Here are some of my favorite songs released in 2018: Spotify Apple Music
Here are some records released in 2018 that I like; I have more to say on some than others.
The Good, the Bad & the Queen- Merrie Land: A poignant, textural set of ruminations on a Britain thrown into chaos by Brexit and the social divisions/political machinations that underlie it. “The Poison Tree”
Dirty Computer by Janelle Monáe: It isn’t often that a record can make you dance and think deeply at the exact same time, but Janelle Monae has done just that with Dirty Computer. “Crazy, Classic Life”
A Brief Inquiry into Online Relationships by The 1975: The 1975 have returned with an album that attempts to encapsulate the digitally experienced life. It’s scattered and fairly long, but I think it’s a fairly effective representation of the personal and social fragmentation borne of the internet age. “It’s Not Living (If It’s Not With You)”
Year of the Snitch by Death Grips: Defying categorization or even explanation, Death Grips’ new album is one of the most oddly compelling records I’ve ever heard. It draws on punk, electronic music, jazz, and hip-hop to create a palette of sounds and songs worthy of close examination and total immersion. “Streaky”
Loma by Loma: Loma are masters of arrangement and pacing. Their debut album combines ethereal songwriting with an array of textures and production choices that make the record feel instantly out-of-time. “Joy”
Creation by Daysleepers: Ever heard of Slowdive? The Daysleepers certainly have, and they’ve built their sound around the shoegaze and dream pop records coming out of the British Isles in the late eighties and early nineties. What their sound lacks in originality, however, it makes up in superb execution. “Creation” feels like a dream from start to finish. “This Dark Universe”
Kids See Ghosts by Kids See Ghosts: My favorite record to come out of Kanye’s uneven stream of releases over the summer, Kids See Ghosts sees him peak form, collaborating with Kid Cudi to create a record so compelling and succinct that I might actually be convinced that Kanye could pull a mid-career turnaround. All he has to do is stop undermining himself and alienating everyone who matters at every turn; easy, right? “Freeee (Ghost Town Pt. 2)”
7 by Beach House: Before “7”, I didn’t take Beach House all that seriously; it was my mistake. This album is proof that dream pop isn’t dead, and that there are still artists interested in adding to its sonic canon. “Drunk in LA”
Chris by Christine & the Queens: While it doesn’t particularly hold up as an album experience, “Chris” is nonetheless a cathartic collection of pop songs. “Doesn’t Matter”
Astroworld by Travis Scott: Psychedelic-prog-dream-hip-hop? It’s hard to properly classify Astroworld, but it’s an exhilarating listen, and I hope its influence is felt across time, genre, and geography. “Stargazing”
Tranquility Base Hotel & Casino by Arctic Monkeys: Arctic Monkeys return with a sound nobody expected, but many of us realized we needed all along. Be warned, there are basically no choruses or hooks to be had here; however, “Tranquility Base” is completely trance inducing, and I’m quite happy Arctic Monkeys decided to go there. “Batphone”
I’ll Be Your Girl by The Decemberists: The Decemberists have long since settled into a songwriting mold that works for them, but this album aims to spice matters up by bringing in a decidedly eighties inspired production pallette. For me, the obvious highlight is the eight minute behemoth “Rusalka Rusalka/Wild Rushes”, but the album is full of catchy, colorfully arranged pop songs. “Rusalka Rusalka/Wild Rushes”
Boarding House Reach by Jack White: Jack White has finally broken the garage rock mold. Boarding House Reach is equal parts perplexing and grin-inducing, but it remains stimulating throughout. “Ice Station Zebra”
Some Rap Songs by Earl Sweatshirt: Like Arctic Monkeys’ new record, Sweatshirt also eschews hooks, instead opting to give us stream-of-consciousness lyrics over intentionally disjointed, heavily sampled instrumentals. It wasn’t what I was expecting from him, but it’s great. “Ontheway!”
