40. The Booty Tape – Ugly God – The Booty Tape cracks the top 40 based moreso on Ugly God’s potential than the actual quality of the project. I think Ugly God is a genuine character in hip hop, he’s funny, personable, and every so often proves to listeners that he has plenty of musical talent. Tracks like “Welcome To The Booty Tape” and “F*ck Ugly God” are perfect examples of Ugly God’s ability to laugh at himself but still make a fun track to listen to. My overly optimistic trajectory for Ugly God is to see him surround himself with talented individuals that will help develop further as a rapping talent without sacrificing the humor that comes so naturally on some of his music. If he is able to find the right people to mentor his development, I could see Ugly God fitting into a similar lane as Danny Brown.

Notable tracks: Welcome To The Booty Tape, F*ck Ugly God, Water

39. Good for You – Aminé – While dark, dreary pop has been in vogue in 2017, Aminé’s Good for You is a breath of fresh air. It’s bright, easy going and playful, something that we can all use more of to break up the steady stream of bad news and uncertainty. There is plenty of variety in this album’s production. The opening track “Veggies” has a gorgeous string arrangement, followed up by a simple, but pleasant guitar playing in the background. “Hero” features a goofy intro of several people mispronouncing Aminé, it has a bit of a high school teen movie feel to it, before the track itself kicks off into a breezy little guitar riff. Other tracks like “Sundays” and “Turf” help vary the tempo, so as to avoid making this project a one trick pony. I will say that Good for You does overstay it’s welcome near the end, “Turf” feels like a natural conclusion (despite the track listing have six tracks after the fact), but this might just be an issue with the ordering of the songs rather than a shortcoming on Aminé’s part. All things considered, Good for You is fun, and I think everybody can use a bit more fun in their lives these days.

Notable tracks: Veggies, Hero, Sundays, Dakota

 

 

38. Same Sky – James Linsey – For an artist plays so well to poppy, light, beats (think Amine), the content of Linsey’s music can be pretty heavy. For example, “Rainbows” is all about how easy it is to fall into the prison pipeline as a black man in America, but it’s presented with this bright, groovy, beat. It can feel a little tonedeaf. Tracks like “Spotlight” are where Linsey really shines, it’s flirty, energetic, and I’m always a sucker for vinyl store hunting. Same Sky is a complex debut that serves as more of a showcase for Linsey’s many musical talents rather than an album with a unified theme.

Notable Tracks: Wanna Shine?, Rainbows, Apples to Oranges

37. 2016 Discography – VELVETEARS – The mellow vibes of Discography 2016 are the perfect companion for a dreary day inside while huddling underneath a cozy blanket. It’s a collection of minimalist indie-rock/electronic tracks that feel moody that are all tied together by VELVETEARS’ sullen vocals. I can’t say much more concerning this album unfortunately (which I definitely hate to do, especially for a year-end list), but this was the kind of album that served as a default backdrop to a lot of my year. The blend of basic, electronic production and lingering guitar notes was widely applicable throughout 2017.

Notable tracks: Share The Throne, Will I Ever Care, Cry to This, Hands Around My Neck

36. You’re Not As _____ As You Think – Sorority Noise – In the wake of losing several close friends to drug overdose and suicide, Sorority Noise’s frontman Cameron Boucher contributed to the release of two EPs that encapsulated where he was in his grieving process, one was a numb, exhausted collection of tracks (It Kindly Stopped for Me), the other an explosion of rage with punchy instrumentation (Slow Burn). Sorority Noise returned with a year of reflection under their belt and met in the middle and came up with You’re Not As _____ As You Think. This project is a return to form for the emo rock, it’s a more substantial, mature, take on what is often looked at as a vapid genre. You’re Not As _____ As You Think explores the wide range of emotions that comes with the dark periods of our lives, all while backed by killer duets of guitars and worthwhile musical payoffs on slow building tracks. The track “A Better Sun” is the perfect portrayal of feeling emotionally sapped after a lengthy hardship with the repetition of the line “This is the part where [insert activity/feeling here]” delivered by a dejected Boucher. “Second Letter From St. Julien” feels like the album’s ultimate redemption track as Cameron wrestles with the existence of a higher power, and while he doesn’t come to a tidy conclusion, he does come to a reassuring conclusion of what he hopes for that higher power.

Notable tracks: No Halo, A Better Sun, Where Are You? Second Letter From St. Julien

35. 32 – T.Y.E – The opera-singer-in-training turned rapper brings an awesome perspective to hip hop. Much like Anderson .Paak, T.Y.E blends training in a traditional music form with a genre that is still defining itself with every passing year. Opera influences are plain as day on 32, every single track is a larger than life, grandiose, and full of character, and that’s not even taking into account T.Y.E’s vocal performance. His voice is dripping with whatever emotion he is hoping to portray on any given track, whether he’s being arrogant on “Universe” or becoming a living embodiment of anxiety on the second half of “A*shole” the emotional range that T.Y.E brings to this album is nothing short of impressive. The listener is invited to be subject to a 40 minute panic attack in the mind of T.Y.E as he pushes himself to the brink over the one thing that he lives for: The pursuit of happiness.

Notable tracks: Universe, A*shole, Aliens & Ufos, Unusual

 

 

34.  The Iceberg – Oddisee – Oddisee’s experience in rapping and producing allows for a tightly controlled project. While there is the risk of “tunnel visioning” on a sound (if that makes any sense) by keeping the group of collaborators small, it doesn’t seem like that happened on The Iceberg. While you can definitely identify musical fingerprint with a common thread throughout The Iceberg, the production isn’t all one note. “Digging Deep” is a great jumping off point for the project, it eases you in with suave horns, a solid rap about working hard, and a general fun vibe to start everything off on the right note. But the real meat of this album is when Oddisee uses his talent to discuss interesting social issues that are relevant to our current cultural moment. “Hold It Back” discusses the unique position Oddisee finds himself in as a person with a platform and the responsibility that comes with that platform. “You Grew Up” is a heartbreaking series of stories about how hatred breeds in our hearts, particularly from the perspective of young children that get taken advantage of towards nefarious ends. Oddisee is thoughtful in his presentation, and it helps that it’s catchy as hell.

