Here it is, ladies and gentlemen. The long-awaited, seventh annual INAUDIBLE best of 2015 listy list! I hope you enjoy it!
BEST EP’s, SINGLES and 12″s of 2015
(click album cover to sample a track)
Palms Trax and Route 8 are two young producers that have been making huge strides in the techno scene over the last few years thanks to consistently awesome releases on Lobster Theremin, Dekmantel, and Nous Records. Here’s hoping for more of the same in 2016!
Vancouver, BC is having a major moment right now and these two Mood Hut heroes are leading the way with their quality spliffed-out stompers that play just as well on the couch as they do on the dance floor. Check ’em, son.
Junktion is a relative newcomer from the Netherlands, and Andrés is a 20 year veteran from Detroit, but both of them got that deep soulful groove thang on point. These aren’t just club tracks, they’re proper songs to get the party started and keep you in the moment all night…
Although very different, both of these albums pack an emotional wallop. Art Crime makes you wanna lose yourself on a black as pitch dance floor, while Workshop 21 highlights four different artists and four different moods, and in doing so has crafted one of its finest releases. Left of centre house jams!
The Green Kingdom never fails to disappoint with his take on hushed dub-tinged ambience, while Lnrdcroy returned with three tracks to remind me why I loved Much Less Normal last year. Yet another young and talented Vancouver artist to keep your ears on…
When I first heard Thundercat’s “Them Changes”, I played it six times in a row. It had an Isley Brothers sample that was infectious as hell and a Steely Dan vibe that I just couldn’t resist. It was summer and the sun was shining through the kitchen window and with each listen I turned up the volume a little more.
Yet, when I finally started to focus on the lyrics I realized that although the song was as bright as that July sun, there was something more sombre under the surface. And to be sure, the album is actually about grief and mourning and an attempt at catharsis for Thundercat. The Beyond/Where The Giants Roam actually sounds more like a post-rock record than funk or soul or hip-hop, but all I can say is that it’s Thundercat’s strongest statement to date…
Snoop Dog – Bush (Columbia Records)
Does Snoop just keep getting smoother and cooler with age? With the help of Pharrell, I’d say the answer is hells to the yes.
Bush was conceived as a tribute to the funk and R&B of the 1970’s that has always inspired Snoop’s music, yet it is so much more than that – it places Snoop back up on the West Coast pedestal he briefly left for his turn as a Lion. And even though he didn’t sound half bad on his Rasta tip, it’s the G-Funk vibe that’s his real wheelhouse.
Bush is a feel good album from start to finish and shows that Snoop and Pharrell can still drop it like it’s hot.
Snoop Dog: “This City”
Deerhunter – Fading Frontier (4AD Records)
Deerhunter returned this autumn with Fading Frontier, a subdued yet more pleasant album than their 2013 effort Monomania. Yet even though it’s the band’s catchiest album to date, with great hooks and choruses, I feel like it falls short of their earlier releases.
Deerhunter have always outdone themselves with each album, and this feels more like a revisiting of Halcyon Digest rather than a reinventing of. That said, I’ve still listened to it tons of times and find Cox and Pundt’s guitar work fantastic, I was just hoping for a little more…
Bersarin Quartett – III (Denovali Records)
Thomas Bücker resurfaced this year with the third album under his Bersarin Quartett guise and offers up another collection of rich neo-classical ambience. Bersarin Quartett’s music is minimal but it’s also really emotive, and he’s a natural at exploring textures, mood, and atmosphere in an abstract way. Yet with III we find him at his most cinematic with some of these tracks actually reminding me a bit of J. Swinscoe himself, albeit at his most quiet.
All three Bersarin Quartett releases are excellent and Bücker’s music should be enjoyed by more listeners. Check it.
Bersarin Quartett: “Ver Flossen Ist Das Gold Der Tage”
INAUDIBLE’S TOP 11 ALBUMS OF 2015
11. Floating Points – Elaenia (Pluto Records)
In my very first end of year list in 2009, I dubbed Sam Shepherd my “Fave New Artist”. Fast forward seven years, and he’s finally released his full-length debut album, Elaenia. And in many respects a debut it is, as it offers up a much different Flo Po than the house boogie hero I was championing back in 2009.
Shepherd flirted with jazz and orchestral arrangements a few years ago with his Floating Points Ensemble project, but now that vision is truly realized, and with Elaenia we have a full-blown production of mature nu-jazz numbers recorded with a live band.
