__________________________________________________________
The past few months I've spent creating the list you're about to read (and the one I hope you've already read, my top 100 tracks of the year) have really burnt me out. Maybe that's not something you want to hear, or something I should be disclosing, but it's the truth. It's not that my heart wasn't in it, just that my heart only had so many beats to give. So much music released this year it's honestly baffling how I, or anyone keeping up with the happening's in the genres I frequent, was able to keep up with it all. There was Brockhampton taking the Hip-Hop world by storm with their Saturation trilogy. There was King Gizzard doing their damnedest at completing their promise of five LP's for 2017. And, of course, Trap continued its growth through sheer force, with what seemed like a new project from a noteworthy name every week. Quality withstanding.
There's only so much mental and aural battering one man can take. Ironically, a trip to Disney World this past week cleansed that edge, but invited a new one with psychical anguish. Next year, Dozens Of Donuts starts fresh. That's not to discredit the wealth of superb material we've received through all genres this past year though. There's Hip-Hop here, Indie too. And Rock and Pop and R&B and Electronic and Ambient and Funk and whatever it is Death Grips did. 2017 gave us a lot. Highs were abound, and while lows were frequent (Boomiverse still makes me sad), it's lists like these that prove just how grateful we should be for the art that continues to push us all forward, even in the darkest of timelines. So, with that being said, I hope you enjoy the 50 best albums of the year!
Also be sure to check out my best albums 2016, 2015 and 2014.
__________________________________________________________
10
Fleet Foxes | Crack-Up
With the plethora of genres at your fingertips in the modern age, some are bound to be spearheaded by one artist. It doesn't necessarily mean the genre's dead, just that the amount of choices musicians have to dabble in has grown to near infinitum. Some, like Fleet Foxes, feel more comfortable representing the last bastion of a genre far removed from its origin. In their case, it's Folk. However, with expectations rising year after year in the field of arts, 40-minute albums of pure heart and soul just won't cut it anymore. The group led by Robin Pecknold acknowledged this, and, in the process, created the ultra-sophisticated opus Crack-Up. Drawing on inspiration far and wide, including but not limited to: Greek mythology, Goya, the Bible, Buddhism, Beowulf, Rene Descartes, and the current political climate, it's easy to see why Crack-Up was instantly considered a monumental Folk achievement.
If it wasn't obvious, Pecknold's hiatus to study at Columbia seemed to pay off. His literary and cultured expertise translates beautifully onto song-sheets crafted with the utmost level of perfection. This can best be seen on lead single 'Third Of May / Ĺdaigahara,' an awe-inspiring work that thrives on the toil and labor of endless hours in the studio. Throughout Crack-Up, Pecknold surrounds himself with instrumentation both breathtaking and quaint, drawing on the fantastical elements of ancient folk tales and their ability to conjure magnificent thought with just a little imagination. Difference being, Fleet Foxes have an abundance of imagination, demonstrated on the flawless progression and structuring of 'I Am All That I Need / Arroyo Seco / Thumbprint Scar' or 'Cassius, -.' Think of Crack-Up as a colossal folk tale for adults.
__________________________________________________________If it wasn't obvious, Pecknold's hiatus to study at Columbia seemed to pay off. His literary and cultured expertise translates beautifully onto song-sheets crafted with the utmost level of perfection. This can best be seen on lead single 'Third Of May / Ĺdaigahara,' an awe-inspiring work that thrives on the toil and labor of endless hours in the studio. Throughout Crack-Up, Pecknold surrounds himself with instrumentation both breathtaking and quaint, drawing on the fantastical elements of ancient folk tales and their ability to conjure magnificent thought with just a little imagination. Difference being, Fleet Foxes have an abundance of imagination, demonstrated on the flawless progression and structuring of 'I Am All That I Need / Arroyo Seco / Thumbprint Scar' or 'Cassius, -.' Think of Crack-Up as a colossal folk tale for adults.