Notable tracks: Hold It Back, You Grew Up, Rights & Wrongs

 

 

33. Rap Album Two – Jonwayne – Rap Album Two is an authentic return to music after Jonwayne’s brief hiatus. It’s self-aware, it’s observant, it’s well-written. The opening track, “TED Talk,” is as good of an introduction to an album as I’ve heard all year, it’s packed with witty bars like “I never forget like elephants on 4chan,” or “Kissing that cross, now they kissing my crosshairs/When I rap on beats that sound like a video game boss lair – [expletive]”. “LIVE From The [expletive] You” is a clever statement track about how annoyed Jonwayne gets by people that use his him for his fame, told in an annoyed tone to an ignorant fan. There’s an insightful moment on this album on “The Single” that feels like we’re witnessing Jonwayne’s breaking point that caused him to take his hiatus as he struggles to make what is supposed to be a hit single for an upcoming album, it’s heartbreaking and vulnerable in a way that any artist can relate to. The extended metaphor on “Paper” wherein Jonwayne compares himself and his legacy to a tree is a moving excerpt of songwriting that I can’t help but share whenever I talk about Rap Album Two. He writes: “When I die, I wanna grow into a tree/I want ’em to bury me/Mixed in with soil and leaves/And when I’m stretched ‘cross the land/And your son cuts me down/I wanna be the book your grandchildren read aloud/With the tape on my spine/I’m still proud/I want ’em to hand me down/And give me to Goodwill/And price me for a dollar/Still get shoplifted, hell/Torn open just to give a man shelter, shit/That’s the world of my wishes/This paper my motivation”. Jonwayne shares with his listener the portrait of an imperfect artist, and anybody who joins him on that journey will find an endearing message by the end.

Notable tracks: TED Talk, LIVE From The [Expletive] You, Paper, These Words are Everything

 

 

32. Villains – Queens of the Stone Age – It’s difficult to identify a more successful run of hit records in modern rock than that of Queens of the Stone Age. Given their masterful contributions to the genre like Songs for the Deaf and …Like Clockwork, I had high hopes for Villains. While it doesn’t quite live up to their previous efforts, I think there’s a lot to enjoy here. “Feet Don’t Fail Me Now” starts the album off with a bang, featuring what I can only describe as “restless leg syndrome as a guitar riff,” every time I come back to it, I’m tempted to move with the track. “The Way you Used to Do” keeps the ball rolling with a track that starts high and insists on going higher, the guitar riffs here are hyper and complimented by a chaotic, up tempo, drum beat. Josh Hommes is at his best vocally on “Head Like a Haunted House” wherein he channels his inner coked-up Elvis for a rambunctious listening experience. My personal favorite on this record is the down tempo, yet still heavy “Un-Reborn Again,” the track feels full, every piece of instrumentation plays well with one another (the synths alternating with those awesome power chords, the dueling guitars during the chorus and at the end of the track, Josh’s vocals being complimented by his backup on the chorus, the seamless transition from guitars to violins and back again, it’s truly a masterful blend). In spite of some of the albums forgettable tracks (a la “Hideaway” and “Domesticated Animals”), I think there are some real gems here that will feel right at home with the rest of Queens of the Stone Age’s discography.

Notable tracks: Feet Don’t Fail Me Now, The Way you Used to Do, Head Like a Haunted House, Un-Reborn Again

 

 

31. Melodrama – Lorde – When Lorde burst onto the scene with “Royals” (and the accompanying album Pure Heroine), I found her to be talented, but a bit too one note for my taste (fairly shallow lyrics, and most of the album had the same basic sounding instrumentals). All that being said, Melodrama was exactly what the New Zealand artist needed to win me over. The opening three tracks, “Green Light,” “Sober,” and “Homemade Dynamite,” is one of the best runs of tracks to be released this year, they do a lot to sell to me that Lorde has made efforts to expand her sonic palette beyond the sound she explored thoroughly on Pure Heroine. Lorde feels like she’s having more fun on this album and she wants the listener to have fun with her, most notably, “Writer In The Dark”. The refrain on this song “Bet you rue the day you kissed a writer in the dark” is such a spiteful, yet fun image, and she gets plenty of mileage on this joke thanks to the unhinged tone in her voice on lines like “Now she’s gonna play and sing and lock you in her heart”. “Perfect Places” wraps the entire project up in a peppy conclusion, encouraging you to find your perfect place in the midst of all the crap that imperfect moments that we live in. Lorde came into her own on this project by letting down her guard and embracing her imperfections.

Notable Tracks: Green Light, Homemade Dynamite, Writer In The Dark, Perfect Places

 

 

 

