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