Destroyer- Kaputt (2011) SATURDAY SELECTION

The hardest part about this review was deciding which Destroyer album I would talk about. I could have picked any of the ten full-length albums that he has released over the past twenty years, because they are all simply amazing. That is not an exaggeration. They are very different from one another, but all amazing in their own unique way. But after careful though, I knew that Kaputt was the one I had to review, for it is one his most recent and best albums.

Technically speaking, yes, Destroyer is a band, but it is very much the brain-child of singer-songwriter Dan Bejar, the only constant member of the band. So whenever I say he in this article, it is because I am treating Destroyer like a solo project. Hailing from Vancouver, Dan Bejar has been making music for decades with many different groups, including fellow Canadians, The New Pornographers. However, it is with his own band, Destroyer, that we see Bejar's true creative genius be released on every single album. All of his songs can be described as less of a song and more of a poetry reading with some musical accompaniment. Each track is a spellbinding journey into whatever universe that Bejar has decided to create on that album, and believe me, the universe is very different with each one. His songs contain all of the poetic qualities of Bob Dylan mixed with the eccentricity of David Bowie.

What makes Kaputt stand out in Destroyer's gigantic discography is its accessibility. His songs usually involve near rambling lyrics referencing literature, philosophy, and society, with very minimalist instrumentals in the back. The lyrics on this album are still uniquely Bejar, but the instrumentals do a much better job at creating an all-encompassing atmosphere, inviting the listener to nod their head and tap their feet. And Destroyer still manages to put his twist on these instrumentals as well.

The album kicks off with "Chinatown", which begins with cymbals that sound like gunshots and carefully strummed guitars. Some groovy beats kick in, accompanied by some harmonious synths. The lyrics seem to be a reference the final scene of the 1974 movie of the same title, starring Jack Nicholson, where the main character walks away from a bloody murder in the middle of the Los Angeles Chinatown on a rainy night. If anyone has seen this film, it is hard to argue that this song does not fit the mood that the scene creates. In the chorus, Bejar is accompanied by the excellent Sibel Thrasher on vocals, whose sweet and elegant voice matches quite well with Bejar's raspy and light singing.

The album continues with "Blue Eyes", which is a love song in the most cryptic way possible. It is very clear that the lyrics are focused on a woman, and that she is suffering some sort of emotional trauma. Beyond that, the meaning is left up to interpretation. This track manages to be both upbeat and extremely tender at the same time. I find myself dancing to this song every time I hear it, and nearly in tears every time Thrasher's voice comes exploding into the chorus.

One could have pulled the track "Savage Night at the Opera" out of any 80's playlist, with its very simple drum beat and heavy use of synths. This song continues Bejar's trend of taking a generally happy song, and filling it to the brim with soul and feeling. In the song, Bejar reflects on the feeling of invincibility that comes with youth and how it can seemingly end at a moment's notice. The ending of this song is perhaps the best of any on the entire album, with an energetic guitar solo that screams with the energy of driving down the coastline on a sunny day.

Another standout of this LP compared to Destroyer's earlier efforts is his implementation of smooth jazz. This becomes very apparent on songs like "Suicide Demo for Kara Walker" and "Kaputt", with the latter easily being the best song on the whole record. It has the feeling one gets walking through a dark high school party, and looking at the cute girl on the other side of the room. The smooth jazz element comes in a saxophone solo that blends in seamlessly with the other instruments, not overpowering the mood of the song, which too many songs with saxophones often do.

Another standout track, "Poor in Love" dishes out an addictive hook that becomes progressively more energetic as the song goes along, eventually moving from just one trumpet to a whole ensemble. The lyrics tackle the sad state of being both broke and out of love. It exudes such a listlessness towards the world. Bejar also makes a very cynical reference to the Jefferson Starship hit "We Built This City", replacing the words "rock and roll" that come at the end of the famous line with "ruins".

