20. Avey Tare - EucalyptusWhile Panda Bear has put a lot of great material outside of Animal Collective, I was never really impressed with Avey Tare’s work until this release. For me, Eucalyptus is a really eye-opening experience in that it reveals the influences Avey has on other Animal Collective releases. The sounds on the record are a throwback to the band’s beloved Sung Tongs, sacrificing finesse in place of more wacky, experimental songwriting. The record is more about the instrumentals than anything, outside of a few standalone tracks (“Melody Unfair,” “Ms. Secret,” “In Pieces”) but I’d recommend to any AniCo fans. 19. King Krule - The OozThis release did a 180 on me. Archy Marshall’s departure from his traditional songwriting on 6 Feet Beneath the Moon combined with the 66 minutes of material was an initial turn off. I was only really feeling “Dum Surfer” and the title track. However, Marshall really establishes a moody atmosphere within the deeper cuts - his woozy vocals on “Slush Puppy,” the mellow saxophone on “Logos,” or the somber guitar on “Lonely Blue,” and I fell in love with the record. 18. Bicep - BicepThis really is in the same vein as a Boards of Canada or Autechre release. For an up and coming producer, I was extremely surprised how captivating the soundscapes are on this record. “Orca,” “Ayaya,” and “Ayr” were definitely highlights this year when it comes to electronic music. On the surface, the beats are really repetitive and hypnotizing, but I find myself getting lost in the subtle intricacies that progress each song. 17. Corbin - MournSonically and lyrically, no record this year embodies the idea of isolation as well as Corbin’s debut project. He’s not even close to being as technically proficient of an R&B singer as a Frank Ocean, but it plays into the aesthetic of the record. “ICE BOY,” “Giving Up,” and the title track epitomize Corbin’s patheticness, highlighted by these despairing vocal performances. Despite all the metal I’ve listened to this year, “Revenge Song” takes the cake for the most disturbing track I’ve heard - a graphic and vivid story of Corbin tracking down and murdering the man who raped his significant other. Although the record can feel a little one-dimensional at times, I find that the atmosphere and presentation of the themes make this record worthy of this list. 16. Deerhoof - Mountain MovesStraight up, Deerhoof managed to wholeheartedly put out their catchiest, most playful set of songs of their career. Deerhoof teeter on this line of being intriguingly experimental and dance-able. This album is definitely out there, and it kinda jumps all over the place. The expansive list of guest musicians is also a testament to the diversity of sounds on this record. What kept me returning to Mountain Moves is its overall entertaining experience, particularly from Satomi Matsuzaki’s lively vocals. 15. Neil Cicierega - Mouth MoodsWhat's so beautiful about this record is Neil's ability to consistently deliver quality mash-ups without exhausting his songwriting formula. While I thought Mouth Sounds and Mouth Silence delivered more through their individual highlights, this record really succeeds as a cinematic experience. You’ve can’t ignore the level of genius it takes to pair up Brian Johnson’s vocals on “Back in Black” to the iconic lead piano on “A Thousand Miles.” 14. Kirin J Callinan - BravadoYou may know Kirin J Callinan from a beat drop on his breakthrough hit, “Big Enough,” which became a pretty viral meme towards the middle of 2017. On “My Moment” and “This Whole Town,” Callinan tastefully incorporates similarly unexpected EDM beat drops. This dude is just nuts. “S.A.D.,” a song about drugs, is certainly interesting in its song structure, as Callinan mumbles more than he does sing during the verses, only to explode into the most insane chorus I’ve heard all year. Yet, after all of this absurdity, Callinan closes the record with the powerful, no BS pop song “Bravado.” 13. Fleet Foxes - Crack-UpSimply put, Crack-Up is the comeback album I needed from Fleet Foxes. They delivered a quality record while ever so slightly pushing the band in a new direction - brass/orchestra instrumentation, seamless transitions, longer songs. Their set at Merriweather Post Pavilion in promotion of this record was damn impressive. 