These tracks go from swirling to quiet to jazzy to funk with synths holding the whole thing together – in fact, it’s not until the last track (where a John McEntire-esque drum beat blasts its way through six minutes) that the album really lights up, building to a wild climax and ending right in the middle of it. It’s a jarring way to end the record, but it leaves this listener wanting to hear where he’ll go next…
Floating Points: “Silhouettes (I, II & III)”
10. DJ Richard – Grind (Dial Records)
Judging from earlier releases on his White Material label, I figured Grind was going to be a noisy and scrappy affair, yet DJ Richard’s jump to Dial Records for his first full-length shows him turning down the grit a bit for more melody and the results are excellent. Grind is analogue in feel, melancholy in mood, and rough around the edges, yet it’s still elegant.
DJ Richard’s style is all his own, with tracks like “Nighthawk” and “Bane” being great examples of how he can work stuttering drums and several different synth lines at once, and have the effect be both harsh and enveloping, depending on his listener’s mood. Bottom line: he’s definitely one to watch in the years to come.
DJ Richard: “Vampire Dub”
9. Jamie xx – In Colour (Young Turks)
“I go to loud places to search for someone to be quiet with…”
That lyric has been drifting in and out of my head since the beginning of summer, when Jamie xx’s long-awaited solo album In Colour dropped to great acclaim. It’s been pretty much lauded by everyone, and even though it took me a few spins, it was Jamie’s skill at tapping into nostalgia that completely won me over. He’s put out some great jams leading up to this, slowly honing his skills as a first-rate producer, and In Colour is the culmination of the last six years, gathering up elements of everything he’s done – moody ballads, floor-filling bangers, and off-kilter collaborations with vocalists – and jamming them all into a tight bright package.
In some respects, even album cover wise, this record reminds me of Caribou’s Our Love from last year, as it mines the same wistful aural territory. And what’s nice is that it offers a couple tracks that might as well be songs by the xx, with Romy singing on “Loud Places” and “See Saw” which are both excellent, and Oliver staying moody and chill on “Stranger in a Room”. And how can I leave out “I Know There’s Gonna Be (Good Times)”? The smashing yet unlikely collab with Popcaan and Young Thug. That track has gotten me fired up and feeling fine many a time since I first heard it and will continue to do so well into 2016.
In Colour is an album you can play at the height of the party or walking home from work on a Monday evening in the rain, and in both settings it plays out just as smooove.
Big tings still ahead for this bloke!
8. Project Pablo – I Want To Believe (1080p)
Montreal via Vancouver producer, Patrick Holland, makes hazy funky soulful house under the moniker Project Pablo, and like his contemporaries Pender Street Steppers, he stepped up his game in 2015. With the cassette version of “I Want To Believe”, Holland has released a collection of songs that are deep and groovy and filled with an innate sense of fun.
This album was a slow burner and didn’t fully grab me from the start, yet with each successive listen it only continued to sound better and better … and here’s hoping for more of the same in 2016!
Project Pablo: “Movin’ Out”
7. Kurt Vile – b’lieve i’m goin down… (Matador Records)
Philly’s everyman Kurt Vile is at his most Kurt Vilest with his latest long player b’lieve i’m goin down… showcasing a perfect mix of lo-fi rock and roll and Americana. The beauty has always been in the subtlety and strength of his songwriting, yet here he’s toned down the rock just a bit, showing a little more restraint than on Wakin’ on a Pretty Daze. Vile’s lyrics are dark and lonesome and occasionally funny, delivered in a laconic style that’s all his own. He tends to drag out words or syllables providing the perfect counterpart to his skilled finger-plucking or guitar strums.
The album starts off on a high note with the fantastic “Pretty Pimpin”, in which Vile contemplates his existence in front of the bathroom mirror, however, for me it’s the slower more meditative tracks that highlight his finger-plucking skills that are the big winners for me, like “All in a Daze Work”, which shows him at his most patient – just a dude completely lost in the moment of playing his guitar.
What’s a bit different is that there’s a bit more banjo and a lot more piano on display in these tracks, the best example being “Lost My Head There”, which has a great outro with a vibraphone flourish and the occasional “Wooh!” from KV. Not a huge departure here, but that ain’t a bad thing at all…
6. DJ Koze – DJ Kicks (!K7 Records)
I’m pretty sure DJ Koze and I would get along. I’ve always been a fan of his style both as a music producer and label head, so it makes sense that I’d like a DJ Kicks mix of his as well – I just never thought I’d dig it so much.
It’s definitely more for home listening than the club, but it has a steady trajectory to keep your head bobbing. Koze kicks things off with a Dilla-inspired original “I Haven’t Been Everywhere But It’s On My List” before sliding into some great obscure hip hop tracks and then a slowed down mid-section featuring the classic “Tears In The Typing Pool” from Broadcast and a spoken word piece from William Shatner that is oddly powerful. It isn’t until the last five songs where Koze really heats it up and provides a selection of perfectly mixed house numbers, nailing the vibe with penultimate track, “Surrender” by Portable.