I mentioned earlier how each Destroyer album was a universe created in the mind of Dan Bejar. The universe in this case, is one full of a cynicism towards love and romance. Yet, for such a depressing worldview, it sounds almost complacent, accepting that that's just the way the world works. It is one Destroyer's most emotional albums, but not overwhelmingly so. It is a composed kind of sadness, one that chooses dignity over a bedroom flooded with tears.

This album is for anyone with not only a deep love for 80's nostalgia, but also a desire for authenticity and originality, both of which Bejar has in spades. It is not too far-fetched to say that he is one of the greatest songwriters in music today; and if you do not believe me, listen to this album, or any other by Destroyer, and tell me what you think after that.

One song to check out: "Kaputt"

Phil Ochs- I Ain't Marching Anymore (1965) THROWBACK THURSDAY

The late and great Christopher Hitchens put it best when he said that "there's a difference between those who like Bob Dylan... and those who even knew about Phil Ochs". This quote is not meant to insult Bob Dylan, or anyone who likes his music, but rather to illustrate the difference in Ochs' music, even though he and Dylan came from the same era. The now Nobel Prize winning Bob Dylan was a speaker for a generation; his hit song "The Times They Are A Changing" spoke more about the general political climate that his generation found themselves in. Ochs, on the other hand, spoke about very specific issues, choosing not to hide behind nuance or symbolism. His 1965 album, I Ain't Marching Anymore, could be considered the most political and controversial of the decade.

The album begins off with the title track, a rallying cry of the anti-war movement during the 1960's. The song takes the listener through a history of all the wars and conflicts America had involved itself in up to that point. Ochs perfectly describes the attitudes that young people felt during this time, a feeling of no longer willfully obeying the government's demands. Even the most hardened and red-blooded American can not help but question the actions of their United States after hearing this song. Like many songs on the album, this one is most definitely a protest song, and Ochs performs the part perfectly. His voice echoes with a sincerity that can only be mimicked through a megaphone during a rally.

However, not all of his songs, speak to a counterculture sentiment. One of the best tracks on the album, "The Highwayman", contains more traditional folk lyrics, passionately speaking about the tragic story of a lonely desperado and the beautiful girl he meets in a small town. It is a story told a thousand times, but yet you can not help but root for the characters in Ochs' song, as though you were watching a dramatic Clint Eastwood drama. He alternates between a very soft and tender voice, as though he were speaking to a child, and a raspy yell, his eyes closed and pointed towards the night sky. Again, this song is sung with such raw emotion, it is as though he was the highwayman he speaks of and he is retelling his story.

Of course, not every song is an emotional sucker punch. "Draft Dodger Rag" is a cheery and upbeat tune, which talks about the serious issue that many young men faced during the Vietnam War, avoiding the draft. Some methods, like pretending to be gay and addicted to a thousand drugs, may sound ridiculous, but many actually tried using these excuses and man others in order to escape a war that they did not want to participate in.

Of all of his songs, "Here's to the State of Mississippi" is by far the most angry. At the time when the song was released, Mississippi was still dealing with the Ole Miss riot of 1962 that occurred when African-American James Meredith attended the previously segregated University of Mississippi. This track very darkly portrays the level of racism that existed in the state on every level, even painting very disturbing images of bodies piled up on the bottom of rivers. After unleashing his full fury at each Mississippian institution, Ochs ends every verse by demanding that the state "find another country to be apart of". His sings the song in such an appropriate way, not with blind fury, but with restrained anger, letting the listener focus more on what he is saying than how he is saying it.

I Ain't Marching Anymore is a catalog of the political events that shaped the 1960's. One could honestly skip this section of their U.S. History class, only listen to this album, and still receive a decent understanding of the decade. What makes this album stand out to me, is that fact that even though all of the events that he references can still very much be applied to today. Unjust wars, racism, and the greed of politicians are not mistakes of the past; they very much make up the political discussions in universities around the country.