30. Big Fish Theory – Vince Staples – In the weeks leading up to the release of Big Fish Theory, Vince gave us the following quote to describe the album’s sound: “All I can tell you is that it’s current. It’s tomorrow…We making future music. It’s Afrofuturism. This is my Afro-futurism. There’s no other kind.” A couple days after this quote, he would go onto the Daily Show and basically tell Trevor Noah he made up that description to mess with white people. But after reading up a bit on Afrofuturism, I feel like there is something to this playful quip (or maybe I’m just taking the bait, who’s to say?). The heavy dose of EDM and industrial production elements makes me think of clipping’s Splendor & Misery or Kanye’s Yeezus (without the lack of focus that was prevalent on Yeezus); it’s an interesting new direction that Vince explores without alienating listeners of his earlier work. “Alyssa Interlude” is another entry in an already impressive collection of mysterious, downer tracks that Vince has produced (a la “Smile” and “Summertime”), this one contemplating lost loved ones with a somber beat that sounds like rain pattering against a windshield, complete with wiper blades swishing back and forth. “Yeah Right” is an eerie, noisy, industrial sounding track in which Vince questions the authenticity of modern culture and some of his contemporaries in hip hop, the Kendrick feature helps bring this already great track to a whole other level. “Homage” serves as a sort of sales pitch to award committees with lyrics like “Outrun my gun, I’m the big shot now/Prima Donna had them like ‘wow!’/Hitchcock of my modern day/Where the [expletive] is my VMA?/Where the [expletive] is my Grammy?” suggesting  that he’s underappreciated outside of his fan base and genre critics. “I am too cultured and too ghetto,” is another line off this track that I feel really captures Vince’s place in the greater music landscape. He finds himself caught between two worlds, not quite fitting in either, too cultured to have street cred, but his music is looked down upon by gatekeepers.

Notable Tracks: Big Fish, Alyssa Interlude, Yeah Right, Homage, Rain Come Down

 

 

29. Dead Reflection – Silverstein – Silverstein entered the music landscape in the height of emo/post-hardcore’s popularity as a genre. While many much bigger acts from that period have since called it quits or transformed their sound beyond recognition, the Canadian-based post-hardcore outfit continues to churn out quality music without sacrificing the band’s personality. I credit the group’s longevity to the band’s ability to create compelling concept albums that lends their music to multiple listens. On their 9th studio album, the band opted out of telling a traditional narrative in favor of a series of tracks that all surround a common thematic element. Between his passionate singing and violent screaming, Shane Told’s performance serves as an emotional anchor on Dead Reflection. The front half of the record is loaded with plenty of heavy, scream laden, intense tracks that old fans will have come to expect from the group (tracks like the chaotic opener “Last Looks” or the explosive second half of “Ghost”), but the most interesting song to me has to be “Lost Positives”. It’s common for Silverstein to either maintain a high intensity track, or build a slow burning song into an bursting, emotional climax, not quite the case with “Lost Positives”. This track takes ebbs and flows between reflective, calm, verses, and colossal guitar riffs, it’s a surprising new trick that the band hasn’t used too much on their previous work. While it might be difficult to believe, Dead Reflection is an album about hope, and overcoming yourself in spite of bleak circumstances, if you’re able to stomach the abrasive tone that post-hardcore music can often take on, I think you’ll be pleasantly surprised by Silverstein’s hopeful message.

Notable tracks: Lost Positives, Ghost, Secret’s Safe, Wake Up

28. Queue: The Mixtape – The Stoop Kids – Queue: The Mixtape sounds more like a golden oldies greatest hits from a collection of artists rather than one band. On this project, we have 10 tracks, all of which sound like they’re coming from a different period in American popular music. In the course of about thirty minutes, you will hear downtempo disco/funk (on the track “Motions”), funky surfer music (on the track “Curious Man”), and heavily distorted contemporary RnB (on the track “Better Left Unsaid”). The Stoop Kids are a blast to listen to on this project, their refusal to nail down a distinct sound allows the group to explore what works for them, and I think the gamble ultimately pays off. The group is having fun experimenting with a wide range genres and that’s plain enough for anybody that listens to the project. If you’re in the mood for a genre chameleon from start to finish, look no further than Queue: The Mixtape.  

Notable tracks: Motions, Curious Man, Better Left Unsaid

27. Drunk – Thundercat – There aren’t too many people that are capable of singing about  bedtime routines, hatred for social media, love for anime, the friendzone, and everything in between without creating a tone deaf mess of an album. Lucky for us, Thundercat is no ordinary musician, his goofy personality, electro-jazz style, and the respect he garners from talented musicians new and old allowed him to create a zany and surreal contemporary jazz experience on Drunk. The culmination of contributions from Flying Lotus, Kenny Loggins, Kendrick Lamar, and Pharrell gives this album one of the most distinct footprints of any 2017 release. On one track the suppressed, muffled, production will give you the feeling of being submerged within the beat; on the next you’ll feel like you’re floating over a peppy, ethereal track. All in all, you’re getting into a pleasant and diverse listening experience. I haven’t even gotten into Thundercat’s goofy lyrics. When you hear these lyrics paired with the world class music put forth on this project, it just adds to the hilarity of the whole affair. Looking specifically at “Friend Zone,” it’s a funky, psychedelic, track as Thundercat’s tenor delivery addresses a woman that he’s purposefully avoiding so he can play video games. Drunk is an enjoyable listen from start to finish, and Thundercat’s humor bleeds through his lyrics.

Notable tracks: Captain Stupido, A Fan’s Mail (Tron Song Suite II), Tokyo, Friend Zone

26. Trap Ketchum – Shofu – Shofu is a competitive Pokemon player who has dabbled in rapping as a hobby, and finally released a proper mixtape, Trap Ketchum. I’ll be honest, it’s a pet favorite of mine for this year; but to say that this is just a gimmick Pokemon mixtape would be underselling Shofu’s natural talent for rapping. It has a VERY specific audience in mind, but if you’re in that audience, boy will you enjoy it. For example, trying to explain the backstory behind “Verlisify” would be like trying to explain the Drake, Meek Mill beef to a hip hop outsider. The classic 90s gameboy inspired beats are fun without overstaying their welcome, Shofu’s aggressive delivery (for example on “Woke Up in Pallet Town”) and creative flows make this project a fun trip, especially if you can pick up on all the Pokemon reference that are littered throughout the project. Several of his collaborators bring their A-Game as well (most notably Pe$o Pete). Even non-fans can at least recognize that Shofu at plenty of talent to make a name for himself as a rapper (as he puts it on “Hurry Along” “They prolly hatin’ because I rap about Pokemon better than they rap about anything.”).

