2017: Full of Surprises, Full of Disappointments

(Note: View Patrick’s Top 50 Albums of 2017 here).

2017 offered plenty of fantastic musical content…but not entirely for the reasons I anticipated. Simply, if, on December 31, 2016, you handed me a list of artists who would eventually release an album in 2017, I would have predicted my year-end Top 50 list to look quite different than its current incarnation.

“Gorillaz are releasing a comeback record?! That should be a welcome return!” (It wasn’t.)

“OMG. Arcade Fire?! There is NO way they could possibly disappoint.” (They did.)

For myself and others, many of 2017’s most anticipated releases were underwhelming and/or forgettable (I bet you forgot that The Shins released a project this year; I know I did). Hell, many of the projects that actually earned a spot on my Top 50 list still did not quite meet my expectations for them. On the contrary, however, 2017 had many positive surprises! Artists I had previously never heard of, artists I did not expect much from, and artists I never got around to checking out prior to this year frequently make appearances over the course of this blog post.

Before we get started, I would like to spotlight a special project. My brother, Kevin Ray Brost, released an EP this year, entitled Lost in the Void! I decided not to rank my brother’s work among other musical works because, well, it would have felt odd doing so. That said, please check this EP out if you have time, especially if you’re a fan of roots, Americana, blues rock, or folk. The EP turned out great, and I am proud of him for making it happen. Good job, bro!

Kevin Ray Brost – Lost in the Void EP

Spotify

Apple Music

Now, a bit of housekeeping. As always, the sole criterion of this list is, simply, my personal enjoyment. General critical acclaim is not considered, and neither are sales. Patrick & I will each complete a Top 50 list. Just like last year, we will provide YouTube links to one song from each album and a Spotify / Apple Music playlist consisting of one song from each album (different from the songs we have linked here via YouTube).

Without further ado, ladies and gentlemen, MY TOP 50 ALBUMS OF 2017!

#50 – Destroyer – ken

Remember all the way back in the introduction of this blog post, when I typed “Hell, many of the projects that actually earned a spot on my Top 50 list still did not quite meet my expectations for them”? Well, it took us quite a while, but we’re here. Though often a duller version of Destroyer’s stellar 2011 record, Kaputt, Canadian singer-songwriter extraordinaire Dan Bejar came through with another solid record fusing baroque pop, indie rock, jazz, and 80’s-inspired production. Much of ken is clean, smooth, easy-listening that is often as grey as its cover artwork (not necessarily a negative quality). Bejar’s signature poetic lyrics and unconventional vocal delivery complement this project’s regal instrumentation, leading to an enjoyable, if edgeless, experience. ken, A.K.A. “Kaputt: Side B” does not explore much new territory for Destroyer, but its execution was still worthy of a Top 50 placement.

Listen: Destroyer – “Tinseltown Swimming in Blood”

#49 – Rostam – Half-Light

For years, multi-instrumentalist, producer, singer, and songwriter Rostam Batmanglij played an under-appreciated role in one of indie’s biggest acts of the past decade, Vampire Weekend. After hearing his superb collaborative effort with Hamilton Leithauser in 2016 (I Had a Dream That You Were Mine), it became evident how integral Rostam was to Vamp Wknd’s success. On Half-Light, Rostam displays his quirks, his typically sleepy vocals, his colorful instrumentation, and his interesting drum patterns. Playful keys, synths, strings, and even horns add plenty of vibrancy to the mix. I am not certain that this art-pop project needed to consist of fifteen tracks (perhaps a condensed effort would have packed a greater punch), but Rostam’s debut solo studio album is, at the very least, pleasant.

Listen: Rostam – “Bike Dream”

#48 – Rose Elinor Dougall – Stellular

One of 2017’s most enjoyable indie-pop/synth-pop records lacks the need for complicated description. Simply, Stellular‘s instantaneous nature makes its strengths fully apparent, even during a listener’s initial listen. Catchiness and pleasantry are focal points throughout the record, with poppy instrumentation and simple melodies in abundance. Dougall’s voice is purely pristine, the perfect voice to match an instrumental foundation that also never misses a step. Unfortunately, I have not seen Stellular on any year-end lists besides my own. Whether that is due to a lack of popularity, a lack of complexity, or some other reason, it’s a shame, because Dougall’s latest effort deserves more recognition.