I found this album just after the election, and like many other Americans at the time, I was not feeling too good about the state of our country. Every song helped me realize that if I wanted to change society for the better, it was not going to be done by wallowing in my room, but my taking action and making my voice heard. If anyone is feeling disenchanted by the political system, give Phil Ochs a listen, because it will fire you up to fight for what you believe in. Art has always been there to criticize the world we live in, and Phil Ochs gives us one of the best examples of how to do that.

One song to check out: "I Ain't Marching Anymore"

Best Albums of 2016

For me, 2016 has been a year of various highs and lows. Personally, it has been a great year, and I feel really at home in college. However, it would be naive to forget all the horrible things that have happened, including the election, the Syrian refugee crisis, and the scores of famous musicians/artists that passed away this year. Through all the emotional ups and downs that this year has brought, the one constant has been a supply of good music. In my opinion, these 20 albums best display the amazing year in music that has been 2016.

#20 Charles Bradley- Changes:

This might go down as the most impassioned  record of the year. On his new album Changes, American R&B singer Charles Bradley manages to sing every line with maximum amount of energy and emotion that his body will allow him. I have never seen a video of him performing live, but, when I'm listening to this album, I can just see him belting out ever word, his eyes on the verge of tears. Inevitably, there will be the James Brown comparisons, and while I can understand the similarities, the key difference lies in the style of the music and their voices. Bradley's voice is like cream being slowly poured over hot coffee, sinking to the bottom and then rising to the surface. In my limited experience with James Brown, it's hard to find a song by him that you could not dance to. Bradley has his dance-able tracks for sure, but he has a lot more that are meant to be enjoyed lying down, eyes closed. This album may be a throwback to a previous generation, but it in no way feels overly nostalgic. Also, he does an amazing Black Sabbath cover on the song "Changes". If that isn't a reason to check this album out, I don't know what is.

One song to check out: "Changes"

#19 Frank Ocean- Blonde:

Waiting for this album to be released was like waiting for the rapture to come. However, it ended up being more than worth the painful wait. This R&B album feels like a dream, unfolding like a Virginia Woolf stream-of-consciousness novel. The issues he tackles in this album include police brutality, racism, sexuality, and drug use. Despite covering these polarizing issues, probably the best song on the album, "Ivy", is all about love, a worn-out topic made new by this amazing song. This is an album that commands the listener's attention, purely out of fear that one might miss something spectacular. What stands out the most about the album is its consistency, with each song seamlessly blending into the next, almost creating the feeling that this entire LP is just one song. Blonde is an album that one can easily get lost in, which is both terrifying and exhilarating.

One song to check out: "Ivy" (
https://open.spotify.com/track/2ZWlPOoWh0626oTaHrnl2a).


#18 Mogwai- Atomic: 

Post-rock remains one of my absolute favorite genres of music, because when listening to it, you're providing yourself with a soundtrack to your life. Without a doubt, the best post-rock album is Atomic by the legendary band Mogwai. They've been making great music since the early 2000's, and they have not missed a beat on their latest project. Every single one of their albums seem to have a theme built into the instrumental tracks, and it is not difficult to decipher that Atomic is all about outer space. The album starts off with a progressively building and triumphant track in "Ether", as though you just left the Earth's atmosphere and entered the twinkling void of the universe. Another prevalent theme in the album is nuclear energy, which can be seen in most of the song titles such as "Fat Man", "Pripyat", and "U-235". It truly captures the perilous nature of exploiting nuclear energy for selfish and sometimes deadly motives. The band released the album as a soundtrack, and one can only hope that it is implemented into the next major blockbuster sooner rather than later.

