Best Of 2019 (So Far)

These lists are hard because I feel that everything I’ve written about this year is among the best music of our times. And there are also some things I’m sure are excellent but haven’t had the chance to really listen to. To all the composers, musicians, bands, ensembles and labels who have shared their creativity I say, paraphrasing Pusha T and Rick Ross: I got you - hold on. Still, it is undeniably interesting to take stock at the year's halfway point and note either what I’ve listened to a lot but haven’t yet covered or to acknowledge a few very recent releases that have quickly muscled their way into being essential. You’ll see some of both below in a list of the 25 albums that have helped get me through 2019 so far. Enough of my yakking - on with the show!

Note: If I’ve covered the album in a previous post, just click the link to read my thoughts. 

1. Ocean Music - Troubadour No. 1

2. Rand Steiger/International Contemporary Ensemble - Coalescence Cycle Volume 1: Music for Soloists and Electronics

3. Julia Jacklin - Crushing

4. Frankie & The Witch Fingers - Zam

5. Daniel Wohl - Etat

6. Tiny Ruins - Olympic Girls

7. Scott Wollschleger - American Dream

8. Solange - When I Get Home

9. Thom Yorke - Anima 

I haven’t yet watched the film Yorke made with Paul Thomas Anderson to accompany this album, but such is the intimacy and intrigue of these tracks that I get the sense that Yorke knows the biggest screen of all is on the interior of our foreheads. While using many of the same lushly minimalist textures as his first two solo albums, there is a warmth and emotional generosity to these songs that feels new, even if rooted in the more plain spoken parts of A Moon Shaped Pool. I would hesitate to call any work by this consummate artist “revealing” but I will say that he’s letting us in on another aspect of his talent and that is more than enough. 

10. Empath - Active Listening: Night On Earth 

Seeing this young Philly band live at Pioneer Works last month only served to solidify my feelings about how great they are. While their music, full of distorted guitars, shiny synths and driving rhythms can be brainy and fractured, witnessing their utter joy as they bounced around the stage was a minor miracle and helped me connect to that lightness of being on the album. While there are no left turns from their previous releases, there’s also a greater focus on craft when it comes both to the song-like parts and the sparkly excursions into ambience. Right here is the sound of a group hitting its potential across all metrics. Grab on to the album and catch them in concert ASAP. 

11. Jane Church - Calimocho Molotov!

12. Billie Eilish - When We All Fall Asleep Where Do We Go 

13. Seattle Symphony Orchestra - John Luther Adams: Become Desert

14. Drinker - Fragments

15. Boogarins - Sombrou Dúvida

In which the boys from Brazil go further down the studio rabbit hole, constructing collage-like tracks that go some distance from their jammed out stage show. But the tunes are still there, maybe a bit buried but characteristically sweet. Following the development of this band has been a true delight and I hope to see how they work with this material live when they hit the rooftop at Industry City on September 4th with Mdou Moctar - a killer bill to end the summer!

16. Freddie Gibbs & Madlib - Bandana 

Gibbs made hay with Madlib on Piñata in 2014 and nothing he’s done since has hit the same heights  - until now. Something about working with one of the great producers of all time brings out the best in Gibbs, who, instead of deferring to a legend tries to meet him halfway. As Gibbs himself noted: "I feel like you gotta bring your 'A’ game to really shine on his beats, or his beat is going to outshine you. It’s definitely a challenge. You can’t just come any kind of way on these beats, you gotta really make a marriage to ‘em and live with 'em." So, instead of coasting on his grittiness, Gibbs dazzles with a flow that hits a variety of tempos and mixes up the content with political observations and street lit. He shines when he gets personal, too, as in Situations: "1989, I seen a ni**a bleed/Uncle stabbed him in the neck and hit his knees/Turned the arcade to a stampede/I was playin' Pac-Man, Centipede/Put me on some shit I never should've seen." He also has the guts to share the mic on Palmolive with Killer Mike and Pusha-T, who both come loaded for bear, making it one of the great posse cuts of recent memory. I don't know the logistics of the hook-up between Gibbs and Madlib, but I sure hope it happens again because Bandana is a classic.

