take: Albums

RUN THE JEWELS - RTJ3

Honestly, is anything more divine then RTJ releasing their third LP on Christmas Day THREE WEEKS AHEAD OF SCHEDULE?!?! The answer is no. By now everyone should (and most likely does) know who these guys are. The duo, made up of producer extraordinaire/ rapper El-P and his partner in crime, force of nature Killer Mike, is the best new thing to come out of hip hop since they hit the scene back in 2013.

I listened to each of the first two records obsessively and after playing this one through a few times it couldn't be more clear that they've done it again. Seriously. It doesn't make sense how consistent these dudes are. El-P continues to improve on the production side and the two's chemistry with the mic is only getting better and better. They're the best duo in hip hop. Simple as that.

If you haven't seen them live you haven't lived. I wish I was joking. I've seen these guys six times and it gets better every show. Here's their tour schedule. Go to every show you can. I do. And my life is better for it.

You can expect a full review in the coming weeks but I'll give you a hint, the record is as gold as the fist and gun position on the album cover. RUN THE JEWELS IS BACK!

Childish Gambino - Awaken, My Love!

It almost feels pointless to even mention his first two albums because they're completely different from his latest effort, the soulful, funk-tastic Awaken, My Love! The record is the mother of all throwbacks for 2016 and even beyond that. Usually we get a modernized version of older styles, blending the old and the new, and if done right I usually feel like it's an improved approach; here you'd have to search hard for a glimpse of the 21st century ("California" probably being the only obvious one, but even that...) and I think that's what I love most. This is a genuine throwback, to the days of Sly & The Family Stone and the craziness of the Detroit in the early 70's when the sonic journey was equal parts chaos and fun.

This reminded me of the feeling I had listening to 2014's Black Messiah by D'angelo. It's magnificent, but it's definitely a specialty listen for me, the timing and mood have to be right for me to genuinely appreciate it. How about I stop talking so you can give it a listen? Sound good? Good.

For what it's worth this album would have been a definite in my top 20 (maybe even top 10) for 2016, had I decided to include December releases.

J. Cole - 4 Your Eyez Only

After his surprise drop of what is far and away his best album (and an even better live version of said album at the start of this 2016!!!) I was curious what his next step would be. Would he revert back to his Born Sinner days or continue his reflective and inspirational journey? While I enjoyed his early works, I'm happy to report it's the latter.

While I don't like it as much as 2014 Forest Hills Drive, 4 Your Eyez Only is another step forward for J. Cole, who further cements himself as one of the best MC's of his generation. I actually think the step back in scope was necessary, it's hard to follow up a massive hit with another, and often times artists get caught up in trying to go bigger only to end up losing themselves in it. By simplifying the process it actually feels like a perfect complement to 2014 Forest Hills Drive.

This album is good, and if you're a fan of J. Cole it's really good. Nice to have him back. Cuz Cole the God!

Ab-Soul - Do What Thou Wilt.

After the first few listens I texted my friend and said, "Ab-Soul's record is better than J. Cole's." My initial reaction was bold, because the album itself is bold. However my statement, that was presented as fact, has lost a bit of conviction. It now sits on par with J. Cole's album, though a comparison seems irrelevant as they're two very different records with two very different goals.

Ab-Soul possesses an intensity on Do What Thou Wilt., a rawness. Honesty in his lyrics has always been paramount, and his awareness of that makes him better, but here his production, courtesy of some industry studs, is better than ever. This is a good album. As it is with all of these albums, I need to spend a little more time with it, luckily for me that's exactly what I want to.

Music from TV & Film

Insecure: Music from the HBO Original Series

Insecure's music team is responsible for the best music supervision of the year. Although that statement should have an asterisk since it's exclusively for fans of the four albums I listed above, so my blanket declaration of "best" will no doubt be met with resistance.

Sporting some of my favorite 2016 breakouts (St. Beauty, 1500 or Nothin, KING) as well as new material from some preferred artists from years past (Moses Sumney, SBTRKT, GoldLink), the soundtrack is crafted in a way that complemented the show perfectly, but also works well as a playlist on its own.

Just an added thought, the show itself is good too, in case you were wondering. Were you? You were?? I helped?! Ur welcome.

Hidden Figures: The Album

Honestly this is getting placed here solely because Janelle Monae is involved with it. Though I will say, it's solid across the board due to the Benjamin Button style existence of Pharrell, who seems to continue to mature his sound while actively getting younger every minute every day. It doesn't make sense to me either, we just have to accept it.

Back to the soundtrack, my two favorite tracks feature Janelle, her solo effort "Isn't This the World", which has her style written all over it, is a retro lullaby-esque ballad that is both beautiful and timely. Her second track is Pharrell through and through and is an absolute blast. As long as you listen to those two tracks I'm happy, but you can listen to the rest too if you want...

Westworld: Season 1 (Music from the HBO Series)

Anyone who watched the show knows that music was an integral part to it's atmosphere. Personally I'd say it's the best original music I've ever heard for a television series, but even if you're not as enthralled as I am, you have to admit, it was pretty badass.

If you don't have time for the entire album, then at the very least listen to these two. "Dr. Ford" gave me visions of Thomas Newman's beautiful and sweeping Meet Joe Black score, while "Motion Picture Soundtrack," which was performed by the Vitamin String Quartet places you in an ethereal dream state that you never want to leave. Seriously. I just played that one track over and over and over again and never grew tired of it. Neither will you.

I hope all of you had a very Merry Christmas (and if you don't celebrate that then I hope you had a wonderful alternative). Even though it's been a rough year for just about everyone, music will always be there to lift us back up. That's not so bad, right?