One song to check out: "Ether"

#17 Chairlift- Moth:

The Brooklyn based synth-pop duo, Chairlift, have dropped their best album to date in Moth. It exudes fun and just begs to be danced to, without relying on the cliches and trashy hooks that have infiltrated the majority of today's pop music. When listening to "Polymorphing", one can not help but imagine going on cross-country road trip, surrounded by all the beauty the Earth has to offer. Caroline Polacheck's voice is quirky, seductive, and playful on nearly every song. Many indie bands today are taking similar synth-pop routes, but Chairlift manages to avoid getting lost in the mix. This is another album where the cover perfectly illustrates the feel of the music. It really does feel like you are drifting on clouds that overlook a city skyline, just as the dawn is breaking. You feel such a range of emotions throughout the album, that by the end you just feel absolutely content with everything.

One song to check out: "Polymorphing"

#16 Jenny Hval- Blood Bitch:

Menstruation is definitely not your typical concept for a musical album, and yet that is exactly what Norwegian musician Jenny Hval has done on her latest album, Blood Bitch. Speaking as a male, men often find the idea of menstruating to be disgusting, and this can be seen in many cultures where women are isolated or forced to clean themselves constantly during their monthly cycle. Jenny destroys these perceptions, and turns menstruating into a sort of badge of honor, something to not be ashamed of. While this album is ambient to the core, it can also be downright terrifying. The track "In the Red", Jenny turns the sound of a woman hyperventilating into an actual beat, and by the end of it you feel as though you may pass out as well. This album is a maze at times, especially on the track "Conceptual Romance", where it can be almost impossible to figure out what is imagined and what is real. It is a very fitting album for 2016, a year in which there have been many fights for women to have control over their bodies and independence in a male-dominated world.

One song to check out: "Conceptual Romance"

#15 Nicolas Jaar- Sirens:

Probably the best electronic artist currently, Chilean-American artist Nicolas Jaar has released his most concise and accessible album to date. Sirens differs from his first two albums in that it relies less on catchy hooks, but rather the dreamy nature of the melodies. He starts of the LP with an eleven minute behemoth of a song in "Killing Time", a very fitting title considering this song just explores different sounds and beats, almost of if Jaar was stalling for time. However, the song is much too beautiful for this. Upon investigating the lyrics, one begins to realize just how much Jaar's Chilean culture has an influence, due to the many references to various moments in Chilean history. Probably the most hard-hitting words come on the song "History Lesson", where Jaar states that all we know is that we fucked up. It is his shortest song, but also the most powerful. Finding electronic artist who actually invest time in their lyrics is rarity, and that is what makes Nicolas Jaar one of the most captivating artists out there right now. Also, if you haven't heard his first two albums, do yourself a favor and check them out.

One song to check out: "History Lesson"  

#14 The Avalanches- Wildflower:

Seminal plunderphonics group, The Avalanches, have ended their sixteen year silence in style with Wildflower. I have always had amazing respect for artists who could take songs and turn them into something completely different, in a way that I could not conceive. This album is full of moments like that. Upon one listen, it is easy to tell the eleven years of work that went into the music. The Avalanches kick it all off by re-working the classic Honey Cone track "Want Ads" into one of the best dance songs of the year in "Because I'm Me".  You could play the entire album in a dance club, and no one would tire of it. It is a constant party from start to finish. Considering that many artists flop on comeback records, Wildflower is total success, and it is as if The Avalanches had never left in the first place. 

One song to check out: "Because I'm Me"

#13 Savages- Adore Life:

While not as good as 2013's Silence Yourself, Savages still manage to release one of the best rock albums of the year in Adore Life. It is an album centered around the concept of love, and all of the happiness, heartbreak, and depression that can come from it. While their last album felt like a kick in the teeth, this one feels much more like a vortex of human emotion. This makes the album very personal for anyone has gone through the pains and joys of a romantic relationship. Jehnny Beth continues to be one of the most stand-out vocalists in rock music today, with her voice often drifting off like a howling wind. This can be heard throughout the track "Adore", one of the more slower and haunting albums. In the song, Beth affirms a belief in the sanctity and beauty of human life, a surprisingly positive message considering the slow and methodical nature of the song. Songs like these are juxtaposed with furiously aggressive songs like "The Answer", which are relentless on every single note. But perhaps the best song comes in the form of  "I Need Something New", which chants with an outrageous amount of self-assurance and confidence the need to end a fruitless relationship. Adore Life creates a narrative of love felt by all human beings, making it one of more unique post-punk albums in recent years. 