17. Mark de Clive-Lowe - Heritage and Heritage II 

I will admit to following the career of MdCL for years with admiration for his skills as a keyboard player and producer without being entirely sure exactly what he does. Sure, he was always in the hippest place at the hippest time, but who was he? It all comes into focus on these two extraordinary albums of expansive jazz-funk. The “heritage” referred to is MdCL’s Japanese roots, with each track’s title drawn from cultural reference of importance in his life. Hence we get tracks like Memories of Nanzenji, inspired by a 13th Century temple in Kyoto, and Akatombo (Red Dragonfly), based on a popular folk melody his mother used to sing to him. The music is sometimes spacey and drifting, at other times knotty and propulsive, often building up a head of steam after a moody start. The minor key melodies and overall gloss can't help but remind me of Steely Dan, in a welcome if distant echo. Everything is driven by the sensitive and powerful drumming of Brandon Combs, with strong contributions also coming from Josh Johnson (sax/flute), Teodross Avery (sax), Brandon Eugene Owens (bass), and Carlos Nino (percussion). But MdCL is the star, doing stellar work on all manner of keyboards and composing all the tracks, in a triumph of imagination and sheer musicianship. Now I know exactly who he is and what he does and I can't get enough of it.

18. Elsa Hewitt - Citrus Paradisi

19. Baroness - Gold & Gray
In the four years since the release of their last album, Purple, which found the metal band incorporating a new rhythm section after their bus accident, they have had yet more personnel changes. Peter Adams, who had been their lead guitarist since 2008, left to concentrate on his other band Valkyrie (among other things) and was replaced by Gina Gleason. She's had a checkered career, from Cirque du Soleil to bands that covered Metallica (Misstallica!) and King Diamond. As worrisome as that may sound, she has more than enough grit in her glamour to complement the playing of leader John Baizley while engaging in furious interaction with bassist Nick Jost and drummer Sebastian Thomson. She may have also helped push the group to further diversify their already broad palette of sound, adding a cleaner vocal dimension to the harmonies in the process. Whatever the reason, Gold & Gray is the most high-contrast album of their career, with glassy vignettes like Crooked Mile smash-cut into absolutely scorching cuts like Broken Halo. It's a head-spinning journey that feels somehow cleansing, with their most beautiful textures constantly being obliterated by some of their nastiest. While the emotions are always strong, the heart of the album is probably three songs near the middle: Anchor's Lament, Throw Me An Anchor, and I'd Do Anything. Given that the chorus of the last is "I'd do anything to feel alive again," it's obvious the near-death experience of the accident is woven into the core of Baizley's artistic expression forevermore. Whatever he needs to do to work out his grief, he's surrounded by stalwart companions and giving so much of himself to us listeners that it's easy to be humbled and grateful as you stand in awe of Baroness's rock majesty. Long may they reign.

20. Cass McCombs - Tip Of The Sphere

21. Crumb - Jinx
This Brooklyn via Boston band amassed a rabid following (including me) on the basis of two EP's of wobbly psych-funk so anticipation has been running high for their debut album. Jinx continues to deliver on their addictive style; if anything it finds their grooves ever more precise and their melodies more engagingly serpentine, adding up to a series of transporting tunes. At under 30 minutes, the trip may still be too short, but it's one you'll want to take often. Also, they stretch out in concert - catch them for free on August 8th in NYC.

22. Car Seat Headrest - Commit Yourself Completely
I've been yammering on about what a great live band this is since I saw them in 2017 and now here's recorded proof! Even though these nine songs were recorded in seven different spaces, it feels like a coherent document of their dramatically dynamic approach to Will Toledo's conception of post-alternative indie rock. Even the shorter songs are full of epic vibes and their mastery of the slow build only adds to the cathartic feels when they hit full throttle. All of the songs save one come from Teens Of Denial (2016) and Twin Fantasy (2011/2018), which means they're drawn from Toledo's strongest material. One could quibble about the omission of Unforgiving Girl (She's Not An), which was one highlight of the show I saw. The one cover, of Frank Ocean's Ivy, is great but maybe not as revelatory as their take on Bowie's Teenage Wildlife, an interpretation that blew me away in concert. Minor details. This is a fantastic album that will have you jumping up and down as you play it at maximum volume. Your  neighbors might complain - or knock on your door to join you. P.S. Keep an eye out for a tour date near you.

23. C. Duncan - Health

24. Michel Chapman True North

25. Edwyn Collins - Badbea

Listen to a track from all of these albums in this playlist or below. Any of these on your list?



You may also enjoy:
The Best Of 2018 (So Far)
Best Of 2017 (So Far)
Best Of 2016 (So Far), Pt. 1
Best Of 2016 (So Far), Pt. 2
The Best Of 2015 (So Far)
2014: Mid-Year Report
The Best Of 2013 (So Far)

Best Of 15: The Rest

I had planned to put paid to 2015 several weeks ago, before the loss of David Bowie tilted everything off axis. Even though it will only put me further behind, I'm going to plow ahead with one last post about last year. The music deserves it.