Notable Tracks: Woke Up in Pallet Town, Splash, I Don’t Understand, Kami Clouds, The Goons!

 

 

25. The Underside of Power – Algiers – The Atlanta quartet, Algiers brings the heat in their sophomore effort The Underside of Power, it’s a riotous call for revolution in the plainest of language possible. The group blends elements of punk, gospel, hard rock, industrial, and blues music to make the soundtrack of the oppressed. Front man Franklin James Fischer infuses every performance on this album with anguish, frustration, and hope, which helps sell this album’s righteous anger. The opening track “Walk Like a Panther” helps set the tone for the rest of the album, it’s a relentless, explosive snapshot of what you can expect from the rest of the project. While much of The Underside of Power might feel like a fire and brimstone sermon, there are plenty of moments of redemption to be found throughout the album. The title track “The Underside of Power” feels like a moment of triumph as Fischer delivers a sermon-like pep talk to his listeners, as he says the the underside of power “[is] just a game that can’t go on”. Algiers has a unified direction, and that is never more evident than the symbiotic relationship between Franklin James Fischer and his band on The Underside of Power.

Notable tracks: Walk Like a Panther, The Underside of Power, Animals

24. Brick Body Kids Still Day Dream – Open Mike Eagle – On a typical Open Mike Eagle album, Mike often keeps his audience at arm’s length, typically opting to share his feelings through observational comedy and humorous songwriting. Brick Body Kids Still Daydream, drops the emotional distance in favor of sharing the personal experience of Open Mike Eagle losing his childhood home, the Robert Taylor Homes in Chicago. Beneath these wobbly, eccentric beats, there are heavy feelings of nostalgia and displacement throughout the entire project, as if Mike’s childhood officially ended with the destruction of these public housing projects. “(How Could Anybody) Feel at Home” serves as a sort of TL;DR for the whole project, as Mike ponders what “home” really means for him, especially for the nomadic lifestyle he leads as a musician. “95 Radios”  is Open Mike Eagle at his most personal as he recounts the first time he heard rap music on the radio in the lines “And the homies said they heard a rap song/Sounded like some folks they know”. It’s a revealing, personal track that gives the listener a look into how Mike got interested in hip hop music in the first place. Brick Body Kids Still Daydream focuses on the subtle moments of life, and relationships that gradually drift apart rather a violent end in one traumatic event.

Notable tracks: (How Could Anybody) Feel at Home, Tldr (Smithing), 95 Radios, My Auntie’s Building

 

 

23. CTRL – SZA – SZA’s long awaited debut album has finally dropped and I have to say, it was well worth the wait. After falling in love with her sensual voice on songs like “Childs Play” and “Warm Winds” I would spend the next couple years waiting for a proper debut album. What we would ultimately get is CTRL, a heartfelt yet blunt collection of tracks that explore SZA’s experiences with love, betrayal, and honesty. There’s a unique blend of elements from neosoul, RnB, and indie rock present on this record, it makes for a pleasant listening experience that is universally accessible. “Supermodel” kicks things off with a stellar vocal performance from SZA as she recounts betrayal in an intimate relationship over a somber electric guitar riff. The abundant moments of reflection add an element of authenticity SZA’s music, whether she’s talking about her immaturity in previous relationships on the disco-pop track “Prom,” or her emotional insecurity on “Drew Barrymore”. “20 Something,” the album’s final track, is a perfect conclusion. After learning all we have about SZA’s life throughout the project, she concludes that she is far from where she thought she would be at this point in her life. The lyrics “How could it be? 20 something/All alone still, not a thing in my name/Ain’t got nothin’, runnin’ from love/Only know fear,” wraps up all of SZA’s fears into a concise, existential, conclusion that many people (myself included) can relate to. SZA’s mother at the end of the track thankfully provides message of hope to those of us that feel similar dread about our lives, so as to leave the listener with a feeling of hope in spite of their shortcomings.

Notable tracks: Supermodel, Prom, Pretty Little Bird, 20 Something

22. Turn Out the Lights – Julien Baker – Julien Baker is one of the more unique voices to have come out in the past couple of years. A gay, Christian, singer-songwriter hailing from the south is probably one of the bigger contradictions you’ll hear about this year. Her sophomore album Turn Out the Lights is a showcase of polished, singer-songwriter fundamentals with worship music influences. Baker’s exploration of her crippling depression and suicidal thoughts is a haunting, yet moving experience. “Shadowboxing” is the painful telling of Baker describing how nobody can truly help her cope with her mental illness, since she’s the only one who understands the full scope. The contemporary worship music influence is plain enough on the song “Sour Breath,” a song about trying to maintain a relationship between two broken people, with the building instrumental on the repeated line “The harder I swim, the faster I sink.” Julien Baker’s newest efforts are a personal endeavor as she invites you into her mind, and I think that’s beautiful.

Notable Tracks: Shadowboxing, Televangelist, Hurt Less

21. How to be Human – The Classic Crime – It is nearly impossible for me to grade this album fairly. I will say from the outset that How to be Human is far from The Classic Crime’s best work (I’d give that distinction to their 2012 album Phoenix). But nevertheless, this band is an old favorite that I have listened to for almost ten years now, so providing a fair assessment will prove tough. All that being said, I think this is Matt Macdonald’s strongest performances as a lyricist. Tracks like “Not Done With You Yet” and “Driftwood” are about human imperfection and finding redemption in spite of those shortcomings. Often times the band falls back on safe musical motifs that worked on previous albums (“Shades of Green” features an interlude towards the end of the track that is basically a rehash of “You and Me Both”). The closing track “Black & White” is a slow-burning ballad, a staple of any album by The Classic Crime, about facing one’s maker after wasting the most precious gift one can receive, that of life. How to be Human is another solid entry from an old favorite.