One song to check out: "I Need Something New" 

#12 Car Seat Headrest- Teens of Denial:

Teens of Denial was Car Seat Headrest's break-out album, which may not sound like a big deal, until you realize that this is the band's tenth studio album released in a period of five years. Such an output of music is almost unheard of these days, but that is exactly what the band headed by Will Toledo has done. This album is about as jammy and catchy as a rock album could be, while still managing to pack a punch. It is an anthem for millennials, all of those recently graduated college students with absolutely zero job prospects, especially on tracks like "Fill in the Blank". Toledo's voice throughout the album is earnest, saccharine, but also mature. Teens of Denial is the kind of album you listen to on your ride home from a bad day at work, longing to forget about the particularly dry and stale life you find yourself in. Car Seat Headrest speaks for an entire generation of Americans trying to figure out what place they have in the world. 

One song to check out: "Drunk Drivers/Killer Whales"

  

#11 Everything Everything- Get to Heaven:

This album technically came out in 2015, but was not released in the United States until 2016, which is how it qualifies for this list. Everything Everything's Get to Heaven is probably the most fun record of the year. Every song sounds like it was mean to be screamed in the shower, shouting each lyric into your bottle of shampoo. The lyrics, however, reveal that this album is much more than some catchy summer classic. The title track centers around the concepts of homelessness, war, and poverty. Definitely not the typical topics of choice for jammy pop songs. The entire album sounds like it could be a soundtrack for a dystopia found in an Aldous Huxley novel. The beats echo and vibrate in an epic crescendo, making for some of the most jaw-dropping pop tracks of the year. For example, the song "Future 500" has a choir like chorus over in-your-face synths and catchy beats, which gives one of the feeling of drowning in all the instrumentals. If you're looking for truly unique pop music that is both catchy and meaningful, Everything Everything is the perfect solution. 

One song to check out: "Distant Past"

#10 Xiu Xiu- Plays the Music of Twin Peaks:

Personally, I did not care for the 1990's television show Twin Peaks all that much. However, what really stood out to me was the soundtrack, which perfectly embodied the creepy and eerie feeling that defined what the show was about. So, it is only natural that one of the most unnerving musical groups out there, experimental band Xiu Xiu (pronounced shoe-shoe), would decide to cover the famous soundtrack and make it their own. The big difference from the original version is that the Xiu Xiu version is disturbing and even horrifying at times, where as the original is merely unsettling. You feel as though you are taking a tour through the fantastically terrifying haunted house that was every created, like on the opener "Laura Palmer's Theme". If you have listened to any of Xiu Xiu's fourteen previous albums, then you know that this group is definitely not for everybody. They are one band who I can honestly say there is no comparison; they are on a different wavelength than the rest of the music world. However, the haunted nature of this album should not intimidate anybody. I am a firm believer that feeling such emotions is a good thing and can be very beautiful. For any fans of Twin Peaks, and fans of haunting music in general, this album is a definite must listen. 

One song to check out: "Laura Palmer's Theme"

#9 Marissa Nadler- Strangers:

 Whenever I hear Marissa Nadler's voice, I immediately get the feeling of crying sticky black tears. Her voice dips down into the depths of an abyss, and rises back up, ending with a little chirp. Strangers is her latest full-length album and arguably her best. Her previous efforts were haunting enough, but her beautiful voice would end up getting lost in the massive sonic landscape. This time, however, her vocals are at the forefront, and they make for one of the most moving albums of the year. Like many other albums on this list, it has a dreamy feel to it, but this dream ends up feeling like your creepiest nightmare. Not scary like someone getting killed, but creepy like finding yourself alone in a dark room. The song "Skyscraper" has consistently foreboding acoustic guitars combined with molasses-like layers of dark synth. This is all occurring as her voice achingly pleads to a lost lover. She is in the same vein as many other new Americana singers, such as Lana Del Rey and Lorde, but so much more emotional and unique. What is also interesting is the track "Hungry is the Ghost", which seems to implement many of the sonic elements found in black metal songs. This rough and abrasive sound is a surprisingly good mix with sweet and tender voice. It may be a haunting and depressing album, and yet when I am finished with it, I don't find myself overcome with despair. Rather, I find myself quite happy at knowing that such beauty exists in the world. Marissa Nadler is in a class all her own.