When you listen to as much music as I do, it's never all going to be covered by the other entries in the Best Of 15 series (see below for the list). Hence, The Rest. Music included in this entry falls into three main categories: records that were released too late to be considered for the Top 20, great stuff I didn't have a chance to write about, and items from my mid-year report that did not stay at the top of my list or fall into specific genres like reggae or hip hop.

I'll now do my best to right those wrongs. Even so, I'll be leaving out a lot - like the Lloyd Price funk I discovered after reading his memoir, or that amazing Derek & The Dominoes bootleg that tended towards space rock, or the vintage Glass Harp album I scored in Austin...you get the idea. If you follow me on Twitter or on Facebook, you will get clued into this anecdotal listening as it happens. 

Now that it's 2016, I have archived 2015's Of Note playlist here and started this year's here. Follow the latter to keep up with my current listening. Time for one last look in the rear view mirror...

Too Late 

They coulda been contenders.

The rebuilding of Baroness after their horrific bus accident in 2013 has been an inspiration to all of us whose lives have been bifurcated by a before and after.  Purple, their fifth album, might have hit my Top 20 had it been released two weeks earlier - it's that good. With their new rhythm section, featuring the titanic Sebastian Thomson (also of Trans Am) on drums, now fully integrated, the band can soar, stutter and stop on a dime. The technical proficiency is there to serve the songs, however, not act as a crutch, and these are some of the most emotionally connected songs they've yet written. 

Part of the idea of metal, after all, is to express psychic agony with the sounds and descriptions of physical pain. That makes it an all too perfect medium for main songwriter John Baizley to explore some of the experience of being grievously injured. But even without knowing about all that, the songs are relatable,  their power a direct injection to the veins. If you like music of a certain weight that isn't simply aiming for extremes, Baroness is at the top of the heap and Purple finds them at the top of their game. 

See also: Shadows by Valkyrie, the side project of Baroness guitar man Peter Adams. It is, as they say, epic, even if the vocals don't always transcend the genre. 

Ryuichi Sakamoto knows a thing or two about epic, having scored Little Buddha, The Last Emperor, and Merry Christmas, Mr. Lawrence, among others. He also keeps busy with a variety of chamber, orchestral and electronic music, all of which come into play for The Revenant, Alejandro Iñárritu's Oscar-nom gobbling masterpiece. Sakamoto and his collaborators Alvo Noto and Bryce Dessner find the perfect tonal palette, an earthy but elevated combination of strings, percussion and electronics. It follows the line of the movie but also has a strength on its own. Even if you'd rather not see Leo DiCaprio in extremis ursinus this soundtrack is worth a listen.

I Want To Tell You

Time may be a flat circle but that doesn't mean I have enough of it.

Leave it to Mojo magazine to point me to the wonderful Stairway, a "new age" project featuring ex-Yardbirds drummer Jim McCarty. As unlikely as the story behind the group is, it's even more so how good all their music is. Somehow they avoid many of the genre's worst tropes (and most of the 80's as well) to create beguiling miniatures. Most of the pieces are circular in form but manage to keep moving forward. The most successful tracks on new compilation Pearls Of The Deep incorporate "world music" rhythms, a flashback to some of the new textures McCarty and The Yardbirds brought to 60's rock. Grab a dose of their big calm for these tumultuous times. 

Another reissue that sounds better than ever is Simple Minds' Sparkle In The Rain, released in a feature-packed box set including live takes, remixes and videos. But the real glints in the darkness flash off the newly remastered original album. I guess Steve Lillywhite finally realized the error of his over-compressed ways because what he has achieved here in opening up the sound is phenomenal. Now Jim Kerr and co's last masterpiece finally sounds as detailed and massive as it always should have. Spoiler alert: guitarist Charlie Burchill is on this record after all.

Back in 2012 I raved about a strange group made up of offshoots from Unknown Mortal Orchestra who called themselves Opossom. Now they're back as Silicon and Personal Computer finds them more outré - and more sensual - than ever. Who cares if you know what the joke ultimately is - hop on for a wild and witty ride.

Speaking of jokes, Chastity Belt started out as one, something for a group of girls to do when the party needed livening up. Then they discovered they can write real songs; Time To Go Home is the charming, heartfelt result. 

Sometimes when a band as seismic as Radiohead goes quiet, other artists fill in the space left behind. It's probably reductive to categorize Aero Flynn, Floating Points, and C. Duncan as such but they all touch on aspects of that sound. Check out Aero Flynn, Elaenia, and the Mercury-prize nominated Architect and see if you agree.