Notable Tracks: Not Done With You Yet, Driftwood, More, Black & White

20. Blkswn – Smino – Smino’s ability to change tone from track to track (sometimes even within the same song) makes Blkswn a treat to listen to from start to finish. The muddled, sometimes muted production was a great decision for this project, it really allows for Smino’s voice and charisma to take center stage on the album, as evident on the earnest, heartfelt opening track “Wild Irish Roses”. Smino takes advantage of his time with you to treat you to a wide variety of tones, styles, and flows. The transitions from track to track are smooth and seamless without running into a monotone rut (see the peppy “Spitshine” and the sexy “Netflix & Dusse”). In an era where young hip hop artists are comfortable packaging a string of unrelated tracks together and calling it a mixtape, Smino makes the case that you can still make an interesting, cohesive project.

Notable tracks: Wild Irish Roses, Spitshine, Netflix & Dusse, B Role, blkswn

19. Pure Comedy – Father John Misty – Whenever Josh Tillman releases music, you can always count on it to be a full, well-crafted, listening experience. Pure Comedy meets expectations once again as Father John Misty offers biting, witty, and poignant criticism on anything and everything he can get his hands on. There is something here for everybody, you can commiserate with Tillman on “When the God of Love Returns There’ll Be Hell to Pay,” you can enjoy the hill-billy, big band orchestral performance on “Total Entertainment Forever,” or you can listen to the methodical takedown of the entertainment industry on the thirteen minute long “Leaving LA”. Even Tillman himself cannot escape the lampooning, as he deals criticism of himself as a self-important, old, white guy who takes himself too seriously on “Ballad of the Dying Man”. Pure Comedy just might be some of Josh Tillman’s best work yet. His vision is enormous, but he’s more than up to the task thanks to an excellent pen and plenty of musical talent to make every minute of Pure Comedy worth a listen.

Notable tracks: Total Entertainment Forever, Leaving LA, Two WIldly Different Perspectives

18. 508-507-2209 – Joyner Lucas – Joyner is one of the most talented rappers from the current generation of up and coming hip hop artists. His sophomore album, 508-507-2209 is proof enough that he’s ambitious and has a desire to tell huge stories, even if at times he loses focus on the overarching narrative of his project. Lucas makes a loose narrative about avoiding tough conversations and the dangers of distancing oneself, but to me, the sum of the parts is much more powerful than the whole in this case. For example, “Keep It 100” is a masterfully crafted story about the intimate moments of people and their vices, all told through the perspective of a $100 bill, however it exists mainly on its own in the greater context of the album, the same could be said for “FYM”. All that being said, Joyner is sharp, tenacious, and a downright force when he hops on the mic. Most will balk at the idea of an hour and twenty three minute long album, but Joyner Lucas has no trouble filling the entire project with a smorgasbord of tracks that are compelling and fun at the same time. Want to turn up? Listen to “Ultrasound,” “FYM,” or “Look What You Made Me Do”. Want to slow it down? “Lullaby,” “I’m Sorry,” and “One Lonely Night” are more your speed. Joyner Lucas has some of the greatest potential out of any of his contemporaries, and I think in a couple years time, we’ll be listening to a classic project from him.

Notable Tracks: Ultrasound, FYM, Keep It 100, I’m Sorry

17. What Now – Sylvan Esso – When the North Carolina duo first debuted with their self-titled album, I was immediately hooked. Their minimalist, indie-pop sound kept me listening for months on end. Now they’re back with a more fleshed out sound on their sophomore album What Now. I think the risk to make “bigger” sounding music paid off, Amelia Meath is an excellent vocalist, and giving her more opportunities to indulge her energetic impulses on tracks like “The Glow,” “Radio,” or “Just Dancing,” gives Sylvan Esso another dimension to explore on future projects. Nick Sanborn’s expanded sample pallet makes for a much more interesting project all in all, for example “Kick Jump Twist” is a sonic adventure that experiences several peaks and valleys within the four minute thirty second run time without the song feeling like a tonal mess. In a pop landscape that is dominated by dark sounding music (a la Taylor Swift’s “Look What You Made Me Do” or Ed Sheeran’s weird attempts at being sexy on “Shape of You”), Sylvan Esso finds their niche with a medley of fun dance tracks. As great as their debut was, Sylvan Esso letting loose allowed the duo to stay fresh while still remaining familiar to the fans that enjoyed their debut.

Notable Tracks: Die Young, Radio, Just Dancing

16. Run the Jewels 3 – Run the Jewels – (NOTE: This album came out on December 24th 2016, so I’m counting it as a 2017 release) Run the Jewels will be the modern generation’s Eminiem, insofar as the kids that don’t appreciate rap will ALWAYS say that this is the one group in the genre they like. The group’s third studio album (fourth if you include their meme album “Meow the Jewels”) takes a turn for the political (oh gee I wonder why?) and I think the project is better off for it. Given Killer Mike’s social activism and his short stint as a Bernie Sanders surrogate, the decision is a welcome and encouraged one. The duo is sharp as ever, El-P’s beats continue to be eccentric yet accessible, and both rappers keep their rebellious, devil may care attitude fresh. I can’t get enough of “Legend Has It”. That track to me captures Run the Jewels essence the best. It’s brash, boastful, and has a wild beat, everything we’ve come to expect from the duo. Things take a turn for the revolutionary on tracks like “Don’t Get Captured” and “A Report to the Shareholders/Kill Your Masters”. While on this album the group merely dips their toes into the the more political conversations, I think this decision will pave the way to several more years of interesting topics for the group to cover.

