And now, finally, it’s time to get started with the Proper Top 100 list! A lot of truly excellent music came out in the 2010s, to the point where narrowing it down to the most deserving albums required a mental refresher on well over 200 albums that I had enjoyed during the last ten years. It’s taken me longer than expected to get this list off to a proper start, due to a bit of a counting mishap when I was choosing my finalists, resulting in some painful last-minute cuts when I realized that I had put more than 20 albums in my lowest tier out of the 100. But that’s all settled now, and I’ve got my list broken into 5 parts, during which I’ll take a look back at 20 great albums per installment.
Everything in this first section of the list would score a B+ if I reviewed it today, so it’ll be a little ways up the list before we get to the truly amazing stuff. But even within this initial batch of 20 albums, there are tons of fond memories that I get from going back and revisiting the vast majority of the tracks on each of these – and in a few cases, new memories still being formed, as I discovered a few of these albums for the first time during a huge back catalogue binge I embarked on last year.
Not as much new stuff this month, because I am insanely busy going back through all of the albums I listened to since January in order to figure out the final placement for my best and worst of 2018 lists! Still, I found time to offer some brief thoughts on the latest from Mae, The 1975, Tennis, Jeff Tweedy, MuteMath, Trey Pearson, The Decemberists, and Mew.
This is the fourth and final (for now, at least) part of a series chronicling each year of my life as viewed through the lens of a song that was meaningful to me in some way that represents a significant aspect of my life experience in that year. This segment covers the fourth decade of my life. Be sure to catch up on Part 1, Part 2, and Part 3 first.
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: Mew’s keyboard-heavy indie rock sound will always inspire mental flights of fancy, and I appreciate the occasional heavier moments, too. But this record feels less “prog” than their last few, and I don’t think the songwriting is as intriguing, which means a lot of it is pleasant but forgettable.
Here’s the cream of the crop, folks – the list of albums that captivated me most in the year 2015. While some of these picks are likely about as predictable as the likelihood of a YouTube comments section devolving into a vicious political flamewar, there are a few cases here where I genuinely surprised myself by falling in love with an artist or even a genre that I had previously decided was “just not my thing”. I hope the music that comes out in 2016 challenges me in similar ways.
The first order of business as 2015 comes to a close is to sift through all of my favorite songs that I first heard this year (or perhaps late last year, and it just took me a little longer to appreciate them) and attempt to put them in order, which as usual starts to get a bit silly below the top 30 or so. Music videos and some live performances are embedded for that first chunk of the list. As I’ve done in previous years, I’ve also got a Spotify playlist that covers a lot of these, limited to a song per artist and more in chronological order of when I discovered them.
In Brief: As gorgeous and otherworldly as Mew’s brand of “indie stadium rock” can be, + – doesn’t quite reach the heights of No More Stories… or And the Glass Handed Kites, which were more progressive in nature and felt like more of a deeply connected listening experience. This album is more akin to Frengers, in that it feels more like it’s simply 10 good tracks with a few “instant classic” highlights scattered among them.