Radiohead fans often find entree into the world of contemporary classical music via the fantastic soundscapes of Olivier Messiaen. They would also be wise to check out his contemporary Henri Dutilleux and a recent album by Ludovic Morlot and the Seattle Symphony Orchestra would be an excellent introduction.

Elaenia led me to Marhaba, a four-track album by Maalem Mahmoud Guinia, a Moroccan singer and virtuoso player of the guembri, an Arabic lute. Floating Points contributes electronics to the first track and producer James Holden adds some subtle treatments to the other three songs. East meets west in hypnotic fashion and it all sounds perfectly natural.

Also delivering a fine line in hypnosis is Nico Jaar. I'm not quite sure why he didn't just put out an album called Nymphs - but if you put all the parts together, it makes quite a nice playlist.

Back in January, there was an hilarious (or depressing, take your pick) article in The New York Times about "rock music" being back. Strangely enough, they didn't mention great albums by White Reaper, Wand, Novella, Young Rapids, The Coolies, Wilder Maker and Car Seat Headrest. They all come at guitars, bass and drums from different directions, they should all be heard, and they're all on the playlist below. 

At the risk of sounding like an awards ceremony thank you speech going overtime, I would also like to thank Frisk Frugt and Heather Woods Broderick for beautifully assembled, extremely distinctive albums, Yo La Tengo for covering The Cure, Hamilton Leithauser for hand-delivering the stunning Dear God, and Numero Group for reissuing Eyes Of Love, a funky soul celebration recorded by convicts in a correctional facility in 1979. 

I don't know about you, but I'm ready for the after party.

Missed It By That Much 

Refugees from the mid-year Top 20

My year would not have been complete without two excellent albums by the ambient guitar sorceress who goes by the name Noveller. Start with Fantastic Planet.

New music by Patrick Watson is always worthy of celebrating. Love Songs For Robots was certainly up to his standards of beauty, even if the songs didn't always stick around.

Ryley Walker is an extraordinary musician and an impassioned writer and singer. Primrose Green was a huge leap forward for him and if he shakes free of his influences it will be something to hear.

Am I the only one who finds Tame Impala, well, tame? Maybe so, but I'll go on about Pond, the wacky psych band that features musicians who play in Kevin Parker's project, until my face turns blue. Man It Feels Like Space Again was even more out there than their last - which means more FUN.

The multicultural twins who make up Ibeyi seem to have emerged fully formed with their blend of uber-hip beats and sultry singing. I'd like to hear them feeling a little less comfortable but their debut is a real pleasure.

Finally, Bob Dylan. Doesn't he always have the last word? But as much as I loved Shadows In The Night, his take on songs made famous by Sinatra, I want to hear more of the bloody-minded storytelling that made Tempest so special.


You might also enjoy:
Best Of 15: The Top 20
Best Of 15: Out Of The Past
Best Of 15: Reggae
Best Of 15: Hip Hop

Best Of 15: Classical & Composed
Best of 15: Singles & EP's

Fall Preview 2015

When the sunlight decreases and the temperatures begin to drop, a new layer of cells forms that cuts off leaves from the branches that supply their nutrients. The leaves are eventually released from their trees and drift to the ground. The fall album release schedule will see many musical leaves drift toward us, but instead of being dead they will come to glorious life in that infinite space of the universe between our ears. Here are a few things that should make this a very colorful autumn.

Guilty Simpson - Detroit's Son This gritty rapper has been at it for a while, honing his flow and never settling for less when it comes to the beats he rhymes over. This new album, produced by Quakers member Katalyst, is his strongest album yet. Out September 11th on Stones Throw. 

Phil Cook - Southland Mission Cook's pedigree as a member of Megafaun, a former associate of Justin Vernon's in DeYarmond Edison, and a member of Hiss Golden Messenger's touring band, among other things, guaranteed his new album would be worth a listen. And it is - repeatedly, in fact. Rootsy and meticulously produced, Southland Mission is the real "new Americana" - accept no substitutes. Cook is also heading out on an international tour but you can catch him at Rough Trade in NYC on September 23rd. Out September 11th.

Dr. John - The Atco/Atlantic Singles 1968-1974 Looking at the peak of Mac Rebennack's legendary career through the prism of his singles should be a recipe for pure pleasure. Make sure you're in the right place at the right time. Out September 18th on Omnivore.

Lloyd Price - sumdumhonky Not a record but an autobiography that promises to be a "no holds barred" look at 80 years in the life of a founding father of rock'n'roll (Lawdy Miss Clawdy, Stagger Lee, etc., etc.). Price has survived in every aspect of the music business while also surviving as a black man in America during tumultuous times past and present. Out October 13th from Cool Titles.

