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On a Glorious Day , which juxtaposes songs by his sisters with time-tested standards, demonstrates again and again how resolutely life-affirming gospel can be. Aaron Cohen. The result is a mix of live ingredients, including digital horn, polyrhythmic drumming, and spoken word. Jacob Arnold. Twenty-five-way tie, eight points each. Twenty-three-way tie, nine points each. John Corbett. Cellist Tomeka Reid had already been a valuable part of the Chicago jazz scene for years when her quartet released its self-titled debut in —and soon thereafter, she took on the world.
Now based in New York, Reid creates new improvisational paths for string-forward groups not only with her own bands but also as a valuable member of the Art Ensemble of Chicago. Teen heartbreak is real. Since her debut in , the rapper and singer-songwriter has been releasing mixtapes that teens would rush to download from DatPiff, but this project is what arguably propelled her name beyond Chicago.
Janaya Greene. Twenty-three-way tie, ten points each. Identity is key for Arriver, and they derive their sense of artistic self in no small part from their mental intensity: the brawn of Tsushima is more multifaceted than single-minded, more extravagant than restrained, and more cerebral than visceral. Jon Rosenthal. To maintain the effectiveness of such exactingly steady repetition, they have to set a mood by carefully modulating every sound swirling, twirling, and wriggling around the edges of the track—whether produced by Moog or man.
Kevin Warwick. Neverendless by Cave. At times, it sounds the way logging on has felt for the past couple years—that is, like slamming a nonstop torrent of news, opinions, and advertising into your brain at miles per hour. I found peace here when nothing else could soothe my overwhelmed mind.
Ed Blair. Drip Mental by Fire-Toolz. In the midst of that remarkable residency, Fulks released Gone Away Backward , a studio album that beautifully captures the craftsmanship and collaboration of his most intimate acoustic concerts. Deftly singing wise and witty lyrics that roam across the American landscape, Fulks made indelible 21st-century Chicago music built on memories of old-time Appalachia. Robert Loerzel. Gone Away Backward by Robbie Fulks. After relocating to Chicago in , they released their self-titled full-length debut in The band pair their fierce sound, heavily influenced by grindcore and powerviolence, with raw antiestablishment lyrics all in Spanish that focus on immigration, colonialism, and class struggle.
Eat shit! La Armada by La Armada. But this masterpiece is everything I want, and more than I expect, from art. Jake Austen. In the s, Ken Vandermark appeared on at least records. The veteran saxophonist and clarinetist takes the Braxtonian imperative of self-documentation very seriously, and his recordings are rarely casual affairs—the quality goes in before the name goes on.
But New Industries is his achievement of the decade. With this ensemble, Vandermark has found the best vehicle yet for his compositional concept, funneling postpunk energy into exploding architecture. It resolutely requires a reprint. New Industries by Marker. With the album Kenny Dennis III , rapper Serengeti was poised to wrap up the saga of the fictional Kenny Dennis his uber-Chicagoan alter ego and his partner Jules, but their tale continued through the rest of the s.
It made a midlife crisis sound wonderfully odd, and it made Odd Nosdam sound like one of the best producers in the game. Jill Hopkins. Kenny Dennis III by serengeti. Noah Jones. Its centerpiece, though, is a collective composition by the quartet that scores the short film Paddle to the Sea , storyboarded so tightly that big accents in the music land precisely atop dramatic cuts in the movie.
Four-way tie, 11 points each. I saw the band open two shows in , and each time they delivered their set with cathartic potency. Madeline Happold. On Watch by Slow Mass. Two-way tie, 12 points each. Maple and Cheer-Accident. As Hannibal Lecter has proved in other venues, deviance kept under tight control is often more effective than off-the-leash craziness. Eight-way tie, 13 points each. Nikki Roberts. Worthless by Weekend Nachos.
Rapper-producer Tremaine Johnson, aka Tree , can spin a symphony out of a single broken-sounding sample. Four-way tie, 14 points each. In a music industry that enforces constant output, Kaina wants us to slow down. Her voice is smooth, her energy is calming, and her lyrics which she writes herself effortlessly bounce around the luscious melodies she sings. Bianca Betancourt. Drummer Michael Kendrick augments his kit with all manner of bells, chimes, and cymbals, while Brent Fuscaldo adds basslike guitar, thumb piano, and clouds of whispered vocals.
The final ingredient comes from genius guitarist Przemyslaw K. Steve Krakow. Essence by mako sica. Four-way tie, 15 points each. Not every band can hit a sweet spot between sophistication, trepidation, and weirdness, but even when Ganser grapple with difficult modern relationships and personal, political, and existential anxieties, they make it sound like a blast. Odd Talk by Ganser. Five-way tie, 16 points each.
Listening to Lux is like fighting a fever dream: the paranoia, the quickened pulse, the winding line connecting beginning to end. Shannon Nico Shreibak. Lux by Disappears. Four-way tie, 17 points each. Anna White. Leg Toucher by Toupee. In the beginning, there was house, which borrowed from breakdancing to help form juke—and then Chicago gave birth to footwork, a dizzyingly fast and weird dance style accompanied by a similarly fast and weird turntablist-approved soundtrack.
