Ellington

• Sign in to favorite this
• Discuss Comment, Blog about
• Share this Email, Facebook, Twitter

Hello readers. You might remember me from my time at the JFP as the writer of the bi-monthly column “The Key of G,” where I covered local and national music, as well as just musing about different topics related to music in general.

One of the things I liked to do was to make top 10 release lists at the end of the given year. While I did enjoy that, I always felt a little disingenuous, because I don’t listen to that much new music; I spend most of my time digging for and listening to old records. Hence, my top 10 lists would barely be made, as I squeezed in a few listens right at the end of the year to go with the few albums from artists that I always check for. Further, I never kept a running list, so my top 10 would have omissions, on top of my already poor sample size. (For instance, I somehow left Robert Glasper’s “Black Radio” off of last year’s list).

But this year has been different. I made it my mission to listen to as many new releases as possible, and to document them. What I have now is a list of 60 new albums that I have listened to and ranked in order. Mind you, this list is not meant to be definitive; there is a lot that I didn’t listen to for several reasons, mainly just because there isn’t enough time in the day to hear everything. I did listen to almost everything from artists that I am a fan of, which is something I have done a poor job of over the years. I also branched out to some artists I never was a fan of before, even though I knew who they were and ignored them on purpose. The results are fairly predictable. I also discovered some new artists I had never heard of at all, which was quite nice in most instances.

So, over the next several weeks, I am going to present you all with a ranked list of the 60 albums I listened to this year. Again, this list is not intended to be definitive at all; it is just a list of what I listened to, ranked solely by my opinions. I am sure there will be some disagreement and head scratching, but some of you might also see some new things that interest you that you go check out. And that’s what it’s all about anyway. Thanks for reading and indulging my opinions.

Click http://www.jacksonfreepress.com/weblogs/music/2013/nov/18/6o-new-albums-in-2013-60-51/">HERE for 60-51 Click http://www.jacksonfreepress.com/weblogs/music/2013/nov/25/60-new-albums-in-2013-50-41/">HERE for 50-41 Click http://www.jacksonfreepress.com/weblogs/music/2013/dec/02/60-new-albums-in-2013-40-31/">HERE for 40-31

30) Toro y Moi “Anything in Return” I came across Toro y Moi, the stage name of 27 year-old South Carolinian Chazwick Bradley Bundick, at the end of last year while reading through some best of 2012 lists (which is one of my favorite Christmas break pastimes). This guy began his recording career kind of lumped in the chillwave classification, a genre made popular to most people by Washed Out (the producer who made the opening music for the TV show “Portlandia”) and Neon Indian. Tor y Moi was never really a chillwave artist exactly, and he has moved further and further away from that genre with each remix, EP, and album he puts out. The move away from the center has felt very real, and not forced like a lot of the time when an artist is trying to escape some title they no longer want (like Miley Cyrus?). Under the name Toro y Moi, Budnick has gravitated more toward a hazy take on dance-poppy, disco-funk themes, with a sort of ethereal quality to the lyrics (I place it somewhere between St. Germain and Jamiroquai). While this is by no means a kind of music I listen to regularly, there is something about this guy’s work that I continue to dig. Maybe it is the earnestness, maybe it is the non-forced funkiness of his musical ideas. I’m not sure. But it fits right in there for me.

29) Sebadoh “Defend Yourself” I’ve been a fan of Sebadoh since 1994, when I first heard the album “Bakesale.” I remember seeing the promo for the album in a Sub Pop magazine ad, and then gathering up punches for my Camelot card from friends to get the album on tape from the Metrocenter. Those were the days. I went back and listened to all the rest of their stuff, and I liked it, but nothing was ever as good to me as “Bakesale.” Like with most indie rock bands, I totally lost touch with Sebadoh in the latter part of the 90s, and looking back it doesn’t seem like I missed much, considering “Defend Yourself” is their first album since 1999. (Note: frontman Lou Barlow has been busy the past several years with the Dinosaur Jr. reunion). The new album is pretty good; consistent all the way through and with the band’s sound, if nothing else. There isn’t really much that stands out though. I am a fan of 90s bands coming back now and recording albums, if for nothing other than the nostalgia. But, alas, these albums often sound like something is missing. I have “Defend Yourself” ranked toward the middle because it is a rather enjoyable album, even if it is missing some punch. It plays pretty safe and succeeds there, but it doesn’t take many chances so it is hard to read exactly where Lou is at right now. They do maintain enough of that old sound that I loved to remain enjoyable to my ears.