Killing Joke - Pylon The 16th album (and first since 2012) from the post-punk legends will feature their original lineup again. Beyond that not much is known,but judging by the pummeling Autonomous Zone, which they have played in concert, James Murphy needn't worry: they haven't lost their edge. Out October 23rd on Spinefarm.

Van Morrison - His Band and the Street Choir Moondance was a delight but this was the album that sealed the deal for me with Van Morrison. This expanded version will likely earn its keep with the alternate take of I've Been Working, which is supposed to be even funkier than the released version. Van's masterpiece Astral Weeks is also getting the deluxe treatment. Out October 30th on Warner Bros./Rhino. 

Boots - Aquaria Everything I've heard from this makes me think it's going to be more interesting than anything a Beyonce collaborator should be capable of doing. The sounds are lapidary but Boots doesn't seem as sure of himself as a singer and it remains to be seen if that will be a deal-breaker. Out November 13th on Columbia.

Kanye West - Swish Okay, now that we know you don't understand awards shows, can you stay away from them until you finish the follow-up to the mighty Yeezus? Out TBD.

Concert Forecast

The magic doesn't only happen in the studio. Here are some highly recommended live experiences in NYC. Many of these people are performing elsewhere as well - check your local listings, as they say. 

Holly Miranda will be playing at the Mercury Lounge on Thursday, September 17th and Friday September 18th. Those will be full-band concerts but the creator of my number one album of the year so far will also be playing a special solo concert at The Studio in Freehold, NJ on September 11th. That's the one I'm going to and I'm bringing cookies for the potluck. Www.concertsinthestudio.com

Ibeyi will be gracing the stage of Webster Hall with their intoxicating blend of world sounds and hip hop production on Friday October 2nd.

Nicole Atkins, whose Slow Phaser was a big favorite from 2014, will be playing Webster Hall with J.D. McPherson on Friday October 9th. 

Michael Chapman and Ryley Walker will both be at Rough Trade NYC, also on Friday, October 9th. This lineup may just win the "embarrassment of riches" award for 2015.

Chance The Rapper and several friends will be at Terminal 5 on Sunday, October 25th. As much as I want to see him, I'll have to see if I'm in the mood for a posse concert.

Wand will be bringing their unique brand of buzzing-amplifier mayhem to Mercury Lounge and Rough Trade NYC on Friday November 13th and Saturday November 14th, respectively.

Winter Bonus

Baroness - Purple Some fans were underwhelmed by their last album, Yellow & Gold, but I thought it was beautiful. The heavy stuff had a lighter touch and the lighter songs were only deceptively so. Baroness's rise was slowed by a devastating bus accident that led to the departure of two members. They regrouped and worked their way back to full strength on the road. Purple will be the first album with their new rhythm section of bassist Nick Jost and drummer Sebastian Thomson (known for his work in Trans Am), and based on Chlorine & Wine it's going to be a doozy. Out December 18.

If you want an easy way to listen to what I'm fussing about, here's a handy Spotify playlist:  http://open.spotify.com/user/jshatan/playlist/24Fm3xWcD1S1gEaVZ088bS.

What are you looking forward to?

Baroness Get Back On The Bus

"What was the plan here? I can't seem to stop! Pissing and spitting from bottom to top. Picking up viscera, tendons and broken remains." - Take My Bones Away (Baroness, Yellow & Green, 2012)

I once tried to develop a theory about how many great bands achieve their peaks essentially through human sacrifice. The Stones had Brian Jones, Pink Floyd had Syd Barrett, and Metallica had Cliff Burton. The fact is, however, that just as often death dooms a band, as in the case of Led Zeppelin. In any case, not even the most rabid fan would wish death or destruction on another human being just so we could get to the Dark Side Of The Moon. Still, when the tour bus containing Baroness and their crew tumbled off the road in England last year, there was that uncomfortable feeling of "here we go again."


Fortunately, everyone on that bus survived, with many injuries and a long road to recovery ahead. A great deal of uncertainty was put to rest when the band announced in March that they would go on, but that drummer Allen Blickle and bassist Matt Maggioni "will not continue touring with Baroness." If that seems somewhat ambiguous about their membership in the band, the notice also said "Simply put, some of the effects and injuries were severe enough to prohibit further activity in Baroness."

The band got back on the horse with two new members: Nick Jost on bass and keyboards, and Sebastian Thomson on drums and percussion. Thomson, late of Maryland post-rockers Trans Am, is an especially interesting pickup for a metal-ish band from Georgia, but considering the monstrous grooves of recent songs like Board Up The House, an exciting choice. Of the two members they replaced, only Blickle dates back to the band's beginnings; Maggioni had been with them for a less than a year, having replaced founding member Summer Welch in 2012.