9
Big K.R.I.T. | 4eva Is A Mighty Long Time
Earlier in 2017, Tyler The Creator dropped Flower Boy. It received acclaim far and wide, the first of his career, for finally accomplishing what he set out to do since 2013's WOLF. His edgy past was behind him, leaving the virtuous, multi-talented artist to focus purely on making great music without the need for a schtick. Interestingly enough, Big K.R.I.T. finally had his breakout project this year in 4eva Is A Mighty Long Time too, but for entirely separate reasons. They're both rappers, producers, writers, but whereas one couldn't separate his jovial side from his serious one, the other struggled putting them together. K.R.I.T.'s conscious styling's on his successful series of mixtapes were wide but limited in reach. His club bangers strewn about Live From The Underground and Cadillactica? Nothing more than a lost cause. However, thanks to his decision to part ways with Def Jam, K.R.I.T. was able to unite them all under one cohesive, ambitious, conceptually-refined roof.
Despite being 20 beefy tracks split across two LP's, 4eva Is A Mighty Long Time never gets stale. On either the Big K.R.I.T. half, or the Justin Scott one, K.R.I.T. never front loads his best work, leaving some real stunners deep in the trenches with 'The Light,' 'Drinking Sessions,' or the wonderful closer 'Bury Me In Gold.' He accepted that entertaining singles are what drives people in, hence 'Confetti,' 'Big Bank,' and the rapturous 'Keep The devil Off.' Yet, in either scenario in years past, serious or upbeat, K.R.I.T. struggled to bring his music to life. By incorporating other southern producers, singers, and rappers, 4eva brims with such life. With the diluted stature of Trap, there was a void for a true Southern Hip-Hop epic in the wake of Outkast, UGK, and Three 6 Mafia. As the sarcastic skit 'Classic Interlude' so eloquently described; "it's a classic." It sure as hell is.
__________________________________________________________
6
__________________________________________________________Despite being 20 beefy tracks split across two LP's, 4eva Is A Mighty Long Time never gets stale. On either the Big K.R.I.T. half, or the Justin Scott one, K.R.I.T. never front loads his best work, leaving some real stunners deep in the trenches with 'The Light,' 'Drinking Sessions,' or the wonderful closer 'Bury Me In Gold.' He accepted that entertaining singles are what drives people in, hence 'Confetti,' 'Big Bank,' and the rapturous 'Keep The devil Off.' Yet, in either scenario in years past, serious or upbeat, K.R.I.T. struggled to bring his music to life. By incorporating other southern producers, singers, and rappers, 4eva brims with such life. With the diluted stature of Trap, there was a void for a true Southern Hip-Hop epic in the wake of Outkast, UGK, and Three 6 Mafia. As the sarcastic skit 'Classic Interlude' so eloquently described; "it's a classic." It sure as hell is.
__________________________________________________________
8
King Krule | The OOZ
It's been a few years since there was a Rock record as challenging as The OOZ. With the changing dynamic of music consumption happening in the past decade, Hip-Hop has overtaken any other genre in regards to records going above and beyond in concept, execution, and ambition. It's not a surprise then, that one of Archy Marshall's primary influences is recent Hip-Hop, along with the bevy of traditional Rock influences from the genre's various, boundary-pushing eras. Of course, The OOZ can be appreciated through multiple perspectives, but it's this appreciation of art, admiration of excellence, that drives King Krule's sophomore LP. Through 19 songs, Marshall exudes a phenom virtuosity, moving from one point of influence to another, and another, and another. His inconsistent emotions strongly resonate everywhere, whether seen on the temperamental 'Locomotive,' the heartbroken 'Lonely Blue,' or the dejected title track.
