Artist: KT Tunstall Album: KIN Year: 2016 Grade: B
In Brief: It’s not as bold and inventive in the production and songwriting department as Tiger Suit, but KT wanted to make another pop album after the stark, downbeat Invisible Empire // Crescent Moon, and I’ve got to admit that this side of her is more my speed.
Artist: Crowder Album: American Prodigal Year: 2016 Grade: B
In Brief: The genre mash-up works a lot better here than it did on Neon Steeple, feeling more like a statement of identity than a mere gimmick. What Crowder may lack in lyrical specificity, he more than makes up for by bringing urban and rural sounds together in intriguing ways.
Artist: Mumford & Sons Album: Johannesburg EP Year: 2016 Grade: B+
In Brief: Surprisingly strong, given the unlikely collaboration between an English “folk” band and three stylistically divergent African artists. I still think Mumford & Sons are poseurs of a sort, wandering the world in search of a sound they can actually master, but this EP at least proves that they’re excellent collaborators.
Artist: Parker Millsap Album: The Very Last Day Year: 2016 Grade: B
In Brief: This alt-country record starts off incredibly strong, showing off the young songwriter’s incredible chops with a lot more instrumental bite than his last record had. (Especially “Heaven Sent”. If nothing else, please go listen to that one for me.) Unfortunately, the record’s uneven second half never quite reaches its initial level of greatness again.
Artist: Josh Ritter Album: Sermon on the Rocks Year: 2015 Grade: B
In Brief: A much more diverse, playful, foreboding, swaggery, fantastical, pretty much everything (except boring and mopey!) album than The Beast in Its Tracks. I’m unsure how much of this record is fact and how much is fiction, and since Ritter is so good at the fiction, that’s just the way I like it.
Artist: Jon Foreman Album: The Wonderlands: Sunlight & Shadows Year: 2015 Grade: B+
In Brief: The first 2 discs in this 4-disc collection showcase a variety of instrumentation and production styles that easily match the high bar set by Foreman’s seasonal EPs back in 2008. It might be a little mellow for Switchfoot fans, but it’s easily twice as deep as most of Switchfoot’s recent material.