So this is the continuing tale that brought a sold-out crowd to Irving Plaza on August 14, a day before the one year anniversary of the accident. I admit to being double-booked and missing the opening act, Royal Thunder, so I can't comment on them. I can say that when I took my place on the mezzanine just minutes before Baroness took the stage, the audience was buzzing and well primed. That likely would have been the case anyway, as the band has been building a devoted following for the past decade with their blend of melody, crunch, and epic sense of structure and dynamics.


Like any band that comes from a subculture, Baroness's audience feels proprietary about their sound and hurled a few brickbats when Yellow & Green was released last year, with the usual complaints about them getting soft, selling out, etc. While that double album did have a larger share of acoustic and reflective moments (and prescient ones - see the lyrics above), the truth remains that Baroness were always experts at expanding on the "light and shade" template that Jimmy Page built Led Zep on. Songs like Rays On Pinion from their debut full-length The Red Album build up so gradually that it's like a black pepper chocolate truffle - seductively smooth until you feel the burn.

No fan could have complained when they kicked off with the stately beginning of Ogeechee Hymnal and then slammed into a maximally heavy Take My Bones Away that had the crowd churning and singing along. John Baizley, the impressively bearded heart and soul of the band, was in fine voice and dashed off complex guitar lines with aplomb, often in a twin-lead entanglement with guitarist Peter Adams. They were both fond of stepping to the front of the stage and standing tall while doing so. There was a sense of hard-earned pride and triumph in their body language, which coupled with their astonishing energy and power made for a thrilling night. Adams had a habit of pointing grandiosely at his colleague as if to say, "Can you believe this guy?" and Baizley (who also creates all the artwork for Baroness) is indeed a phenomenal talent.

While sometimes lyrically obscure and favoring musical intricacy over direct communication, the boys of Baroness are not afraid to be vulnerable and are capable of writing songs that are deeply moving. This even goes for their occasional instrumentals, starting with the magnificent Grad on The Red Album, and continuing with the Green Theme from the latest album, which was an early highlight of the set. Listening to its wailing guitars, I found a lump forming in my throat, not only due to the inventive melody, but also due to contemplating what might have been - and how far they've come. A storming take on Swollen And Halo, from 2009's The Blue Album, was followed by Board Up The House from the new album, which swung harder than ever, no doubt aided by Thomson's locked-in drums. Nick Jost was more effacing than the shirtless beast behind the skins, but ably handled the bottom end, switching easily to keyboards as required.

The concert was a continuous lesson in the awesome power, precision and passion four musicians can bring to the stage. Throughout the night, the two frontmen didn't miss a step and showed no signs of physical limitation, eagerly returning to play a three song encore, which the crowd just as eagerly demanded. My only complaint is that we had to wait until the last of these, Isak, to hear anything from The Red Album. Aside from that, it was an expertly sequenced and satisfying set. While it remains to be heard what contributions their new members will make to the future of Baroness, this blistering night proved that the present and past of this massive sounding band - one of the best in the country right now - is in very good hands.

Best of 12: Part One

The amount of great music I've heard this year, from new discoveries to long-anticipated releases, was high enough that I have decided to expand to a Top 20. I gotta say that anyone who is nostalgic for the music of a prior era, and/or bemoaning a dearth of good listening today, should perhaps inspect their surroundings for the mud they are stuck in.

Without further ado, here's 11-20.

11. Scott Walker - Bish Bosch Walker's trajectory from pop idol (mainly in the U.K.) to explorer of art rock extremes was perfectly described in the documentary 30 Century Man, which went a long way toward helping me make the leap to where he had landed on The Drift, his last album. The new one is no less radical but seems more assured and employs a greater dynamic range sonically and lyrically. While the lyrics mix dreadful episodes from human history with more personal tribulations, they are often bitterly hilarious: "If shit were music/You'd be a brass band." Bish Bosch is Walker's most convincing foray into the realm of art song and it would be a wonderful thing if a song or two made it into the performance repertoire of one of our more adventurous new music ensembles. That would make it an easier wait if it takes him another six years to make his next album.

12. Hospitality - Hospitality The charm of Amber Papino and co.'s expertly produced pop has not worn off, in fact more layers of guitars and vintage synths have been revealed. Puts a spring in my step every time.