The OOZ, basically by definition, is a grower. Upon first listen, no definable impact was made. I left unfazed, unsure, and uneasy. But then, piece after piece, starting with the succulent appetizers like the phenomenal 'Dum Surfer' or the atmospheric 'Logos,' the aforementioned challenges weren't so daunting. The somber grooves, like 'Slush Puppy,' 'The OOZ,' and 'La Lune,' evoked an adolescent struggling for purpose, while the confounding experiments, like 'Czech One,' 'Vidual,' and 'Half Man Half Shark,' proved vital to enjoying the momentary highs. There's a track for every emotion. King Krule didn't make a roller coaster filled with all highs and lows, he made one that featured boring straights, bumpy curves, and unsatisfying brake runs. All that combined creates a memorable ride that's as enjoyable as it is artistically-taxing.
__________________________________________________________The OOZ, basically by definition, is a grower. Upon first listen, no definable impact was made. I left unfazed, unsure, and uneasy. But then, piece after piece, starting with the succulent appetizers like the phenomenal 'Dum Surfer' or the atmospheric 'Logos,' the aforementioned challenges weren't so daunting. The somber grooves, like 'Slush Puppy,' 'The OOZ,' and 'La Lune,' evoked an adolescent struggling for purpose, while the confounding experiments, like 'Czech One,' 'Vidual,' and 'Half Man Half Shark,' proved vital to enjoying the momentary highs. There's a track for every emotion. King Krule didn't make a roller coaster filled with all highs and lows, he made one that featured boring straights, bumpy curves, and unsatisfying brake runs. All that combined creates a memorable ride that's as enjoyable as it is artistically-taxing.
7
Chelsea Wolfe | Hiss Spun
Sure, Chelsea Wolfe's presence as Metal's sole female outcast to the Indie scene was the only reason I even ventured into her freakish world, but the point still stands, what a world it is. Abyss, quite literally, drowned in her Ethereal Wave. The brooding atmosphere never quelled, never settled, merely existing in a state of beautiful disarray. Hiss Spun, unsurprisingly, accomplished the same feat. But whereas Abyss lacked in standout moments primed for music listeners, both expert and casual alike, to enjoy, Hiss Spun comes with a bevy. Wolfe's decision to further combine her crazed atmosphere-building with that of something more tangible resulted in the widening success of Hiss Spun. From whichever angle, whether it's the harrowing aura of opener 'Spun' and closer 'Scrape,' or the melodious spikes of 'The Culling' and 'Offering,' Wolfe's latest abomination has something for everyone.
Well, everyone with a penchant for the wicked at least. Unlike Abyss, which featured a cover symbolic of the album's descent, Hiss Spun lures listeners in with an uncomfortable view of Wolfe's demented alter ego. Against the pure white walls, a slight slant indicating we're in an attic trapped with that...thing, the tone is one that resembles terror at home, rather than in Hell. Wolfe's alluring vocals offset the apocalyptic sounds that reign supreme underneath, as if she's attempting to hide the truth of what goes on when company's not around. If it wasn't obvious, throughout Hiss Spun, she failed, arousing the demons with a summoning ritual, one so formidable that even Aaron Turner's (of Isis) guttural growls materialize on 'Vex.' Whether combating the demons or falling alongside them, Chelsea Wolfe's prowess on Hiss Spun of being both aesthetically-pleasing and musically-catchy is one that shouldn't be understated.
__________________________________________________________Well, everyone with a penchant for the wicked at least. Unlike Abyss, which featured a cover symbolic of the album's descent, Hiss Spun lures listeners in with an uncomfortable view of Wolfe's demented alter ego. Against the pure white walls, a slight slant indicating we're in an attic trapped with that...thing, the tone is one that resembles terror at home, rather than in Hell. Wolfe's alluring vocals offset the apocalyptic sounds that reign supreme underneath, as if she's attempting to hide the truth of what goes on when company's not around. If it wasn't obvious, throughout Hiss Spun, she failed, arousing the demons with a summoning ritual, one so formidable that even Aaron Turner's (of Isis) guttural growls materialize on 'Vex.' Whether combating the demons or falling alongside them, Chelsea Wolfe's prowess on Hiss Spun of being both aesthetically-pleasing and musically-catchy is one that shouldn't be understated.