Listen: Rose Elinor Dougall – “Stellular”

#47 – Spoon – Hot Thoughts

If anything, Spoon’s legacy as an indie rock band amounts to being one of the most consistently solid bands from one album to the next over the course of two decades. Though many long-time Spoon stans consider their 2017 effort to be among their weakest, Hot Thoughts features catchy hits one might hear at a local craft brewery (“Can I Sit Next to You”, Title Track) as well as more experimental cuts such as “Pink Up” or “Us” that throw curveballs precisely when the hitter is used to seeing fastballs. A couple of tracks toward the end of this ten-tracker are fairly derivative, but I have kept a spoonful of these songs in rotation ever since Hot Thoughts dropped in March. Spoon pays homage to traditional rock tropes while adding enough bells and whistles to keep their music from sounding tired or dated. Despite releasing acclaimed album after acclaimed album, Hot Thoughts was my introduction to Spoon, and I am more than excited to visit their entire catalogue.

Listen: Spoon – “Hot Thoughts”

#46 – Wiley – Godfather

Wiley earned the moniker “Godfather of Grime” by being an important pioneer in the British grime/hip-hop scene. Although this already-established legend could have easily phoned it in on his eleventh studio album, this 38-year-old brings a youthful energy to one of the most fun, bombastic albums of the entire year. This record’s strengths are fully evident from the get-go. Godfather packs the perfect playlist for your drive, your workout, or your pre-game with a collection of pure, unadulterated bangers. Over the course of an hour, Godfather slaps you in the face with loud, boastful beats and aggressively-delivered fast flows. It rarely ever lets up, which can make the full listening experience a tiring one. Because of this, I believe Godfather is best served one small bite at a time.

Listen: Wiley – “Bring Them All / Holy Grime (feat. Devlin)”

#45 – The xx – I See You

Around the time of this January release, I legitimately believed I See You was this British indie pop band’s best work. In the months that followed, as hype died down, their self-titled debut reclaimed its rightful status as their greatest. That said, I See You remains the group’s most vibrant effort to date. Bright synths, horns, vocal samples, and yes, the xx’s signature steel drum help to shred the band’s purely minimalist past. Star producer Jamie xx seemed to exert more influence this time around, as I See You frequently sounds more like a Jamie xx solo record than either of the xx’s previous two albums (not that I am complaining). Even though the best tracks here (“Replica”, “Lips”) do not quite match the level of excellence exhibited by their most memorable hits, I See You exists as a welcome change of pace.

Listen: The xx – “Say Something Loving”

#44 – BROCKHAMPTON – SATURATION

The Philadelphia 76ers of the National Basketball Association have an interesting identity: the basketball team’s core talent almost solely consists of highly-acclaimed superstars full of youth who are not expected to hit their primes for a while. Similarly, the hip-hop collective BROCKHAMPTON consists of a dozen or so talented young members, including the mature-voiced Ameer Vann, the Mac-Miller-inspired Matt Champion, the ODB-esque Merlyn Wood, and the alternative-R&B star Kevin Abstract. Because of the variety of members, this mixtape frequently jumps from one style of hip-hop to the next without much warning, from bass-heavy bangers (“HEAT”) to self-motivational anthems (“MILK”). As a result, we have an inconsistent set of seventeen songs that vary in style, substance, and well, quality. The point is, Joel Embiid can’t play back-to-back games, Ben Simmons can’t shoot from distance, and Markelle Fultz is recovering from injury. That all said, the Sixers have a bright future despite their faults. As do BROCKHAMPTON. Trust the process.

Listen: BROCKHAMPTON – “STAR”

#43 – Courtney Barnett / Kurt Vile – Lotta Sea Lice

Honestly, this collaborative product made a ton of sense on paper. In fact, this pairing made almost too much sense, to the point where I expected disappointment. But alas, two of the best singer-songwriter-guitarists in the indie rock / indie folk worlds came together for the perfect soundtrack to accompany your Sunday morning coffee. Barnett & Vile play off of each other (lyrically and instrumentally) superbly, with a evidently natural chemistry. Ideally, I will eventually hear tunes from this collaboration at a sunny outdoor festival (Bonnaroo 2018, please!), given that Lotta See Lice would provide a lovely backdrop to such an event. I am not sure whether Lotta See Lice was a one-off project or not, but I am eagerly awaiting a possible reunion, and I look forward to upcoming solo material from both artists. Nothing here reinvents the wheel, but hopefully Lotta See Lice offers plenty of inspiration for up-and-coming chilled-out singer-songwriters.

Listen: Courtney Barnett / Kurt Vile – “Continental Breakfast”

#42 – Visible Cloaks – Reassemblage

Admittedly, I do not frequently tune into ambient music. I am still growing accustomed to this genre centered around background music, which is often easy to tune out. Visible Cloaks’ Reassemblage maintains the tranquility and pleasantness one might expect from an ambient record, but the interesting intricacies demand my attention. The sonic originality, despite being understated, is entrancing. To be honest, I am occasionally unsure of what sorts of sounds I am even digesting here. Xylophone? Water? Who knows? Reassemblage assembles a hypnotic atmosphere that emphasizes the importance of clarity and precision. Every tonal addition feels meticulously crafted, and as a result, this acclaimed album remains an enriching electronic experience.