13. Quakers - Quakers In the year Kanye finally released his G.O.O.D. Music collection, who would suspect it would get stomped by a trio of British music geeks (led by Portishead's Geoff Barrow) and a huge posse of mostly unknown rappers. The beats are as omnivorous as the rhymes, with sounds and subjects spanning a deliriously wide range. The breakout star may be Jonwayne, who's set to drop his debut on Stones Throw in 2013.

14. Patrick Watson - Adventures In Your Own Backyard At it's best, Watson's latest has a soaring epic sweep that channels Ennio Morricone, yet maintains his trademark intimacy. When I saw him at Bowery Ballroom earlier this year, I'm sure everyone in the room felt he was singing just for them. If the album were a four act play, however, it could be said to suffer from some third act longueurs, which is why it's not in the upper ten for this year.

15. Baroness - Yellow & Green Conceived as a double album to focus attention on their heavier and lighter sides, Yellow & Green is ultimately a unified collection of their most emotionally connected, compositionally sophisticated music. More here.

16. Flying Lotus - Until The Quiet Comes Electronic music has never had more personality than when Steven "Flying Lotus" Ellison is at work. Using a lush palette of tones and textures (including the guest vocals of Erykah Badu and Thom Yorke) he provides a soundtrack that makes even a trip to Target an adventure.

17. Divine Fits - A Thing Called Divine Fits Just when I was despairing of new sounds from Britt Daniel, his collaboration (don't call it a supergroup) with Dan Boeckner of Wolf Parade/Handsome Furs and Sam Brown of New Bomb Turks exploded on the scene. Echoes of Spoon's stripped down approach are heard, along with the dynamic tension and release of bands like Wire and the electro-infused sound of early Simple Minds. Producer Nick Launay, who cut his teeth on albums like the latter's Empires And Dance, and Alex Fischel on keyboards ably abet the creation of a great collection of passionate pop. Their committed live set on Sound Opinions gives hope that this is not just a one-off.

18. Matthew E. White - Big Inner This lavishly orchestrated series of songs was one of the surprises of the year. White's synthesis of varying streams of Americana is fascinating and stays mysterious through many listens. Long in the background as an arranger and composer, White just needs a little more vocal confidence to own the spotlight. Based on the concert I saw, that's already in progress. After all, he's only a "Big Inner." His playlists on Spotify make me think we're somehow related. Find them under "amattwhitejoint" - also his Twitter handle.

19. Fenster - Bones Like its title suggests, this is a somewhat skeletal affair, sonically speaking. But it's also emotionally rich and the songs are constructed out of sturdy stuff.

20. Hilary Hahn & Hauschka - Silfra Improvisational composing may not have come quickly to a classically trained musician like Hahn, but you would never know it from this hand-in-glove collaboration with Hauschka, the prepared-piano wizard. Goes down easy, but covers a lot of ground.

Coming up: 1-10, Best Of The Rest, and Out Of The Past (reissues and other older sounds).

Baroness & Frank Ocean: They Came From Beneath The Genre

Strange bedfellows? No, just great music.

After about an hour of pushing through the crowd at Comic Con last year, trying to take it all in without losing track of my kids, I found myself on the second floor of the Javits Center. As the kids browsed through the fan-made goods, I looked down on the main level at the milling crowd, bedecked in costumes, bedazzled in piercings and tattoos, or in some other way representing their niche of the scene, when it occurred to me: I am so not a geek.

Sure I love Frank Miller and Alan Moore, Battlestar Galactica and (the original) Star Trek, Miyazaki and Pixar, J.R.R. Tolkein and Jeff Somers, but I don't go all in where their respective genres are concerned. I think it comes from being culturally omnivorous - my interests are so broad that I end up cherry picking across the landscape of creativity and getting deeply attached to what bubbles up from various genres.

If i am a geek, it's for music in general. In my more self-righteous moments (we all have them), I think of the things I end up liking as being the "best" or "one of the best," although that is likely an aesthetically indefensible position. There's probably an anime freak out there who can explain how Miyazaki is watered down, or a comics guru who will tell me Miller sold out years ago, but I think there are solid reasons why they rose above their cohort. So what does this have to do with Frank Ocean and Baroness?

Each can be aligned with a genre, R&B and metal respectively, yet each has a broader reach than many of the artists associated with those genres. Maybe their own interests and tastes are wider ranging than other metal and R&B musicians and that translates to something that sounds richer to me.