What a beautiful song. What a beautiful playlist. DJ Koze just keeps getting better with time. Check this mix please and thank you.
5. Tame Impala – Currents (Interscope Records)
Kevin Parker has come a long way from down under in the last half decade or so since his band Tame Impala started making waves with the still excellent Innerspeaker. No longer is he just that long-haired barefoot Aussie stoner dude who sounds like John Lennon and riffs like Tony Iommi . . . well I guess he still is, but he’s also become a veritable production artist not unlike George Martin.
The first single to be released off of Currents was the 8-minute psych-rock jam “Let it Happen”, and I dug it upon first listen, however, the first time I listened to the album all the way through, I remember thinking “where’s the fuzz, yo?” And so my initial reaction was that it definitely sounded good but I wasn’t totally feeling it.
Fast forward two or three weeks later and cue up four king cans of beer, a joint, and some headphones. I was typing away on my laptop working on a story when “Eventually” came on, and everything immediately clicked – I stopped typing and stared at the screen like a doe-eyed deer about to get hit by a truck. The production! Holy shit! Everything sounded so crisp and alive! How did I miss this before? And of course, once I had heard it like that, I couldn’t unhear it, and I was officially obsessed and listened to the album on repeat for weeks.
The best part of the songs is the little flourishes Parker is so adept at adding, like the chiming synth line at the end of “Eventually” or the soft Fender Rhodes tinkle in “The Less I Know The Better” or the vocal delay in the chorus of “The Moment” that really make the songs stand out. Great album!
4. William Basinski – Cascade (Temporary Residence)
The prolific William Basinski has made a career out of decaying audio tape – a fitting foil for our accelerated times and the proliferation of all things digital. And by now I think it’s safe to say his name belongs up there next to Eno and Budd as one of the finest ambient artists ever.
It’s been over fifteen years since The Disintegration Loops, and it’s arguably still his finest piece of music to date. I can put that record on at any time and be immediately lost, an hour can go by in the twitch of an eye, or can feel drawn out like the setting sun on the horizon. It’s timeless.
With “Cascade”, Basinski offers up about twenty seconds of piano and loops it for 40 minutes. That’s it. It sounds too simple to be effective, but as the loop repeats itself endlessly it morphs into something more murky and broken as the tape loop slowly decays, and in doing so creates a feeling of calmness and peace in the listener.
This is my top morning album of the year by far. Sometimes I play it twice in a row and have to stop myself from hitting play again.
Scrolling through the comments section on YouTube, two comments stuck out in between the “Beautifuls!” and “Profounds”. The first was: “It’s so odd to think that these works are simply just tape looping and decaying, with textures added over top, but this seemingly simple art form has the power to bring you to tears and think deeply on the past.”
And the second: “I was listening to this for 10 minutes before I even actually noticed I was listening to it and then I was like HOLY SHIT WHAT IS THIS?” My thoughts indeed, my thoughts indeed.
William Basinski: “Cascade”
3. Freddie Gibbs – Shadow of a Doubt (ESGN Records)
Gangsta Gibbs keeps up the hot streak he started by teaming with Madlib last year for the fantastic Pinata and released three records in 2015. Earlier in the year he put out two EP’s, The Tonight Show and the hot as fire Pronto, before releasing the unexpected full-length Shadow of a Doubt in early November. And since it’s dropped, I’ve listened to it at least once a day. I wake up with the hooks and rhymes in my head and can’t seem to get enough.
Unlike DJ Koze, who I honestly think I could be buds with, I’m not sure the same thing would apply with Freddie Gibbs. I imagine him taking one look at me, smirking, and thinking to himself “who’s this phony silver foxin’ ass nigga?” before turning around and never acknowledging me again. He drops the n-word so many times during Shadow of a Doubt, I figure he would have to use it when he saw me, even though I’m whiter than Marshall Mathers.
But if he’d turn around again, I’d tell him the reason why I’m so drawn to his shit is because he’s a storyteller who just so happens to be a rapper who just so happens to sound like no one else in the game right now. On Shadow of a Doubt, all the songs tell some sort of story, either about his drug-dealing past, a pill habit, or the deepened sense of purpose he’s felt since the birth of his daughter in April. So even though I can’t really relate, I can totally relate, you know what I mean?
He makes his listeners feel his struggle regardless if they’re young kids on the corner in Gary, Indiana, or some white Canadian dude in his mid-thirties bumping Freddie in his kitchen while he and his girlfriend make dinner. They’re ain’t a shadow of a doubt that Freddy Corleone is one of the freshest voices in hip hop in 2015.
2. Kendrick Lamar – To Pimp A Butterfly (Top Dawg)
How do you know if you’ve really made the big time? By getting eleven Grammy nominations for your sophomore record? Or having the President of the United States say that one of your songs is his personal favourite of the year? Or being in the top three of virtually every end of year list being written in 2015 (including even this highly respected blog)?