28) F&@k Buttons “Slow Focus” This was a new find for me this year, but it took me a minute to even listen to the record. I really hate stupid band names, and these guys, as I see it, certainly have one. I get trying to be edgy or ironic or whatever, but this is just stupid. But, being one who tries to not judge a book by its cover, or stupid name, I gave it a listen. And I am really glad I did. “Slow Focus” falls inside of a comfort zone for me, and right outside of one as well. The music certainly falls in the category of beat-heavy electronic, which I of course dig; it is that aspect that really drew me in after a couple of listens. Yet, these guys make electronic music that is more industrial sounding than the stuff I normally listen to. The opening drums on track one are immense; they almost sound like they were recorded inside a metal garbage can the size of a truck, then played back through football field sized woofers, all before being reduced to fit into my headphones. The resulting 8 and a half minute song is all over the place, with nothing more than a couple of dark synth lines and some recurring breaks to remind you where you are. It is pretty masterful. The same can be said about the rest of the album, as it meanders through different themes and ideas, but always remains close enough to the core so that you don’t get lost. This isn’t really dance music per se, although I’d love to watch someone give it a shot.

27) Sphongle “Museum of Consciousness” Sphongle, which is Simon Posford on synthesizers and production, and Raja Ram on vocal arrangements and flute, sits at the front of the psybient genre, which can best be thought of as a combination of world music themes and instrumentation with electronic dance music. It sounds like the music you would expect the 20 year old ravers who work at the grocery co-op to play for the weird old hippies who shop there. In other words, it is perfect. These two make music that, when explained, sounds contrived, but in execution, it is actually really fresh. And with song titles like "The Aquatic Garden of Extra-Celestial Delights" and "Tickling the Amygdala," how can you go wrong? I would love to rank this higher, but it lost a few points since I don’t like it quite as much as their earlier work. But it is still really good and really fun listen.

26) RJD2 “More Is Than Isn’t” RJD2 is one of those artists who I followed from day one of his career, only to kind of lose interest as he started to do some things I didn’t like (I never claimed to be fully loyal). His debut album, 2002’s “Deadringer,” is almost perfect. Like DJ Shadow before him, RJ showed off his record digging skills by making intricate and epic instrumental hip hop tunes using not much more than samples and an MPC. I’ll never forget the first time I saw him live: the second Bonnaroo in a late night tent. Four turntables, a couple of mixers, and just absolutely amazing all vinyl renderings of his songs. Cut to several years later, I see him again in New Orleans. The show was OK, until the end when he pulled out an acoustic guitar and started on some singer-songwriter stuff that some of the crowd pretended to like. The rest of us left. (Now you see why I don’t always remain loyal to an artist). So I lost touch with RJ and skipped the past couple albums. I listened to the new with a bit of concern, but I was very pleased with it overall. It returns to the things I like without turning into a nostalgia piece. Everything I love about his music is represented in some form, from big breakdowns, to electro space funk, to sunny disco and everything in between. While I could do without some of the guest vocalists, it is best to really concentrate on the moods he is putting forth, which for the first time in a few years I think he has done quite well.

25) Forest Swords “Engravings” Another album that I stumbled on this year by an artist I was formerly unaware of. Forest Swords is the stage name of English producer Matthew Barnes, and “Engravings” is his proper debut (after a string of singles and EPs). This is a vastly interesting album that straddles the line between experimental techno music and straight up EDM. Meaning, it’s weird and spacey, yet danc-y at the same time, a feat a lot of artists can’t seem to master, usually falling squarely on one or the other side. I really appreciate the dub touches on songs like “Irby Tremor;” it gives the listener a sense of adventure without forcing it. Also, the bass can be monstrous, which is a very good thing. On a final note, I thought from the jump that this album sounded a little different compared to some of the other good electronic stuff from this. And there is a reason, which I read about on the Wikipedia page. Barnes did the mixing for the record on headphones while sitting outside; Barnes credits this for giving the album a “natural and atmospheric” sound. Also, interestingly enough, Barnes has some kind of hearing problem that forces him to only be able to record in short bursts and causes him to keep his arrangements simple. When listening, I can really hear that, and it is a compelling listen to know that the artist has some kind of filter like that between his brain and the record. Pretty fascinating.

24) Mavis Staples “One True Vine” I am a complete sucker for Mavis Staples. I could listen to Staple Sisters songs for the rest of my life, and her solo albums on the other days. “One True Vine” is Staples’ 13th solo album, her fourth on Anti-, and her second with Jeff Tweedy (Wilco) as producer. I think a lot of artists like Mavis would be justified in winding down their careers at this point, especially someone who could get away with just putting out compilations of gospel standards every few years and a Christmas album every five. However, Mavis sounds like a new artist, hungry to make something great and write really good songs. I think the collaboration with Tweedy goes a long way with that. I can hear in the tracks a deep sense of reverence for her and I just know that he puts so much care into each song; he doesn’t want to be the guy who ruins the legacy of a legend. The result on both “One True Vine,” and its predecessor, are beautiful albums with original ideas on songs sung by a legend that sounds as crisp as the Stax days. “One True Vine” really picks up where “You Are Not Alone” left off: soulful tracks that bounce back and forth between upbeat and dark, but a kind of dark that eventually always turns into light because of the faith and love that Mavis exudes every time she sings.