Virtue by The Voidz: On “Virtue”, Julian Casablancas and his Voidz expand rock’s sonic palette to include sounds inspired by all stripes of popular music. The result is my favorite record Julian has been involved with since The Strokes’ “Room on Fire”. Of everything I listened to in 2018, “Virtue” best encapsulates what I imagine may be the shape of rock ‘n roll to come. “ALieNNatioN”
Double Negative by Low: I wasn’t familiar with Low’s work beyond their perennial holiday bop “Just Like Christmas” until I heard “Double Negative”. It’s an incredibly bold, supremely textured, and almost entirely electronic record that envelops and pleases at every turn. “Disarray”
In A Poem Unlimited by U.S. Girls: Joyful, timeless rock/guitar pop music. U.S. Girls pull from a laundry list of styles to create something simultaneously disparate and cohesive. “Pearly Gates”
Room Inside the World by Ought: Ought’s brand of post-punk is refreshing in a time where most bands wearing the label sound like discount versions of Joy Division. The songs, too, are quite good. “Disgraced in America”
Hell-On by Neko Case: Neko Case proves that she hasn’t forgotten how to write a memorable tune, and her lyrics are as sharp as ever. The arrangements on Hell-On are also some of my favorites from her. “Last Lion of Albion”
Oxnard by Anderson .Paak: Funky, bouncy instrumentals combine with sticky and immaculately structured songs for one of the year’s most euphorically vital records. “Who R U?”
Combat Sports by The Vaccines: With their fourth album, the Vaccines return with a catchy, witty, and invigorating collection of power pop tunes. While it’s not as sonically interesting as English Graffiti or as instantly timeless as What Did You Expect from the Vaccines, it’s a bright spot in a generally boring era for traditional guitar music. “Someone to Lose”
Be the Cowboy by Mitski: “Be the Cowboy” is a brilliant series of vignettes on romantic regret and misadventure. Mitski is a master lyricist, arranger, vocalist, and melodist; and it’s made all the more apparent by the album’s brevity- the listener is left wanting more (in the best way). “Why Didn’t You Stop Me?”
Big Red Machine by Big Red Machine: A collaboration between The National’s Aaron Dessner and Justin Vernon (more widely known as Bon Iver), Big Red Machine finds them exploring their stranger impulses to uniformly positive effect. “Hymnostic”
FM By Vince Staples: One of the most life-affirming releases of 2018, FM is twenty two minutes of pure joy in the format of a radio show. “No Bleedin”
Little Dark Age by MGMT: With “Little Dark Age”, MGMT deliver pop thrills and consistently engaging production. “One Thing Left to Try”
And Nothing Hurt by Spiritualized: While it’s nothing new for Spiritualized, And Nothing Hurt is still a beautiful record; it’s equally intimate and outsized. It does drag in a few places- but then, would it be a Spiritualized record without a track or two that run too long? “A Perfect Miracle”
I Can Feel You Creep Into My Private Life by Tune-Yards: Off-kilter, unpredictable production, killer hooks, and striking lyrics conspire to create a fascinating experimental pop record. “ABC 123”
In Your Own Sweet Time by The Fratellis: The Fratellis feel revitalized with In Your Own Sweet Time. The hooks are sharp, the guitars are loud, and the Jon’s singing is more impassioned than ever. “I’ve Been Blind”
Iridescence by BROCKHAMPTON: Iridescence is possessed of the dynamism I’ve come to expect of Brockhampton- it’s exciting and lyrically unique. “Honey”
How To Solve Our Human Problems by Belle & Sebastian: A series of three EPs, “How to Solve Our Human Problems” feels to me like B&S’s best set of songs since 2006’s “The Life Pursuit”. “The Same Star”
Daytona by Pusha T: Direct and stinging lyricism come together with perfect sample selection and production by Kanye for a record that is incredibly satisfying for being barely over twenty minutes. “Come Back Baby”