Notable Tracks: Legend Has It, Hey Kids (Bumaye), Stay Gold, A Report to the Shareholders/Kill Your Masters

15. Radio Silence – Talib Kweli – Hip hop has been in a transition, and this year many of the hot debates have come to a head. Old heads are lecturing the next generation with a message that resemble the ones that stuffy prudes told them in hip hop’s early days, legendary rappers like Andre 3000 are saying that old guys shouldn’t rap, and the definition of hip hop feels like it’s being stretched to it’s absolute limit. And then there are artists like Talib Kweli, he didn’t get the memo that old guys shouldn’t rap. His latest efforts on Radio Silence are vintage Kweli. His relentless flows on “The Magic Hour” pairs perfectly with the loosely arranged drums and the funky guitar chords that make up the beat of this track. “The Magic Hour,” feels like the most appropriate track to kick this album off, as if suggesting that Kweli’s talent isn’t inherent in his age, but rather in the hard work and dedication to his craft. Following this up with the KAYTRANADA produced “Traveling Light” and an Anderson .Paak feature further illustrates that Kweli is relevant and knows what works without sacrificing the identity that made him a success back in the mid nineties. And of course, it wouldn’t be a Kweli album without social advocacy themes. Whether he’s criticizing law enforcement on “All of Us,” or the culture of violence that is ingrained in American culture on “She’s My Hero,” Kweli continues to stay relevant by sharing impassioned, thought provoking lyrics without falling into the “fake woke” trap that contemporary hip hop artists tend to fall for.

Notable Tracks: The Magic Hour, Traveling Light, She’s My Hero, Knockturnal, Write At Home

14. 3 – Tricot – Since their debut studio album in 2012, Tricot has released a steady stream of hectic, complex, math rock that will surely get your blood pumping. The trio built off their previous success with their appropriately titled, third studio album, 3. Frontwoman Ikumi “Ikkyu” Nakajima continues to prove herself as a formidable vocalist throughout the project with songs like the relentless opening track “Tokyo Vampire Hotel” or her vocal solo at the end of “Sukima” that would even rival Mariah Carey’s range. Motok Kid and Ikumi have excellent chemistry with one another as they play off each other’s talented guitar playing. “Pork Ginger” is an excellent display of tempo changes that blend together without the track sounding jarring. Even though I don’t speak Japanese (and therefore don’t understand the lyrics of this album without looking them up), the trio’s ability to create tangible, emotional tones with their music is the latest evidence that music is the universal language.

Notable Tracks: Tokyo Vampire Hotel, Pork Ginger, Setsuyakuka

13. I Love You Like a Brother – Alex Lahey – You know, Alex Lahey is a victim to poor timing. If she somehow found a way to release this album about fifteen years ago, Lahey’s music would have been featured in every single straight-to-DVD teen movie put out over that period. Personally, I’m glad we have this project in 2017, it’s fun, sassy nature is much needed to break up the downer music that dominates my Spotify listening history. Lahey’s debut album introduces us to the funny, honest, and brash frontwoman in a flurry of energetic anthems about platonic relationships, self-care, and anything else that’s on your typical millennial’s minds. “I Haven’t Been Taking Care of Myself,” is one of my favorite songs of the year, it’s an earnest track of self-deprecation, but presented with raucous pop-punk guitar chords and an upbeat tempo. Most of the music is simple, yet addictive, thanks to Lahey packing this project with plenty of loud, electric guitars. I Love You Like a Brother is a love letter to fem pop-punk akin to Paramore, Pvris, or Courage My Love.

Notable Tracks: Every Day’s the Weekend, I Haven’t Been Taking Care of Myself, Lotto in Reverse, There’s No Money

12. ALL-AMERIKKKAN BADA$$ – Joey Bada$$ – The spectre of politics seems to have invaded every aspect of our lives. Celebrities, coffee companies, and tiki torches have been forced to make some kind of a political statement, it was a given that music would get political too. I can think of very few musicians that was better staged for speaking truth to power in 2017 than Joey Bada$$. While most prefer the boom-bap, golden era hip hop sound that got Joey noticed a la 1999 or B4.Da.$$, I think the more airwave friendly sound of ALL-AMERIKKAN BADA$$ works well for the Brooklyn emcee. Listeners are treated to a whole range of Joey’s emotions on this project, in particular his complicated relationship with the United States. “FOR MY PEOPLE” is laden with optimistic sounding synths and a distant brass instrument as Joey raps about overcoming the everyday trials and tribulations of his existence through his “super power” of sharing his experience through the written word. “LAND OF THE FREE” is a somber anthem about feeling dissatisfied with the American government and the lack of change that politicians like Obama were able to accomplish despite their campaign promises.The sample selection on this album is superb, the clip from Coonskin is the perfect transition from “Y U DON’T LOVE ME? (MISS AMERIKKKA)” to “ROCKABYE BABY”. And the audio of the child’s police brutality speech is an excellent bookend for the “TEMPTATION”. The conclusion of the project, “AMERIKKKAN IDOL” is a boiling point of frustration wherein Joey calls for unity and a revolution against the powers that be; depending on your perspective it’s either inspiring or terrifying, but nevertheless the natural conclusion of all the feelings that Joey lays out on the project.

Notable Tracks: FOR MY PEOPLE, LAND OF THE FREE, ROCKABYE BABY, LEGENDARY, AMERIKKKAN IDOL

11. Witness – Benjamin Booker – Benjamin Booker is one of the latest in this wave of contemporary artists that are reinterpreting classic genres. If Leon Bridges had a rebel older brother, he would be Benjamin Booker. “Right On You” sets the perfect tone for the rest of this project, it’s a jubilant, rebellious introduction to Booker’s infectious talent, and he rarely loses your attention throughout the album. The bluesy, garage-rock, tracks are broken up when appropriate with a well-timed gospel influenced song, like the title track “Witness” or “Carry”. The full range of Booker’s talents are on display on “Off the Ground” a track that explodes into a raucous display of wailing and guitar mashing that would be sure to wake up the dead. Benjamin Booker is the the type of frontman that is an absolute joy to listen to, and his talent truly shines through from start to finish on Witness.

