Twitter has been less than ideal for expounding on the music I’m listening to. I’ve been doing year-end lists on Twitter for the last few years, one album a day near the end of December, counting down to my Album Of The Year (complete with hashtags, #aoty, natch). Here, though, is a great big blog, just begging for a long-form list. So I’m going to recast my Top Ten of 2017.
10 through 6, unranked:
Big Thief: Capacity. I was hooked by the stark vulnerability of this songwriting, but I was reeled in by the rock’n’roll perfection of two singles, the above linked ‘Shark Smile’ and the devastating ‘Black Diamonds.’ Adrianne Lenker’s approach is on target for me right now, somewhere vaguely in the female singer-songwriter neighborhood but I don’t know how to describe exactly where.
Blond Ambition: Slow All Over. Ex-Cops, Brian Harding’s previous band, is responsible for a personal fav, True Hallucinations, so I was geeked to see this new offering. Same ranging musical curiosity applies, leans more pop than rock.
Four Tet: New Energy. New Energy‘s lead single grabbed me and stayed with me all year, and the rest of the tracks here (‘Lush’ is another standout) carry weight. Years in and Kieran Hebden still just… does it, for me. I’m waiting for the fall-off, where he starts making albums that don’t appeal to me. Hasn’t happened yet, thank you Jesus.
Hiss Golden Messenger: Hallelujah Anyhow. M C Taylor is the man of the hour in the Neds-Fox household, so we looked with anticipation to this album. A little less hard-hitting than last year’s masterpiece Heart Like A Levee, but no less important, and worth the price for the studio version of ‘John The Gun’ alone. Few are doing conscious work against the darkness today like HGM.
Iron & Wine: Beast Epic. Sam Beam hits me (weirdly) somewhere in the same spot that’s activated by The Weather Station and Big Thief and Natalie Prass and Innocence Mission. It’s not Americana or folk or singer-songwriter, it’s not gendered… it’s hard for me to put my finger on it. There’s something about the closeness, the vulnerability, the lyricism. Beast Epic is a return to form for Iron & Wine, and I for one welcome it.
5 – 1, ranked:
5. Emily Haines / Soft Skeleton: Choir of the Mind. I love South San Gabriel but I can’t really get into Centromatic. In the same way, I’m not keen on Metric but I played the crap out of the Soft Skeleton stuff that came out about 10 years ago. Long wait, does not disappoint. Poetic/comical in a way that doesn’t privilege either, and soooo listenable.
4. Elbow: Little Fictions. As with Alvvays below, we just… kept playing this one. It’s dead-center stuff for Elbow: not a revelation or a sea-change, just solidly in their wheelhouse. But, come on– do one thing this well.
3. The Weather Station: The Weather Station. I loved Loyalty so much that this was big on the horizon for me. Comes on punkier, and that’s actually a revelation: Lindeman’s stark, emotionally honest, literary songwriting paired with a harder focus makes these songs punch.
2. Alvvays: Antisocialites. Clayton called their debut a perfect album, and on review it turned out he was right. This came along shortly thereafter and stayed right here, hovering around #1 on my list, by sheer force of its relistenability. We* could just put this on over and over.
1. Aimee Mann: Mental Illness. We’ve had a thing for Mann since Magnolia (as I suspect a number of folks my age/ilk did), but honestly I’ve felt sort of hit or miss about her albums as a whole. This, however, is front to back unimpeachable. Emotionally affecting, masterclass level songwriting, crazy catchy. When the kids started memorizing the lyrics I knew it was over. Career high, flawless.
(* When I say we I mean the fam, fam).