Three-way tie, 19 points each. Three-way tie, 20 points each. The band recorded nine songs with the intent of sprinkling them across a series of split seven-inches. When that fell through, the trio—guitarist-vocalist Chris Sutter, bassist Joe Gac, and drummer Ryan Wizniak—pieced together an album.
David Anthony. Two-way tie, 21 points each. Three-way tie, 23 points each. Singers and multi-instrumentalists Sima Cunningham and Macie Stewart birthed their debut full-length as Ohmme in Parts is a moody, avant-garde, psychedelic landslide that plunges you into the depths of some big questions: identity and the expectations that govern it, the meaning of consumption, and mislaid faith toward the end of a tumultuous decade. The album balances tensions and contortions against each other, whether personal or political, instrumental or vocal.
Jessi Roti. Two-way tie, 26 points each. Not that it was a bad year in music. If anything, there were even more high quality releases than the previous year. The potential is there, with the stirrings of various fusions of electronic music, hip hop, Asian classical, Indian and other ethnic music, the melting pot remains set at simmer.
Many critics claimed that hip hop was the most creatively healthy genre last year. Where is Shadow, anyway? The boldest move was made, surprisingly, by the reincarnated version of Pink Floyd, Radiohead. Amon Tobin is proof in the pudding that electronica can still be fun when handled by someone who actually has a clue how to compose songs.
Modest Mouse graduated from its twee indie existence to expansive, grandiose statements without getting tedious like U2. Sussan Deyhim paid homage to ancient Sufi poets with music that is beyond modern. Lord knows what caused the Brits to fixate on this made-up genre, but heck, why not. The result is a body of music that is deep, dark, and more creative and varied than any other genre right now.
He had some horrible nerve disease, contracted pneumonia, and had papers nationwide preparing his obituary. Nevertheless, wimp pop is here, and while not always queer, its created a minor renaissance that makes it hip to be fey for the first time since the Pet Shop Boys ruled the charts and The Smiths broke up. Tahiti 80 showed that the French can do more than disco, with its brilliant update of The Kinks. That album did spawn many successful individual careers, which continue to thrive with new albums by Ruben Gonzalez and Omara Portuondo.
Better luck this year? Instead, Amon Tobin and David Holmes created truly original music rather than club hits. Doves and Clinic also show potential, but are also a bit immature yet. The overrated album award goes to Eminem. It was really disheartening to see the major publications trip over each other to give props to this shithead. Lips have been flapping about his clever lyrics and inventive music. At best its passable, at worst, the production is anemic and the beats are rudimentary.
Nor gays. What this hateful bleached redneck needs is a good spanking. Better yet, he should be locked in a small room with a dozen lesbian boxers and sumo wrestlers for a night. The best songwriter of the 90s hands-down, PJ Harvey, of course, took the cake with her sixth and best album. Her bold second album nearly made the top thirteen. Sinead herself made a solid album, if not a blazing comeback.
Patti Smith has reached her second career peak, with her best album since Easter. Fellow Icelander Emiliana Torrini has a similar vocal range as Bjork. I listed of them as likeable in some way. Now more than ever, the sheer volume of good music is overwhelming. I can only hope to weed out the few dozen truly great gems.
With names like Sun-J, Dr Das, Pandit G and Chandrasonic, they sound like cartoon superheroes, fearless bigot slayers whose agit-pop hybrid of at least a dozen genres of music including hardstep jungle, ragga, reggae, dancehall, hip-hop, punk cannot be easily defined or pigeonholed in simplified marketing terms.
Much like hip-hop pioneers Public Enemy on Yo! Deeder, who began MCing for ADF seven years ago at the age of 15, has matured into a nimble rapper, a masterful toaster and storyteller. These are field recordings of a cultural force in action. Rather than whine about the state of things, ADF back up their polemics by organizing a community based on ethnicity, politics and music including education projects and ADFED , not unlike the commune centered around much maligned British anarchists Crass twenty years before.
Witness their shows, where raver kids, hipsters and crusty hippies alike jump and dance as the band kicks euphoric. Community Music is an important and entertaining landmark. Perhaps the greatest accomplishment is that every song is varied, yet there is a QOTSA sound that is instantly recognizable. Queens Of The Stone Age are reincarnated rock giants, roaming the earth once more. And they have cleverly disguised their T-Rex bones as a beautifully realized psychedelic pop album.
While their debut was all about the stone cold groove, R is about the hook. Inevitably you spiral wildly towards Earth and the band breaks into a monumental jam. But the best song has yet to come. R is the most audacious hard rock album to come out in years, and has played a vital role in revitalizing a stagnant scene. Anyone trying to do the octopus to his music will undoubtedly end up in a dark corner, rocking back and forth in the foetal position.
It is most likely jealousy of his talent that forces the man to stand alone. Hell, the cracks in the ground are more like the rifts between the tectonic plates. Supermodified is giant steps ahead of any other work of electronica. The lines between samples of jazz, hip-hop, samba, bhangra and congo are blurred and metamorphed with organic and mechanical noises, and out-of-this world rhythms that splay like seemingly random sparks, but form breathtaking kaleidescopic patterns.
What holds it all together is that Tobin has the organizational mind of a jazz composer, subtly orchestrating the primordial flow like Dark Magus-period Miles Davis, or conjuring and seducing anarchic spirits like Sun Ra.
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