Notable Tracks: Right On You, Witness, Overtime, Off the Ground

10. Flower Boy – Tyler the Creator – A feeling of resolution is ever prominent throughout Flower Boy. The project peels back a lot of the violent, revolting nature that was so prevalent on Tyler’s earlier work in favor of a mellow tone. The opening track, “Foreword” is a moment of self-reflection, as Tyler poses questions about his life thus far, something we would never see during Tyler’s Goblin era. He brings heavy nostalgia vibes on the track “November” as he asks the listener to think about their November, or the time they were happiest. All these thoughtful tracks are not to say that Tyler has lost the edge that he built his brand off of. “Who Dat Boy” and “I Ain’t Got Time!” are both vintage Tyler the Creator, albeit with a little less sexual assault. From the warm, breezy, production to the superb rapping, Tyler the Creator has blossomed (boo me for this awful pun please) on Flower Boy. Regardless of how you feel about the authenticity of Tyler using this album as a coming out moment, it’s hard to deny that he has come a long way from his Goblin days.

Notable Tracks: Foreword, See You Again, I Ain’t Got Time!, November

9. Process – Sampha – The British singer/songwriter’s debut studio project was long anticipated as he built a reputation through his features and production credits with artists like Solange, Drake, and FKA Twigs (among others). To say that Sampha delivered on the hype is an understatement. Slow boiling production on tracks like “Plastic 100°C” and “(No One Knows Me) Like the Piano” highlight Sampha’s talent as a singer. These tracks feel complete despite the minimalist approach to the backing instrumental. Speaking of “(No One Knows Me) Like the Piano,” that track is a testament to Sampha as the complete package. His songwriting, piano playing, and lyricism come together in an intimate story about Sampha at his most vulnerable. Sampha brings a fine tuned ear for production, an elegant pen for songwriting, his honeyed voice, and of course his talent at the ivory keys. This collection of spacious sonic delights is a brief, but intimate journey with a musician that I can’t wait to hear more from.

Notable Tracks: Plastic 100°C, (No One Knows Me) Like the Piano, Reverse Faults, What Shouldn’t I Be?

8. Being You is Great, I Wish I Could Be You More Often – Quelle Chris – It’s hard not to draw parallels to Madvillainy on this project. But with all the bizarre samples that Quelle Chris pulls out of his arsenal for this album, I can’t help but at least make the comparison from a production standpoint. The album’s opening rap “Buddies” might just be my favorite track about self-love of all time, the heavy baseline is the perfect pairing for Chris’s lazy delivery as he explains to the listener that “he [expletive] with himself”. I find this album to be a relatable experience for anybody like myself that struggles with self confidence, most notably with tracks like “Dumb for Brains” or “The Dreamer in the Den of Wolves”. Chris gets personal throughout most of this project, and I find it to be a fascinating look into the mind of artistic genius that doesn’t think he is one.

Notable Tracks: Buddies, In Case I get Lost Inside the Crowd, The Dreamer in the Den of Wolves, Birthdaze

7. DAMN. – Kendrick Lamar – Can we just acknowledge the fact that this album is basically a Fox News dis album? I’m almost 100% certain that the idea for this project was born in response to the Fox New segment that distilled his hopeful track “Alright” down to an oversimplified, message of hate. When Kendrick realized that there is a sizable cross-section of Americans that wouldn’t want to listen to his thoughtful message on the black experience on his previous record, he responds with a message of anger. “DNA” feels like a conversation with the anchors disparaged his life work, essentially saying “I’ll show you what real anger looks like”. He follows it up with “YAH,” where he directly responds to Geraldo Rivera’s criticisms in the lyrics “Somebody tell Geraldo this [expletive] got some ambition, I’m not a politician, I’m not ’bout a religion”. But DAMN. is much more than Kendrick telling everybody how much he hates Fox News. Where “To Pimp a Butterfly” was an intense internal reflection of Kendrick’s experience as a successful black man in America, DAMN. is Kendrick’s contemplation on the hypothetical. What if he was killed before he realized his full potential (on “BLOOD.”)? What if his dad was shot by Top Dawg (on “DUCKWORTH”)? What if all of the fears of black America broke him down (on “FEAR”)? “DUCKWORTH” is a fusion of Lamar’s masterful storytelling and technical rapping ability, allowing for him to make what I think is his best track to date. While DAMN. is not my favorite Kendrick Lamar record, he continues his dominance of the genre with this latest release.

Notable Tracks: DNA., FEEL., FEAR., DUCKWORTH.

6. IWASVERYBAD – IDK – I’ve always been impressed with Jason Mill’s ability to make albums that explore one common theme in a nuanced, thoughtful way (i.e. drug dealing on Subtrap, or money on Empty Bank). On his third full-length album, IDK turns to his own experience growing up as a middle class black American through the lense of his relationship with his mother. “Mrs. Lynch, Your Son Is The Devil” is an unsettling introduction to the album, as the listener is treated to a cacophony of voicemails explaining IDK’s progressively worse behavior, all of which crescendo with a condemnation from a chorus telling him “[expletive] you gon’ be bad, forever.” IDK paints a haunting picture of a young man who is caught between two worlds, being told he was too dumb to be successful in school (with lyrics like “The first one in my family/to see the/penitentiary/when I should’ve seen Cs, Bs/As too” on “Maryland Ass [expletive]”), but too timid to really be a criminal (with lyrics like “Knowing I’m no killa/but f*ck it, I’m trying to be that [expletive]/So my acting skills kicked in/I’m Michael Jackson off of Thriller” on “Pizza Shop Extended”). IDK takes an uncharacteristic violent tone in the opening of the project, which eventually gives way to jazzy, instrumental production once we reach the emotional core of this album on tracks like “No Shoes On The Rug, Leave Them At The Door” or “Black Sheep, White Dove”. IWASVERYBAD is a testament to the ostracization that young, black, folks can experience growing up in the suburbs, and the negative impacts of that experience. Notable Tracks: Mrs. Lynch, Your Son Is The Devil, 17 Wit a 38, No Shoes On The Rug, Leave Them At The Door, Black Sheep, White Dove.