One song to check out: "Hungry is the Ghost"

#8 Chance the Rapper- Coloring Book:

Chance the Rapper has outdone himself on his latest record, Coloring Book, which may very well be the best hip hop album of the year. Chance scatters the album with pieces of soul influence, and almost every song incorporates some soul music into the mix. Chance also decides to tackle a topic not very popular among mainstream rappers, religion. With titles like "Blessings", "Angels", and "Finish Line" it is not difficult to see how religion plays a factor in the music. However, an even more telling sign is the incorporation of gospel music, especially on the track "All We Got", where a children's choir is prominently featured, and Chance talks about giving "satan a swirlie". The highlight of the album, though, comes in the form of the smash single "No Problem",  which could be heard at house parties all across America this summer. Once again, gospel vocals line the background, making the song feel not only fun but epic as well. With Coloring Book, Chance the Rapper has truly established himself as one of the premier rappers today. Each album he has released gets increasingly better, and there is no reason to think this will stop anytime soon.

One song to check out: "All We Got"

#7 Conor Oberst- Ruminations:

Bright Eyes front-man Conor Oberst released his latest solo album, Ruminations, this year, and damn is it sad! Listening to this album front to back is an experience on a nearly torturous level. Written while Oberst was recovering from laryngitis, the album definitely seems like something that comes from many days of seclusion and music. 2016 has definitely been a hard year for many, and for me there have been many days that I have been alone, unsure about the future and the world that I inhabit. Oberst empathizes with this emotion. The opening track "Tachycardia" is devastatingly sad, with Oberst singing about shallow graves and how amazing life is after death. I find myself stunned at the way he sings the morbid sentences that can be found throughout the album. For example, during "Counting Sheep" he sings lightly about wishing for a slow and painful death. And as stunning as the frankness of this album is, it is nearly impossible not to cry with how human the sentiments are. These feelings of hopelessness, despair, and most of all indifferent to the crushing weight of depression are felt by many different people. Ruminations is deep and introspective examination of all of these feelings, with no fancy pageantry in the instrumentation; just a man, his guitar, and a harmonica that wails like a shattered soul. 

One song to check out: "Tachycardia"

#6 Parquet Courts- Human Performance:

You can always rely on Parquet Courts to do something different with each new release, and 2016's Human Performance is probably the Brooklyn-based band's most laid-back album they have ever released. While they are an art punk band, Andrew Savage is not afraid to hearken back to his Texas roots, with songs like "Berlin Got Blurry" and "Already Dead" incorporating twangy western guitar leads. What makes this album so captivating is the myriad of topics that the songs explore. Some are more cryptic, like "Outside", which explores all the regretful moments that a person can feel in their life, while some are quite literal, such as "Dust" which is literally about dust. Yep, dust, and funny enough it ends up being one of the more catchy and enjoyable songs on the album. One thing that has always made Parquet Courts an attractive band is how smart their lyrics are. Punk music is often criticized for having overly-simplistic lyrics, which is not an issue on this album at all. The words are read like writings in a diary, chronicling different life moments and emotional journeys. More than anything, though, this album is relaxing and enjoyable, not taking itself too seriously, because it was never meant to be. 