It was only a matter of time before Denzel Curry revealed his true prowess. He doesn't work best in formalities, as the aggression he sports, only comparable to MC Ride, feels lost amongst traditional high-paced Trap cuts. That was the bulk of Imperial, his debut album. Talent was abound, that much was evident through his advanced rapping style in all facets. But the music, or more so the conventional design of elements, lessened the impact he could've had. I think to Danny Brown and his eccentricities, losing steam when adapting (side B of Old) but gaining it back when he's untethered (Atrocity Exhibition). On 13, Denzel Curry does the same. He abolishes standard Trap formatting, deconstructing drums and bass to make them deformed, gritty, and grotesque. Just listen to the first few seconds of 'Hate Government,' in which there's not a clean sound to be found.
But more than that, 13, ironically, excels because of restraint. Five songs, 13 minutes. It is chaos captured in a box. The EP acts as a savage lion revolting against his zookeepers, tearing them to shreds in the safe confines of an enclosed pen as frightened onlookers scream for help as their intrigue forces them to remain fixated. There is not a moment, whether it's Curry's venomous verses on 'Bloodshed,' his megaphone yelping on 'Heartless,' or the production's sinister turn towards the latter half of 'Hate Government,' where you aren't overwhelmed by the anarchy that surrounds you. In many ways, 13's 13 minutes act as one Experimental Trap masterpiece that combines Lil Ugly Mane's Mista Thus Isolation with his deranged Oblivion Access. A poignant comparison given LUM's appearance on closer 'Zeltron 6 Billion,' which acts as the calm aftermath of the animalistic attack. The carnage still on full display.
But more than that, 13, ironically, excels because of restraint. Five songs, 13 minutes. It is chaos captured in a box. The EP acts as a savage lion revolting against his zookeepers, tearing them to shreds in the safe confines of an enclosed pen as frightened onlookers scream for help as their intrigue forces them to remain fixated. There is not a moment, whether it's Curry's venomous verses on 'Bloodshed,' his megaphone yelping on 'Heartless,' or the production's sinister turn towards the latter half of 'Hate Government,' where you aren't overwhelmed by the anarchy that surrounds you. In many ways, 13's 13 minutes act as one Experimental Trap masterpiece that combines Lil Ugly Mane's Mista Thus Isolation with his deranged Oblivion Access. A poignant comparison given LUM's appearance on closer 'Zeltron 6 Billion,' which acts as the calm aftermath of the animalistic attack. The carnage still on full display.
5
Tonstartssbandht | Sorcerer
Tonstartssbandht's a group that's purposely challenging. Many, including myself at times, don't take kindly to that sort of stilted behavior in music. I mean hell, look at their name. They needed an introduction on the wacky and unpredictable An When to even confess with listeners the correction pronunciation. Just starting out, clashing heavy metal noise ('Black Country') with an experimental Disney musical ('Little April Showers') isn't exactly the type of thing that draws a crowd. But those that push through to the front, like myself, found their unilateral approach to song structuring and deviation of norms fascinating. In 2017, while not many people got to appreciate it, Tonstartssbandht created their most mature, well-rounded, and inviting project yet. Three songs of significant stature, combing the reaches of their influence, resulting in a sophisticated, jam band-style journey upward.
Like many of their projects, Sorcerer drastically differs from those that came before. It honors a sort of timeless feel, a sound that can be appreciated in 2017, could've been appreciated in 1977, and may be appreciated in 2057. They're a current cult band, which either means they'll fade into oblivion, like many passages on Sorcerer do, or their achieve a post-retirement revival of grand proportions. Jam band progression with an aptitude for nuance, an eye for epic crescendos, and a facility for tone, mood, and vibrations. That's what makes Sorcerer a wonderful record, the fact that it's a transitory piece with the ultimate goal of reaching another plane of existence. Moments pass both brittle and dexterous, quaint and monumental. They flow into one each other, as imperceptible timestamps of ephemeral emotions. On Sorcerer, Tonstartssbandht crafted a spontaneous journey to immortality.