23) Man or Astroman? “Defcon 5,4,3,2,1” Man or Astroman is a band that I have loved since 1994, when I saw them open for Sebadoh at 121 Millsaps in Jackson. I didn’t know anything about them, but was blown away when they came out on stage in matching orange jumpsuits surrounded by all kinds of weird electronics. They played surf rock, well kind of, if it is possible to surf in space, and relied heavily on science fiction samples in their songs to finish out the space theme. They really sold the idea that they were from space (and I think they honestly believed they were). I followed the band for a while, seeing them a couple more times, until losing interest in the late 1990s. They have split up and done a couple reunion tours, and I always wanted to go check them out, but just didn’t have the time. I was excited to see that they were releasing a new record this year, so I got it, and I really enjoyed it. It is a good mix of their more straightforward space surf rock and the weird experimental turn they took with their later albums. “Defcon” doesn’t sound at all like an album thrown together (last one was in 2006) to capitalize on old fame or to give the bands songs to play at a future Coachella. One thing that is interesting is that there is a lot of singing on the record, which is a break for the norm for a band that has relied on instrumentals for most of their career. (At the shows I saw, they would mouth words into the mics, then after the song tell us that our puny earth ears can’t hear their singing. Awesome). But the instrumentals are still present and the album hits with a nice bass-y darkness that makes for a viable sound from a band that has been off the radar for a minute.

22) Devin the Dude “One For The Road” and Bun B “Trill OG: The Epilogue” If there is any discrepancy in my list that I will cop to, it is definitely here with number 22. I firmly stand by Devin the Dude in this spot, but I am sure that I am ranking Bun B a little high. The reason they are together is three-fold: 1) I needed to squeeze in one more album after hearing something after the deadline that I had to include. 2) I got these albums on the same day. 3) Both of these guys are from Texas. Let’s start with Devin. Devin is kind of the comedic foil to a hip hop scene in Houston that can be overly serious (for good reason, considering the stories we get from the rappers). Devin sees your cars and guns and hustling and raises you songs about weed, women, drinking, and being broke. Seriously, that is pretty much it. (One of my favorite lines of all time from Devin: “I’m higher, than a thumb tack on a flyer, of Reba McEntire.” That is great). Anyway, “One for the Road” delivers some of the same, but in some ways it sees Devin grow up just a bit. He hits on some more personal subject matter, which makes sense, considering he is now 40 years old, and the title of the album suggests he might be nearing the end of his career. Ok, let’s talk Bun B now. Bun B is one half of the legendary Houston duo UGK (RIP Pimp C). Their influence on Houston, and the rest of the hip hop world, especially considering mainstream rap’s co-opting of the southern sound, is not to be underestimated. Arguments are held over just how many classic albums UGK dropped. They were that good. Bun B has continued with a fairly successful solo career after the passing of Pimp C in 2007. Bun tends to stick to the formula that made the duo successful: boastful raps about cars, money, girls, and so on (all the things I wish I had). Apparently this will be his last solo record, and it hits and misses pretty evenly. Bun B is 40 years old, and can still rap his ass off. There are moments on the album that hit as hard as anything he has ever done, but the down points sound weak, especially with the collaborations that sound forced (Rick Ross, 2 Chainz, etc.) and thus make the album sound a little lazy in parts. I could have easily put this album in the bottom quarter, but I feel fairly comfortable placing it this high, given the necessity of the ranking situation I mentioned above and the fact that Bun B is one of my heroes.

21) Darkside “Psychic” As I have mentioned, there are several albums on the list this year from artists I had never heard before. Some were bands knew of but ignored (Arcade Fire, The National), and then there were bands like Darkside who I wasn’t familiar with at all until just recently. I stumbled upon this album, and a few more, while reading some reviews on Pitchfork (no one’s perfect). “Psychic” definitely takes my award for biggest surprise of the year. This record, made by the collaboration of electronic musician Nicolas Jaar and Brooklyn multi-instrumentalist Dave Harrington, is unique, while at the same time being very comforting in its references to electronic genres. Harrington adds a lot of fuzzy, noisy guitar over Jaar’s beats, creating a sound that I can best describe as being real dirty. Not Cinemax at 3AM dirty, but dirty in the sense of everything being just off kilter enough to be jarring while at the same time having beats that hit hard and bring the music to full fruition. “Psychic” is an electronic album at its core, but the other instruments in the mix give it a touch of an organic feel that can often be lacking in straight up computer music. Check out the 11-minute opener “Golden Arrow” to get a sense of what these guys are all about.