One song to check out; "Outside"

#5 Olga Bell- Tempo:

For lack of a better word, Russian artist Olga Bell's Tempo is the most fun dance album of the year. The songs are not comprised of complicated layers of synths and beats, rather the instrumentation has been stripped back, so that Olga's voice soothing vocals can serve as the centerpiece. In the beginning of the opener "Power User", Olga's singing is only accompanied by some simple percussion and a small amount of synth. While this album has a cheery feel to it, most of the songs are moody and dark, which Olga somehow turns into a showcase of her own quirkiness. "Randomness" is the kind of song that is made for some European dance club, with near blinding strobe lights. The song is a conversation between Olga and someone else, saying how life is like the randomness of dance club, that it is a bunch of flashes in your face. It is definitely one of the more creative viewpoints in the realm of dance music. Of any artist on this list, Olga Bell might just be the most likable; she is audibly having fun on every single song, and it is refreshing to find an artist who so clearly enjoys what they are doing. 

One song to check out: "Randomness"

#4 Sturgill Simpson- A Sailor's Guide to Earth:

I'm going to be honest; I was not expecting a country album to appear on this list, let alone at the #4 spot. However, after listening to this album many, many times, there was no way I could not place it this high. I'll go out on a limb and say that this is probably the best country album of the decade. Sturgill Simpson has always been on the more indie side of country, but this album is on a whole other scale. With one of the best opening tracks on any album, Sturgill implements both slide guitars and a soulful piano ballad on "Welcome to Earth (Pollywag)", a heartwarming song about Simpson welcoming his newborn song to the world. The track finishes off with an upbeat and jazzy finish that sounds so different from the beginning of the song. Simpson seems to be releasing his inner Jimmy Buffet on "Sea Stories", acting as though it could come right after a set of Margaritaville. Perhaps, though, the biggest surprise on the album comes in a cover of Nirvana's hit song "In Bloom". When I heard this, I was thinking of all the ways it could go wrong, and believe me he could have really ruined this song. However, I was immediately shut up upon hearing this song. Apparently, Nirvana can work really well in a country framework. That is not an easy task to accomplish, and Simpson knocks it out of the park. In its heart of hearts, A Sailor's Guide to Earth is a country album, but it is so unafraid to implement jazzy horn sections into nearly every track. And on the track "Oh Sarah", the use of almost sonic violins really gives a Godspeed You! Black Emperor kind of feeling, as crazy as this sounds. Sturgill Simpson has managed to create a one of kind country album, and one that I truly hope will win The Grammy's Best Album of the Year. I've known many people who say something like, "I like all kinds of music except for country music", because I was one of those people. If you think there is not a country album in existence that you could like, I implore you to listen to this album and have all of your expectations defied. 

One song to check out: "Welcome to Earth (Pollywag)" (https://open.spotify.com/track/09uV1Sli9wapcKQmmyaG4E) 

#3 G.L.O.S.S.- Demo 2015:

I just need to make two quick clarifications. One, yes it says 2015, but Spotify says 2016 so I am going to go with that. Two, yes it is an E.P., but that band has since broken up, so this is the largest collection of music they'll ever release. So, this album does qualify for this list. Now, I've always been of angry music, but I'm not sure I've listened to music much angrier and full of pure rage than G.L.O.S.S. The hardcore-punk band (whose name stands for Girls Living Outside Society's Shit), have created a manifesto for every frustrated queer kid getting mercilessly bullied and discriminated against. More specifically, the band focuses on trans-issues, bashing society's views of what it means to be a woman. The singer Sadie Smith, who is trans-woman herself, seems to be a personal vendetta against a world full of abuse, sexism, and trans-phobia. This album is only five tracks that last a combined eight minutes, but it is so aggressive and so head-bashingly angry, that it more than makes up for the shortness of the music. It begins with the track "G.L.O.S.S. (We're from the Future)", and Smith declaring for the entire world to hear that they are women, in spite of society's hypocritical attitudes towards trans-women. She goes on to describe a future world full of "faggots and femmes". The music may be angry beyond belief, but it still finds a way to be both catchy and enjoyable. In a year where punk music has been defined by very mediocre albums from bands like Green Day and Blink-182, an album consisting of real and unadulterated frustration is a breath of fresh air in the punk rock scene. With the fight for LGBT rights at the forefront of social issues in America, this is the hardcore band for this generation. I have listened to many a punk band, and honestly can not think of many bands like G.L.O.S.S. It is a shame that the band has broken up, but they have left their mark on the music world with just one E.P., something that few musical artists are ever able to do. 