12. King Gizzard & The Lizard Wizard - Sketches Of Brunswick EastYup, Sketches ended up being my favorite Gizzard release of the four (maybe five) records they released this year. I played this on end throughout the semester, and the sticky melodies, slick bass lines, and overall bright, cheery vibe this record gives off won me over. 11. Iglooghost - Neo Wax BloomThis record is fucking insane. I can’t even begin to describe the amount of detail Seamus Malliagh incorporates into each track here. “Pale Eyes” may seem somewhat restrained as an opener, but as soon as “Super Ink Burst” kicks in with its ascending saxophone passages, the record’s sonic mayhem is unleashed from there on out, and I love it. A very deserving addition to Brainfeeder records. 10. Protomartyr - Relatives in DescentProtomartyr have been a personal favorite of mine over the past few years. Under Color of Official Right and The Agent Intellect serve as perfect night driving music with their checklist of post-punk soundscapes, but Relatives in Descent presents a band that really honed in on songwriting, and that I commend Protomartyr. The thematic reprise of the line “She’s just trying to reach you” on the closing track in reference to the opening track was just one of those mind=blown moments for me this year. 9. Remo Drive - Greatest HitsThere’s so much to love about this release - the 90s power pop guitar tone throwback, the memorable songwriting, the angsty (though not cringeworthy) lyrics, the tight drum performances. I have to give it to the music videos as well. Through and through, a solid Midwestern emo debut record. 8. Kendrick Lamar - DAMN.While K-Dot’s previous two projects have been the most forward thinking records of our generation imo, it made me so happy to see him put out a project where he’s just straight up rapping. Let’s be real, I ain’t got all the time and energy in the world to give TPAB and GKMC the attention it deserves with thorough listens, and DAMN. is a record I put on several times throughout the year to just have fun listening to on the go or whatever. Hats off to a huge year for K-Dot. 7. Vince Staples - Big Fish TheoryWasn’t big on this one at first either, because I thought the bangers (“Big Fish,” “745,” “Yeah Right,” “BagBak”) overshadowed the deep cuts in every way. They were all I listened to when I kept returning to this record. I especially loved the contributions from SOPHIE of PC music fame on “Yeah Right” and “SAMO.” Eventually I came to appreciate Vince’s rhymes on tracks like “Crabs in a Bucket” and “Homage” where he dives into themes of nihilism, fame, and success. 6. Thundercat - DrunkThis record not only perfectly encompasses Thundercat’s hilarious sense of humour (“Captain Stupido,” “Bus in These Streets,” “Friend Zone”), but I think it’s his best sounding record. If you love bass guitar, you need to hear this record, because this man does wonders. His performances on “Uh Uh” and “Them Changes” are both unique and impressive. It sounded like he had a damn fun time recording this album, and it’s a great addition to Fly Lo’s Brainfeeder label. 5. Grizzly Bear - Painted RuinsYanno, this was another record that I wasn’t really sure about on my first couple of listens. It may be that I just prefer the more subdued qualities of records like Yellow House and Veckatimest, because Painted Ruins is by far Grizzly Bear’s grandest endeavor, sonically speaking. What gravitates me towards this record are the plethora of instrumental highlights scattered within each track - the layered keyboard and synth bassline on “Three Rings,” the galloping guitar arpeggios on “Neighbors,” the driving bassline on “Losing All Sense.” The textured soundscapes really shine through on deep cuts like “Glass Hillside” and “Cut-Out.” “Sky Took Hold” is Grizzly Bear’s most ambitious song in awhile, and serves as one of the most memorable closing tracks I’ve heard in 2017. 