Yes and oui and si, I’d say.
Kendrick Lamar returned this year trying to outdo the accolades bestowed on his last album good kid, m.A.A.d city, and pretty much blew the roof off of everything with To Pimp A Butterfly. A fusion of old school and new school, funk and soul, R&B and jazz, a swirling collaboration with so many artists from Snoop to Bilal to Fly Lo to Thundercat to Boi-1da, Pharrell, Kamasi Washington, the ghost of 2Pac and more.
At the centre of it all is Kendrick, sounding more determined than ever to highlight what it’s like to be black in 2015 in America. Yet even though he may be on top of his game, it seems like Kendrick still be climbin’, and searching for guidance, trying to figure out where exactly he fits in the world around him, both as music superstar and lil homey from Compton. Unlike Kanye who has called himself “Walt Disney, Shakespeare, Nike and Google”, all in the same breath, there’s a humbleness to Kendrick’s personality that’s refreshing. And while Drake is dancing around, waiting for some girl to call him on his cell phone, Kendrick’s figuring out how to be a better person out in the world and a better rapper in the industry.
During the song “Momma”, Kendrick repeats the line “I know everything”, in between telling us what that everything is: Compton, morality, street shit, wisdom, karma, history, bullshit, highs and lows, loyalty, clothes, hoes, money, generosity, until he goes home and sits at the kitchen table with him Momma and realizes he doesn’t know a goddamn thing.
Earlier on the album, during “Institutionalized”, Kendrick reminds himself of some great advice his Grandma gave him when he was young: “Shit don’t change until you get up and wash yo’ ass, nigga!”
It seems to me like Kendrick knows that real change starts from within and with To Pimp A Butterfly he’s trying his damnedest to promote this idea and act on it and let everyone know that hopefully everything’s gonna be “Alright”.
To Pimp A Butterfly is a challenging listen to be sure but ultimately a very rewarding one.
Kendrick Lamar: “Untitled” (from The Colbert Report)
1. Sufjan Stevens – Carrie & Lowell (Asthmatic Kitty)
Stripping away the bells and whistles, the orchestration, the back-up singers, the electronics, the gimmicks, and the technicolor spectacle, Sufjan Stevens returned this year with just his guitar, a piano, and his voice, and released Carrie & Lowell, the best album of his career.
We all know the album’s premise by now, it’s titled after his mother and step-dad. In 2012, Sufjan’s mother died of cancer and although their relationship was strained (she left when he was young), she’s still his family, and this album focuses on how Sufjan coped with the aftermath of those early years, and the emptiness his mother’s death left in him.
In the last two years, I’ve had two friends lose a parent, and I’ve watched them struggle to make sense of life without them. They’ve grieved in their own ways, some healthy some not, and because of their losses, I can’t help but think of my own parents and my girlfriend’s parents and the fact that we ain’t getting any younger … and it’s scary and makes me want to press pause or somehow go back in time, because I don’t want it to ever happen. Carrie & Lowell has a similiarly sobering effect, and by looking inside himself, Sufjan is able to really connect with his listeners.
So as soon as I found out he was touring I immediately bought tickets for the show. I’ve seen him before and knew it would be stupid to miss him. Unfortunately, I didn’t look at the date, only to realize later that the show was on the same weekend we were going to be at a wedding in Yosemite National Park. I was surprised at how upset I was about having to miss the show. But Yosemite … damn, what a special place.
On our last morning there, I had to go pick up some things at the bride’s cottage, which was a 45-minute drive through the Yosemite valley. I put on Carrie & Lowell as I drove through the park, the early morning sun glinting off the Half Dome and El Capitan, and every view worthy of Ansel Adams’ camera.
I barely made it through opening track “Death With Dignity” before the tears came. And there was a lot of them. And I couldn’t stop. But they weren’t sad, they were joyous and oddly powerful. Two tracks later in “All Of Me Wants All Of You”, Sufjan sings “Landscape changed my point of view”, and as he said that I cheered. I put my arm out the window and pumped my fist in the air. I laughed through my tears. I realized it was a perfect spring day. I realized how much I loved the people in my life. I looked around at the dense forest and the giant rocks and shivered …
It was the closest thing to a spiritual experience I have ever had, and so that is why Sufjan Stevens tops my list for 2015.
Carrie & Lowell is an album of memories and stories. It’s covered in the dust of a turbulent family life and how one man, one child, learned to deal with it all. It may well be our first insight into the real Sufjan. It’s heavy, but so very beautiful.
Sufjan Stevens: “Blue Bucket of Gold”
Yes! I made it to the finish line! Thanks for reading! Have a fantastic 2016, my friends!