__________________________________________________________
Like many of their projects, Sorcerer drastically differs from those that came before. It honors a sort of timeless feel, a sound that can be appreciated in 2017, could've been appreciated in 1977, and may be appreciated in 2057. They're a current cult band, which either means they'll fade into oblivion, like many passages on Sorcerer do, or their achieve a post-retirement revival of grand proportions. Jam band progression with an aptitude for nuance, an eye for epic crescendos, and a facility for tone, mood, and vibrations. That's what makes Sorcerer a wonderful record, the fact that it's a transitory piece with the ultimate goal of reaching another plane of existence. Moments pass both brittle and dexterous, quaint and monumental. They flow into one each other, as imperceptible timestamps of ephemeral emotions. On Sorcerer, Tonstartssbandht crafted a spontaneous journey to immortality.
__________________________________________________________
4
Kendrick Lamar | DAMN.
Truth be told, leading up to DAMN I was worried Kendrick Lamar was about to release another masterpiece. Two albums, good kid m.A.A.d. city and To Pimp A Butterfly, sit comfortably in my top 25 of all-time. Adding a third would've discredited my list, labeled me as a stan, and put Lamar in an echelon no one, not even my perennial favorite group Outkast, has reached. Therefore, DAMN was the best case scenario. It's not a masterpiece. It's just the level right beneath it. Which, considering the main propeller to DAMN, that of it's radio-friendly crossover appeal, is an accomplishment that further perpetuates Lamar as Hip-Hop's greatest working emcee. Perhaps music's greatest working musician. On GKMC he showcased his impeccable knack for linear storytelling. On TPAB he took that a step further, weaving thematic tales through black music's lineage. On DAMN, he tackled modern Pop Rap, outclassing braggart rappers at their own game, cementing his place at the head of the class, no matter what class it is.
Typically, I don't use awards and record sales as a marker for success. That's because, in most cases, the correlation of quality versus popularity isn't applicable. But for Lamar, someone whose proven himself in every critical facet, landing a #1 single in 'Humble,' three other singles ('DNA,' 'Loyalty,' and 'Love') in the top 20, and an album that's been listened to more than any other in 2017, that success means a lot. Especially when your singles boast the sort of quality both the radio crowd and critical one can appreciate. Not only that, DAMN's loosely-formatted concept provided enough curiosity for those salivating for his clairvoyant messages. 'DUCKWORTH' foretold of an intensely-detailed origin story, 'XXX' darted around flashing blue and red lights, 'FEAR' dissected the anxieties faced by black Americans no matter the age. Everything DAMN stands for constitutes worldwide praise. It's a welcoming bridge for the other side to see his views and purpose.
__________________________________________________________
Typically, I don't use awards and record sales as a marker for success. That's because, in most cases, the correlation of quality versus popularity isn't applicable. But for Lamar, someone whose proven himself in every critical facet, landing a #1 single in 'Humble,' three other singles ('DNA,' 'Loyalty,' and 'Love') in the top 20, and an album that's been listened to more than any other in 2017, that success means a lot. Especially when your singles boast the sort of quality both the radio crowd and critical one can appreciate. Not only that, DAMN's loosely-formatted concept provided enough curiosity for those salivating for his clairvoyant messages. 'DUCKWORTH' foretold of an intensely-detailed origin story, 'XXX' darted around flashing blue and red lights, 'FEAR' dissected the anxieties faced by black Americans no matter the age. Everything DAMN stands for constitutes worldwide praise. It's a welcoming bridge for the other side to see his views and purpose.
__________________________________________________________
3
Tyler, The Creator | Flower Boy
Even though he later rescinded the first half of Flower Boy's nomenclature, Scum Fuck, the inclusion of such boorish vocabulary actually helped showcase the album's graduation to maturity. Sure, boy still implies youth, but a flower implies growth. Growth from his scummy personalty, growth from his fucking language. Thankfully, most saw Flower Boy for what it was; a formal benchmark for the continuation of a blossoming career that would've all been for naught had Cherry Bomb 2.0 been released instead. Flower Boy takes the snippets of what made that album intriguing, like the heavenly orchestration of 'Find Your Wings' or the chill sensations of '2 Seater,' and ditches the aspects that held it back, like the artificial disfigurement of 'Cherry Bomb' or the immature rehash of 'Blowmyload.'
