Since I was busy for most of this month writing up my Top 100 albums list for the last decade, I decided to put a moratorium on listening to new releases until I was done with that project, so that I could completely immerse myself in re-listening to all of those favorite album candidates. I made exceptions for newly released singles and whatever else Spotify’s Release Radar brought to my attention each week, just for the purpose of bookmarking new releases in order to listen to them in full when my project was done. At times it was hard to resist the temptation – especially since 2 of the artists from my lists put out new albums this month, another three surprises me with EPs, and also a member of one of the bands from my list put out a new collaborative album with a band I’d never heard of. So most of this list of new stuff I’ve been listening to for only the last week or so, ironically, covers artists I’ve already talked about in some capacity this month, with a few bands at the bottom of the list that are genuinely new to me.
Also, I realize I’ve got a slew of recommendations from others to get to, both in terms of favorite albums of theirs from 2019 that I slept on or just plain wasn’t aware of, and in terms of standout albums they’ve given kudos to from throughout the last decade that have piqued my interest for one reason or another. I’ll start on that daunting to-do list in February!
Meanwhile, here are my first impressions of the latest from Colony House, The Innocence Mission, Everything Everything, Switchfoot, John Reuben, Stabbing Westward, Sean Watkins & The Bee Eaters, Wolf Parade, and Bombay Bicycle Club.
We’ve arrived at the final round, folks. The true heavy-hitters. The absolute classics that I’m pretty sure I’ll keep going back to over and over when they’re ten years, twenty years – heck, maybe even fifty years old if I’m fortunate enough to still be around then!
The realization that I had a pretty interesting cross-section of artists ranging from household names to the downright obscure on this list piqued my curiosity about whether there was some reasonable way to measure exactly how popular each of them were. It’s honestly not something I’ve ever paid super close attention to – I can usually get a sense of when someone whose music I happen to like has achieved A-list celebrity status around the world, because I’ll hear their music pretty much everywhere when I’m out and about in public, and their concerts will usually be prohibitively expensive. On the other end of the scale, when an artist is so-small time that only a small cluster of people seem to know about them, merely acquiring their music or finding out more about them for the sake of writing a review can be challenging. Word of mouth, and recommendations from other artists I enjoy, are often my primary means of getting into an artist, so for pretty much everyone between those two extremes, I often don’t know how many like-minded fans there are, or what demographic is most into them, until I catch a live show and start people-watching.
Here are my first impressions of the latest releases from Future of Forestry, Katie Herzig, Lucius, Everything Everything, I’m With Her, Vertical Horizon, The Decemberists, The Corrs, Jason Wade, and Marc Martel.
Out of the increasingly eclectic list of albums that makes its way into my Spotify playlists (and eventually my physical collection, wherever possible), here’s the stuff that I enjoyed the most in 2017, and that I would absolutely recommend, with no reservations, to anyone whose favorite type of music can best be described as “stuff that challenges me in some way but that is always super catchy”. (Is that not a musical genre? it should be.)
It’s that time of year again where I run through the list of songs that inspired me, entertained me, or just plain got stuck in my head for amusing reasons, more than any other songs in the last 12 months. Most of these were released in 2017. Some came out in 2016 and I either didn’t hear them until this year or didn’t come to fully appreciate them in time for last year’s list. I’ve given brief explanations and YouTube links for the Top 30. For the rest… just check the reviews where they’re linked, if you’re curious.
And as always, many of these songs (limit one per artist) are collected in my 2017 in a Nutshell playlist over on Spotify.
In Brief: With relentless, hypnotic rhythms, hypnotic guitar and synth melodies that sear into your brain, and politically-charged lyrics, Everything Everything has, well, just about everything I’ve been hoping to get out of an indie rock record in the year 2017.