One song to check out: "G.L.O.S.S. (We're from the Future)"

#2 Whitney- Light Upon the Lake:

If I was forced to compare Whitney to another musical group, I would say they are a mix between The Band and Wilco, but I am extremely hesitant to say that, because Whitney has taken a popular sound and made it entirely their own. This is the Chicago alt-country band's debut album, and is it every so impressive. Julian Ehrlich, formerly of Unknown Mortal Orchestra, sings and plays the drums on this album, which itself is not something you see everyday. If this album could be summed up in one word, it would be light. It's nice and fluffy on the outside, and full of summer breezes on the inside. And that is not an exaggeration; for example, the track "No Woman" honestly feels like it is travelling on a gusty breeze through a dying forest. The standout track, though, would have to be "No Matter Where We Go", which could have been a top hit in 1972, but still feels new as ever. The high-pitched keyboards and guitars blend in ever so nicely with Ehrlich's vocals. What makes this album so addicting, is how cohesive it all is. No track sticks out like a sore thumb, with each song effortlessly flowing into the next. Just like the music hearkens back to an earlier time, so do the lyrics. "Golden Days" has Ehrlich reminiscing about better times, and how in the midst of one's personal struggles, that the golden days are what keep you going in the end. This, in my opinion, is the song of 2016, that though times may be bad now, one only needs to think of when times were good. This gives an overwhelming sense of optimism for the future, which the world desperately needs right now. In a sense, this whole album does that. It looks back on the world's ups and downs, but gives one a sense that, hey, everything will be o.k. in the end. 

One song to check out: "Golden Days"

#1 Hamilton Leithauser + Rostam- I Had A Dream That You Were Mine:

When deciding what the best album of 2016 would be, it honestly was no contest. This powerfully enigmatic album is unforgettable upon first listen. Former lead singer of The Walkmen, Hamilton Leithauser, and former member of Vampire Weekend, Rostam Batmanglij, have come together to create one of the best rock albums I have ever heard. Each song possesses its own unique qualities, so that each sounds like it was played by a different band. The first song, "A 1000 Times", is probably the best track of the entire year. I challenge anyone to listen to it, and not sing along; it is damn near impossible. The amount of influences on this album can be mind-boggling at times. There are even sections of doo-wop music straight out of the 1950's on the song "Rough Going (I Won't Let Up)". This song could easily work with some corny 50's movie scene at some drive-in diner. For the first few songs, Leithauser's vocals are impassioned and infectiously energetic. That changes on the song "In a Black Out", where his voice is much more quiet, tender, and swimming in an ocean of beautiful church choir vocals. Rostam, meanwhile, strums away at his guitar in a quiet but furious pace. On the next track, "Peaceful Morning", we receive a bluegrass-indie rock infused jam, for yet another genre variation. One thing that is common among all the tracks, though, is that you could very easily place any of them into a movie soundtrack. The album has a very cinematic quality to it, with the most obvious being the final track "1959". Singer Angel Deradoorian lends her soft and yearning vocals to track, which end up being so compatible with Leithauser. You get the feeling you're watching a Disney movie, with the main character walking down an empty suburban road and the night sky littered with stars, while he's talking with his lover who's a million miles away. Listening to this album, you will feel locked in a dream, only to wake up forty minutes later covered in goosebumps and a cool sweat. Both artists are also currently doing their own solo work at the moment, but one can only hope we do not have to wait too long for their next project, because this album was a musical gift of the highest degree. 

One song to check out: "A 1000 Times"