Being that Tyler, alongside Kendrick Lamar, essentially kickstarted my interest in modern Hip-Hop (I basically only listened to Outkast, the Gorillaz, and MF DOOM at the time of Goblin), his growth as a musician, as an artist, as a person, paralleled my growth into manhood every step of the way. Fitting then that Flower Boy is Tyler's most personal, challenging, and prismatic work yet, considering a new job, new home, and new life welcomed itself on my day-to-day in the past year. And while I don't relate to the sexual identification of standout 'Garden Shed,' the inspection and resulting hypocrisy of being a newly-found introvert on the magnificent three-track run of 'Boredom,' 'I Ain't Got Time,' and '911 / Mr. Lonely' relates to my line of thinking all too well. All this without mentioning the picturesque beauty of Flower Boy's production, a staple of Tyler's and a highpoint of 2017 as a whole.
__________________________________________________________Being that Tyler, alongside Kendrick Lamar, essentially kickstarted my interest in modern Hip-Hop (I basically only listened to Outkast, the Gorillaz, and MF DOOM at the time of Goblin), his growth as a musician, as an artist, as a person, paralleled my growth into manhood every step of the way. Fitting then that Flower Boy is Tyler's most personal, challenging, and prismatic work yet, considering a new job, new home, and new life welcomed itself on my day-to-day in the past year. And while I don't relate to the sexual identification of standout 'Garden Shed,' the inspection and resulting hypocrisy of being a newly-found introvert on the magnificent three-track run of 'Boredom,' 'I Ain't Got Time,' and '911 / Mr. Lonely' relates to my line of thinking all too well. All this without mentioning the picturesque beauty of Flower Boy's production, a staple of Tyler's and a highpoint of 2017 as a whole.
2
Kelly Lee Owens | Kelly Lee Owens
Nothing excites me more than the thrill of discovering a new, exemplified artist. It's in fact the very reason I continue to scour the deepest corners of music's past, riffling through countless albums, anticipating the next diamond in the rough. And then there's cases like Kelly Lee Owens. Her debut album, one released with no hype, anticipation, or preparation on my behalf, acted as a gift from the Art Pop gods. They spoke stoically to me, as if to say: "Here's what's missing from the genre. Now enjoy." And enjoy I did. Owens' work throughout the ten pulsating tracks is nothing short of astonishing, combining sounds, melodies, and tension in ways only a seasoned veteran in the Electronic scene could.
Perhaps the best part of Kelly Lee Owens' presence is her nonchalance in remaining neutral. As we've come to expect, female singers in any Alternative scene are used to hamming their vocals into every measure as their primary talent. Owens, however, understands space. The droning "ooh's" of 'Arthur,' the spider web of "lucid" on 'Lucid,' the dizzying hook parlay on 'Throwing Lines,' all examples of her poise, patience, and professionalism. It's something we haven't seen a female Electronic musician do since, well, ever. Not to mention the production value, compared to various 2017 contemporaries, is nothing short of sensational. There's a crispness in the air, a sharpness around the edges, a sleek sheen polishing the walls, and high-fidelity vocals grazing over it all. A debut album, and an Electronic benchmark, for the ages.
__________________________________________________________Perhaps the best part of Kelly Lee Owens' presence is her nonchalance in remaining neutral. As we've come to expect, female singers in any Alternative scene are used to hamming their vocals into every measure as their primary talent. Owens, however, understands space. The droning "ooh's" of 'Arthur,' the spider web of "lucid" on 'Lucid,' the dizzying hook parlay on 'Throwing Lines,' all examples of her poise, patience, and professionalism. It's something we haven't seen a female Electronic musician do since, well, ever. Not to mention the production value, compared to various 2017 contemporaries, is nothing short of sensational. There's a crispness in the air, a sharpness around the edges, a sleek sheen polishing the walls, and high-fidelity vocals grazing over it all. A debut album, and an Electronic benchmark, for the ages.