Since I am a music obsessive but not a metal head, what attracted me to Baroness in the first place? I admit it was their slightly goofy and effeminate name as well as their habit of calling albums colors (Red Album, Blue Album, etc.) that made me think something different might be going on with them. Then I heard a song a couple of years ago on Lars Gotrich's annual Viking's Choice edition of All Songs Considered and it was excellent. Having absorbed the complete discography of the equally fantastic Mastodon, I was ready to have some new heavy sounds to enjoy and delved in. While they lack Mastodon's unique advantage of having three great but very different vocalists, I found their music to be very exciting - passionate, technically profound without merely being virtuosic, and with a sure sense of structure, dynamics and melody.

This year they gave us a double album, Yellow & Green, with the first disc representing the more brutal end of the sonic spectrum and the second exploring more lyrical territory. Naturally, this kind of stretching out was bound to cause some controversy in their fan base, but I think Baroness always had a higher ambition beyond ruling the sludge metal roost. Even their earlier releases showed cognizance of the dictum of "light and shade" handed down from Jimmy Page, so the development of their sound should be no surprise. What makes Yellow & Green (and Baroness) so great is that while it is their most expansive release they also sound more focused than ever. Melodies are better defined and modulated, the guitars of John Baizley and Peter Adams are layered with more complexity, not to mention astonishing assurance and swagger, and the rhythm section of drummer Allen Blickle and bassist Matt Maggioni plays with perfect sensitivity to the nuances of each song. Blickle especially is showing a new versatility and, at times, even playfulness.

Yet Yellow & Green is in no way a compromise. The more I listen, the more it's two halves feel of a piece - there are reflective moments on Yellow and bludgeoning moments on Green - and the more it seems to be the kind of grand artistic statement that can't be contained by genre. So if Baroness finds the rune-carved gates of "metal" closed to them, they should be easily embraced by music fans everywhere. Here's wishing them a speedy recovery from their recent bus accident.

As for Frank Ocean, his purported genre, R&B, has been an even less reliable source than metal for music I like. Others have taken the time to figure out why that may be but I'm going to focus on Channel Orange, his latest record, and how I came around to it. Ocean first came on my radar last year and although his association with the ridiculous and over-hyped Odd Future collective was a turn off, his great singing on Kanye West & Jay-Z's Watch The Throne was undeniable and his mastery of social media made him seem very accessible. His first album, nostalgia/ultra, got caught up in bureaucratic delays and was finally released on his Tumblr, free of charge. As much as I wanted to like it, I found it ultimately disappointing. While it has its moments (Novocaine is a modern classic, like a sung blog post), it often succumbs to some of the kind of mush-mouthed self absorption I associate with unreasonably popular people like Drake, while also being melodically flat. Listening to most of it left me feeling blah and unsatisfied but also with the intuition that there was something to the guy.

In the months before Channel Orange came out, we were treated to a lot of talk about Ocean in the wake of his announcement that he had been in love with a man and was bisexual. This was a brave thing to do as there are fewer more homophobic cultures than that of hip hop and R&B. But while this was fascinating in a TMZ kind of way, in the end the music is all that matters. If he was going to deliver more emotionally shut-down, unengaging stuff like most of nostalgia/ultra, I was done. When Pyramids was leaked on Soundcloud, I was intrigued - a nine minute epic is definitely going against genre - but still not quite getting the hit of pleasure others were reporting.

Well, thank goodness for Spotify. It was last chance time for Ocean as I clicked play on the streaming service. Couple songs in, Sweet Life started up and I was hooked. Here was the whole package - a lighter than air groove, clever lyrics and gorgeous singing. The song proved to be the gateway to his wondrous world and an album full of delights for the ear, the heart and the mind. This is a collection of sumptuous textures, delicate funk and a window into a searching intelligence that is rare in any corner of music. The only exception is the wretched pandering of Super Rich Kids, which proves beyond a shadow of a doubt that Ocean needs to ditch the Odd Future gang and fast.

Channel Orange is solidly a post-Kanye record, especially as far as subject matter goes, with it's mixture of the high-minded ("If it brings me to my knees/It's a bad religion") and the down and dirty ("Now it's mosh pits and wet tits//I think I need a cold shower"), yet it pretty much ignores the method of a Kanye West record. There is only one sample credited and most of the sounds come from a top notch crew of studio honchos like Matt Chamberlain on drums and Charlie Hunter on bass and guitar. Guest spots are few and far between, with John Mayer thankfully unnoticeable and Andre 3000 stealing the spotlight for two spectacular moments. So Frank Ocean brings us the best of both worlds - solid craftsmanship and ultra-fresh songwriting - and I hope his talent burns for a long time.

Perhaps the genre-busting work of both Ocean and Baroness will have a salutary effect on the rest of metal and R&B and there will be more wonderful musical cherries for me to pick. What records or songs have you saying "I don't usually go for this kind of music but this sounds GOOD!"?

 

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