4. Pile - A Hairshirt of PurposePile caught my attention in the past for their intricately written guitarwork. You’re Better Than This features the band’s best post-hardcore instrumental moments, and Dripping thrives with its catchy melodies. A Hairshirt of Purpose is exactly where I wanted Rick Maguire to take the band, down this path of experimental, progressive songwriting. There are aggressive moments that call back to their previous LP (“Hissing For Peace,” “Texas,” “Hairshirt”), but I’m really impressed with songs like “Rope’s Length,” “Dogs,” and “Leaning On A Wheel,” where the band goes through these twisted instrumental paths that are complemented by well-performed dynamic shifts. I also love the risks Pile takes on this record with “Worms” and “I Don’t Want To Do This Anymore,” two songs so captivating despite their simple concepts. The record also feels thematic in a sense, as “Slippery” revisits a riff from “Rope’s Length” before exploding into one of the loudest portions of the entire record. Get on board with this band plz. 3. Mac Demarco - This Old DogI’ve always loved Mac Demarco’s style, especially on record’s like Salad Days and Rock and Roll Night Club. On his latest, Mac truly develops as a songwriter, while delivering his trademark sound. Who’d think that Mac would deliver some of his best love songs (“This Old Dog,” “For the First Time,” “Still Beating”) after releasing Another One, a mini LP solely dedicated to love songs? “Moonlight on the River” is Mac at his most experimental musings since his debut, dipping ever so subtly into the stylings of noise. “My Old Man” and “On the Level” showcase a personal side of Mac that we rarely see, as he details his relationship with his Dad and how he’s impacted his own persona. “One More Love Song” and “One Another” appear really sweet and sugary on the surface, but deal with some painful relationship issues Mac has struggled with in the music industry. Mac really delivered his most consistent, professional release with this record. 2. BROCKHAMPTON - SATURATIONThe Saturation trilogy will no doubt go down as this decade’s most impressive set of releases when it comes to rap collectives. Each release is solid, but I’d say that the first installment in the Saturation series is the most complete Brockhampton experience because of its impeccable flow. Each member brings a different feel throughout the tracklist. Brockhampton draws from a lot of influences - there’s hardcore hip-hop beats on tracks like “Heat” and “Gold,” contemporary Odd Future tinged production on “Fake” and “Trip,” and even 90s alternative boy band vocals on “Swim,” “Bump,” “Face,” and “Waste.” Despite these clear influences, their overall sound and energy is so refreshing in 2017. Like Kendrick’s record, Saturation was another release I’d put on to jam out to throughout the entire year. 1. Tyler, The Creator - Flower BoyThis pick was too easy. I’m glad Tyler has enjoyed the latter half of 2017, because the lyrics throughout this record reveal a very conflicted, depressed, unhappy artist. Subconsciously, I sometimes doubt the authenticity of rapper’s personal stories they’re telling through their lyrics, but Tyler comes off as so genuine to me - specifically on the cuts “Foreword,” “Garden Shed,” “Mr. Lonely,” and “November.” What’s incredible about this record is the fact that Tyler produced this whole project on his own, and goddamn the neo-soul and alternative R&B instrumentals sound like the workings of a veteran producer. With “Boredom” and “See You Again,” Tyler delivers two instantaneously catchy pop tunes, as if he’s been writing pop songs instead of raps his entire career. “Who Dat Boy” and "Pothole" have that west coast hip-hop flare, boasting career highlight performances from A$AP Rocky and Jaden Smith. I also love Tyler's final statements with "Glitter" and "Enjoy Right Now, Today" before he closes the entire LP. So yeah, Tyler improved on all fronts with Flower Boy. I’ve never really enjoyed a project as much as I have this one in my entire life. Congrats Tyler, can’t wait to see you in February w/ Vince Staples. That's all folks! Thank you for tuning in to my life................0. Suburban Ingenuity - Color SoundsWith strong influences and sounds pulled across the decades such as '60s art rock and proto-punk to '00s indie rock, the debut album from the band plays on themes of loneliness, seclusion, nostalgia, the trials and tribulations of a middle American upbringing. With ambitious set pieces and lush instrumentation (especially on the cathartic second half), principal songwriters Oseas Gonzalez and Brody McElwain seem to be trying to convey a yearning for meaning in the midst of the rapidly diminishing safehaven of suburban life, and they chronicle the impending maturation of themselves and their music. 10en/10
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