1
LCD Soundsystem | American Dream
This time last year, when I was recounting the best of the best, The Avalanches' Wildflower ultimately took the crown for being everything everything else wasn't. 2016, like most years in recent memory, was regarded with chagrin from the populace, seeing events, whether it was the presidential inauguration, police shootings, or the traumatic celebrity deaths, happen over and over again. To pick Wildflower was to go against the grain. It wasn't a project that outright avoided the problems of today, just one that found a solution in the celebration of peace and harmony. Knowing full well the content of LCD Soundsystem's return LP American Dream, one would see those reasons didn't apply this go-around. Perhaps Wildflower was just that special. Or perhaps, 2017 sunk even lower and nothing, apart from an exhaustive examination of the problems at hand - through dance, of course - would suffice.
Since their inception back at the turn of the millennium, James Murphy and company have done a sensational job at correlating, satirizing, and finding resolute in everything that's even remotely a curious cultural phenomena. It all started with 'Losing My Edge,' and by 2017 the same statement rang true. American Dream didn't just look at the surface, following the controversial train of thoughts many are concerned with. It sunk deeper, looking towards the roots of where and why such issues emerge. Some, as simple and lighthearted as the contrived pandemic of trend-hoppers on 'tonite.' Others as global and looming as the partisan divide tearing us all apart on 'call the police.' There's nothing on American Dream that Murphy struggles to scrutinize with a wise, but affectionate pen.
Dissertations on cultural and political warfare can only go so far without down to earth revelations to bring the listener to a standstill. LCD Soundsystem knows this, as seen on their best works 'Someone Great' and 'All My Friends.' The same happens across American Dream, especially on 'how do you sleep?' and 'black screen,' two personal mammoths that find Murphy reflecting on past relationships long since deteriorated. All this, through highly infectious and sublime percussive work, one that borrows from such names like Talking Heads, Suicide, Public Image Ltd., and The Cure. American Dream excels by correlating LCD Soundsystem's patented rise in pressure and anxiety to passionate release to America's current landscape, one that seems to be leading to something big. It's not necessarily good. Not necessarily bad. It's just monumental. And that's exactly what American Dream poses itself as.
Since their inception back at the turn of the millennium, James Murphy and company have done a sensational job at correlating, satirizing, and finding resolute in everything that's even remotely a curious cultural phenomena. It all started with 'Losing My Edge,' and by 2017 the same statement rang true. American Dream didn't just look at the surface, following the controversial train of thoughts many are concerned with. It sunk deeper, looking towards the roots of where and why such issues emerge. Some, as simple and lighthearted as the contrived pandemic of trend-hoppers on 'tonite.' Others as global and looming as the partisan divide tearing us all apart on 'call the police.' There's nothing on American Dream that Murphy struggles to scrutinize with a wise, but affectionate pen.
Dissertations on cultural and political warfare can only go so far without down to earth revelations to bring the listener to a standstill. LCD Soundsystem knows this, as seen on their best works 'Someone Great' and 'All My Friends.' The same happens across American Dream, especially on 'how do you sleep?' and 'black screen,' two personal mammoths that find Murphy reflecting on past relationships long since deteriorated. All this, through highly infectious and sublime percussive work, one that borrows from such names like Talking Heads, Suicide, Public Image Ltd., and The Cure. American Dream excels by correlating LCD Soundsystem's patented rise in pressure and anxiety to passionate release to America's current landscape, one that seems to be leading to something big. It's not necessarily good. Not necessarily bad. It's just monumental. And that's exactly what American Dream poses itself as.
50-21 | 20-11 | Top 100 Tracks
No comments:
Post a Comment