5. SATURATION I, II, & III – BROCKHAMPTON – BROCKHAMPTON proved that boy bands aren’t just for tween girls. To simply call the 8-man collective a “rap group” does a real disservice to the diversity of their creative output in 2017. It’s a testament to the group’s chemistry that every member brings their own own creative flavor to a track without stepping on each other’s toes or cluttering any individual song. On any given track, you can have Merlyn’s yelpy, accented delivery, Ameer’s clever, stoner, bars (side note, Ameer proves that you can rap about drugs without resorting to the lazy bars that your typical Soundcloud rapper uses), Matt Champion’s antagonistic lyrics (see “HEAT”), and Kevin Abstract’s general charisma to bring it all together. There is a ton of emotion and enthusiasm across all three projects, with over 40 tracks on three albums, I guarantee that there is something in here for everybody.

Notable Tracks: HEAT, STAR, 2PAC, QUEER, JESUS, JUNKY

4. Rainbow – Kesha – Even though this album only came out a couple of months ago, I feel like it continues to get more relevant with each passing day. In the wake of a tidal wave of sexual abuse in entertainment coming to light via the Weinstein dam breaking, the story and success behind Kesha’s resurgence with Rainbow nearly encapsulates this cultural moment better than any other single work. After breaking free from the creative purgatory Sony and Dr. Luke kept her under, Kesha responded with a medley of genre experimentation and creativity that I did not expect. If you would have told me that an album that featured both The Eagles of Death Metal and Dolly Parton was going to be a creative success, I would have laughed you out of the room. She switches from fun, punk-pop tracks like “Let ‘em Talk” (which is the song that Swift’s “Shake it Off” always wanted to be) to the more thoughtful, acoustic, ballads like “Praying”. I even fully enjoyed her dips into experimenting with country crooning on tracks like “Spaceship”! Kesha is at her best when she gets to be herself. In spite of all the hardship, Rainbow allows her to do just that.

Notable Tracks: Let ‘em Talk, Praying, Spaceship

3. Laila’s Wisdom – Rapsody – Rapsody is bar for bar, one of the greatest modern day rappers, full stop. While she’s been a featured guest on many of my favorite projects throughout the past couple of years (see Anderson .Paak’s Malibu and Kendrick Lamar’s To Pimp a Butterfly), she finally takes center stage on Laila’s Wisdom and proves her talent through fourteen incredible tracks of pure rap goodness. The opening track of this album is three and a half minutes of Rapsody spitting over gospel vocals and piano chords, delivering self-confident bars like “God rested on day seven but worked on me on day four”. Her lyricism is impeccable, she has an infectious confidence on all of her tracks that keeps me coming back to this project. “Pay Up,” the first single released for the record, is a groovy, entertaining track about dealing with a deadbeat boyfriend who exploits her generosity. In a year full of vivid storytelling through music, Rapsody makes a heartbreaking track of her own with “Jesus Coming,” a song that explores three brief, yet biting vignettes of individuals dealing with their untimely demises. The features on this project are top notch, with contributions from Kendrick Lamar, Anderson .Paak, Busta Rhymes, BJ the Chicago Kid, and Amber Navran. It’s safe to say that Rapsody has without a doubt put out her best work to date with Laila’s Wisdom.

Notable Tracks: Power, Pay Up, Black & Ugly, Jesus Coming

 

 

 

 

2. Common As Light and Love Are Red Valleys of Blood – Sun Kil Moon – Mark Kozelek, say what you may about him as a person, is the William Faulkner of modern music. Common As Light and Love Are Red Valleys of Blood (Common as Light) is a masterful experience of stream of consciousness, it is the closest you will ever get to hearing a person’s real-time thoughts over the course of a song. This thing is dense, almost two hours of music. It’s aimless ramblings aren’t for everyone, but one can’t deny that Kozelek makes some unique observations on mortality throughout this sprawling work. The best example that I can think of is “Chili Lemon Peanuts” a nine minute song about watching a Manny Pacquiao fight in Vegas, ultimately serving as a parable about coming to grips with the inevitability of aging. Several times on this project Kozelek does what I can only describe as “pausing” the main narrative of a song to provide his own commentary in the form of another song. “Butch Lullaby” is a perfect example of this in practice. Kozelek shares his personal experiences with the now deceased Butch in between the larger narrative about the song’s central character. The minimal instrumentation serves as the perfect backdrop to the narratives that Kozelek tells throughout this record. If you’re willing to be patient with this project, you’ll find plenty of nuggets of wisdom from start to finish.

Notable Tracks: Chili Lemon Peanuts, Butch Lullaby, Seventies TV Show Theme Song

1. A Crow Looked at Me – Mount Eerie – How do you make art when life loses its meaning? Why do we insist on finding symbolism when there is none to be found? In the wake of his wife’s sudden passing, these are questions that Phil Elverum seeks to answer on A Crow Looked At Me. There is no big swell of emotion, no grand, universal, conclusion like you would expect in big budget film or your favorite book, rather quite the opposite. A Crow Looked At Me is a muted, minimalist series of heartbreaking reminders that life forever changes in the wake of a personal tragedy, and a glimpse into the lonely journey that one must take. Everyday tasks are reminders to Phil, like receiving mail addressed to his deceased wife, cleaning out a wastebasket with her old tissues, closing the windows as the seasons change, all these mundane tasks are portrayed as insurmountable because they are just another wound that hasn’t quite closed. Listening to this album wallow through the motions is a moving experience that I cannot recommend enough. While it doesn’t have a tidy resolution, we are treated to the tiniest glimpses of hope as Phil begins his journey towards acceptance.

Notable tracks: Real Death, Seaweed, Toothbrush/Trash, Crow