Listen: Visible Cloaks – “Place”

#41 – Hurray for the Riff Raff – The Navigator

With a stellar band name, an artsy album cover, and a kick-ass musical experience, Hurray for the Riff Raff earned a permanent spot on my radar this year. HFTRR’s blend of Americana, blues, and folk result in a flavorful mix of sonic delight. Frontwoman Alynda Segarra brings personal narrative to complement some of music’s most intimate genres. From the rockin’ “Living in the City”, to the pulsating “Hungry Ghost”, to the wonderfully climactic “Pa’lante”, Segarra carries us with her gruff and passionate vocal delivery. This under-the-radar record’s boldness made for an instantaneous spectacle, a record that demands replayability. And given The Navigator‘s variety, vulnerability, and vibrance, how could one not replay this?

Listen: Hurray for the Riff Raff – “Living in the City”

#40 – Mount Eerie – A Crow Looked at Me

“Death is real, someone’s there and then they’re not, and it’s not for singing about, it’s not for making into art” is how indie-folk singer-songwriter Phil Elverum (AKA Mount Eerie) begins Crow, a concept album centered around the recent death of his wife, Geneviève Castrée. Blunt devastating lyrics, quiet vocal deliveries, and minimalistic acoustic guitars establish a morbid atmosphere that never lets up. Famously depressing albums such as Elliott Smith’s Either/Or and Sufjan Stevens’ Carrie & Lowell, though somber, provide occasional moments of slight musical levity to keep the record melodically engaging. Mount Eerie makes no such compromise. I would suggest that Elverum intentionally made Crow unsettling and inflexible, but I honestly believe Elverum made hardly any musical decisions here. Because the music isn’t the point. Crow is a haunting look into Elverum’s darkest moments that just so happens to feature an acoustic backdrop.

Listen: Mount Eerie – “Forest Fire”

#39 – The New Pornographers – Whiteout Conditions

According to Spotify, the New Pornographers were my most-played artist of 2017. While this is primarily due to their insanely fun first three records (Mass Romantic, Electric Version, Twin Cinema), this latest output expands an already-great discography from this Canadian indie-rock/power pop outfit. Whiteout Conditions lacks Dan Bejar’s edge (perhaps my most notable gripe), making for a tamer listen in comparison to previous material. That said, Whiteout Conditions packs the band’s signature accessibility, earworm choruses, and ensemble casted star power. Nothing here significantly impacts the pop music landscape, but many of these infectious songs have been on repeat since the record’s early April release. Simply, Whiteout Conditions is clean, wholesome fun.

Listen: The New Pornographers – “High Ticket Attractions”

#38 – Lorde – Melodrama

A favorite across several publications’ year-end lists, Melodrama cemented Lorde as a formidable singer-songwriter (as if her previous efforts created any doubt). Perhaps unexpectedly, a 21-year-old crafted one of the year’s most mature pop records. Lorde details feelings and struggles that a sizable portion of twenty-somethings can relate to, even though we aren’t all nominated for Album of the Year at next year’s Grammy Awards. The polarizing Jack Antonoff produces the bulk of this record, establishing a notable vibrancy when compared to Pure Heroine, Lorde’s studio debut. “Sober” and “Green Light” offer radio accessibility, while “Writer in the Dark” and “Hard Feelings/Loveless” showcase Lorde’s songwriting chops, giving Melodrama a strong sense of balance.

Listen: Lorde – “Green Light”

#37 – Sampha – Process

The following is undeniable, regardless of personal musical taste: Sampha’s voice is stunning. This UK soul/electronic/R&B hybrid possesses a cadence that is simultaneously gentle and powerful. Whether you prefer the modern quasi-hip-hop production on “Reverse Faults”, the African instrumentation on “Kora Sings”, or the pure piano foundation on “(No One Knows Me) Like the Piano”, I can almost guarantee you’ll discover your ideal backdrop for Sampha’s soulful singing. The winner of this year’s Mercury Prize (given to the best album from the United Kingdom), Sampha’s debut studio album left a strong impression on the soul/R&B landscapes. Especially for a debut, Process sounds professional, mature, focused, well-arranged, and perhaps most importantly, gorgeous.

Listen: Sampha – “(No One Knows Me) Like the Piano”

#36 – Beach Fossils – Somersault

Simply, this is the best Real Estate record of 2017. This surf-rock, jangle-pop outfit demands seasonal listening, more than most records on my Top 50 list. Somersault screams “summer” with twangy guitars, mellow vibes, relaxed vocals, and a passive mission. Parts of this record are too passive for their own benefit, however, as certain tracks are in one ear and out the other. Much of Somersault carries a DIY aesthetic. That said, I don’t think you’ll want to be doing anything yourself while listening to this relaxing ear-soother. Overall, Beach Fossils gave us a Summer 2017 essential, a record I plan on revisiting the next time I pop open a can of Unsponsored Beer X near a body of water on a crispy day.

Listen: Beach Fossils – “Down the Line”

#35 – billy woods – Known Unknowns

To this point, billy woods has not reached a level of fame and stardom in the hip-hop community. And if the fact that he never shows his face publicly is any indication, he clearly doesn’t want to reach that level. This elusive emcee’s brand of dense, abstract hip-hop isn’t meant for the masses anyway. Dark, grimy, gritty, eery production set the stage for billy woods’ coded poetry. Honestly, it often takes several listens to comprehend the meaning of even one particular bar. billy woods raps with the aggression of someone who wants you to immediately understand the purpose of a lyric but with the cryptic lyricism of someone who wants you to earn that wisdom. His shouty delivery and cunning wordplay show that, sometimes, the loudest voice can come from the smartest person in the room.

Listen: billy woods – “Keloid”

#34 – St. Vincent – MASSEDUCTION

Multi-instrumentalist/singer-songwriter Annie Clark boasts an impeccable discography. Proof: my least favorite record of hers still nabs the #34 spot on this year’s Top 50. St. Vincent always infused pop elements into her art rock on her previous works, but on MASSEDUCTION, she fully embraces a polarizing pop-centric sound. “Pills”, “Los Ageless”, and the title track demonstrate her eccentric brand of pop vibrancy, though some of this record’s true highlights are presented as beautiful ballads (“Slow Disco” and “Happy Birthday, Johnny” strike me every single time). I prefer the experimental rock offered on Actor, Strange Mercy, and her eponymous record, but Clark’s latest sonic shift proves that she can create music as accessible as Top 40 radio (though significantly more interesting).

Listen: St. Vincent – “Los Ageless”

#33 – LCD Soundsystem – american dream

At #33, we have the most disappointing record of 2017 to still make my Top 50 list (Arcade Fire & Gorillaz were easily more disappointing). When I heard the news that one of my all-time favorite musical acts were reuniting for a comeback record, I anticipated this project finishing in my Top 15 for the year, at the very least. Despite my gripes here, american dream contains several elements that I adore about previous LCD LP’s. David Byrne/Bowie influences, crazy percussion patterns, gradual build-ups, synth-gasms, and James Murphy’s passionate vocals keep american dream in rotation, even if the record is holistically more subdued when compared to the rest of LCD Soundsystem’s energetic discography. If we never receive another LCD Soundsystem album again, american dream isn’t the worst note to end on (though it is the worst album cover artwork to end on).

Listen: LCD Soundsystem – “tonite”

#32 – Dirty Projectors – Dirty Projectors

The Dirty Pros’ eponymous project was often overrated around the time of its February release (“electronic masterpiece game-changer!”). Strangely, however, I feel Dirty Projectors is underrated at this point, as it hasn’t graced the year-end lists of numerous publications. This art-pop/electronica/experimental-rock/alternative-R&B genre-fest is interesting on its face, and often entrancing in its execution. “Ascent Through Clouds” and “Up in Hudson” legitimize any claims of this album’s ambition and electronic experimentation, “Little Bubble” makes room for tender moments, and “Cool Your Heart” is undoubtedly catchy (a trait typically uncharacteristic of this record). Though Dirty Projectors is occasionally melodramatic, it earns plenty of points for being one of the most sonically intriguing records of 2017.

Listen: Dirty Projectors – “Little Bubble”

#31 – Roc Marciano – Rosebudd’s Revenge

Rosebudd’s Revenge holds distinction as possibly the driest album on this year’s Top 50 list. Hell, I was frequently bored during my initial listen-through. Dusty pianos and grimacing atmospheres coupled with Roc Marciano’s characteristically quiet, understated delivery fill Rosebudd’s Revenge with patience-testing tracks centered around Roc’s undeniable lyrical ability. Roc’s cold, street-centric narratives and sharp rhyme patterns remind me of a modernized Mobb Deep or Raekwon. Rosebudd rewarded me during repeated listens as I picked up on clever wordplay and complicated rhyme schemes as I dug into this project. In short, Roc Marciano is not for every hip-hop fan, but if you adore the lyrical side of hip-hop, I wouldn’t give up after one listen.

Listen: Roc Marciano – “Rosebudd’s Revenge (Medley)”