#Also—excellent detail in Bad Rap's brace!

[yandere-toons]

I kinda posted this here since I don’t know where else to post it at. But I thought I just share it here :)

But I’ve been rewatching an old cartoon extreme dinosaurs and I only imagine a human character helping the bad guys, the raptors by giving them a place to warm up at their place…but then they don’t ever leave and now the raptors won’t leave THEM alone ^^’

[zoetropia]

Zoetropia’s Top 10 Albums of 2018

Well, here we are, later than usual but I couldn’t let myself not do it. I didn’t do any music writing this year so this thing is going to be longer than usual, with a lot more extensive honorable mention section than normal. That means I’ll probably lose most of you until you get to the top 10 but oh well. I listened to 163 2018 releases by the time of this writing. These are my favorite.

HONORABLE MENTIONS (in no order)

Yo La Tengo - There’s a Riot Going On: Solid, but solid for YLT is career-best material for most other acts. This band has been around for 34 years and they’re still this inventive, playful, and relevant. Incredible.

Mount Eerie - Now Only: Incredibly powerful (how could it not be?) but it’s more Mark Kozelek than Phil E. this time around.

Foxing - Nearer My God: A swelling, generous Emo magnum opus and its reach extends ever so slightly beyond its grasp by the end. But those first 5 tracks are an absurd collection of excellent songs.

Mitski - Be the Cowboy: Mitski goes full art rock in a very fine of collection of songs that show her range but struggle to cohere.

Phosphorescent - C’est La Vie: Matthew Houck and his band can still cut a lovely and rousing tune, and this album finds him growing up, settling down, and accepting the weight of the rest of his days. But yet, I miss his anger and rebellion. Some might say losing your rage is a sign of maturity. I don’t know if I agree.

Fucked Up - Dose Your Dreams:  Bursting at the seams with pretty much every style of rock that’s possible, but ultimately too shaggy to be a Great album. Still, there’s so much to like in this album, and it’s not afraid to give you more and more of it.

Joey Purp - Quarterthing: Wild, ranging, but most of all fun. Joey Purp finds himself stretching across styles, beats, rhymes, and samples but always sounds like himself. Maybe the most exhilarating rap release of the year.

Earl Sweatshirt - Some Rap Songs: And way out on the outer edges of what rap can be, we have Earl using his extensive powers of wordplay to explore his psyche and fill out the sketches of production that loop samples filled with tape hiss and record pops. It’s a rap record that feels both tossed off and intricate. In a word, effortless.

IDLES - Joy as an act of resistance.: A bit of a sophomore slump for one of my favorite new acts. Maybe they rushed to get the new record out to capitalize on the word of mouth of their bracing debut and a new record is always easier to publicize over a reissue. Still, there are some great, pummeling punk tunes here, and welcome additions to the set of one of the more raucous and rowdy live acts I’ve seen in a while.

Daughters - You Won’t Get What You Want: Brutal and uncompromisingly dark, this is one of the most frightening records I’ve listened to this year (I don’t listen to too much metal). Isolation, alienation, apocalypse, terror, despair. All the good stuff is in here! And while the unrelenting bleakness is part of its “appeal”, I just wish it wasn’t so one note.

The Sueves - R.I.P. Clearance Event: A relentless garage rock record, pumping up and speeding up some of your fairly groovy rock n roll to maximum distortion and maximum speed. They’re loud, they’re snotty, and if they’d leave Chicago, I’d love to see them in a tiny, sweaty venue soon.

Mastersystem - Dance Music: We miss you, Scott.

THE TOP 10

10. Superchunk - What a Time to Be Alive: Superchunk continue to justify their existence after their hiatus with their tightest and angriest collection of songs maybe ever. Always good to have the vets show the kids that they can rock just as hard, and be just as mad at the direction of the world.

9. Darlingside - Extralife: An absolutely gorgeous folk record, filled with beautiful male vocal harmonies and just the right amount of flowing instrumentation to build worlds of warmth. It’s thankfully free of fast strumming and floor stomping and sparingly uses the one-trick of a rousing crescendo in every song to explore more nuanced song structures. But when the trick is pulled out, it’s perfect.

8. Courtney Marie Andrews - May Your Kindness Remain: I love Kacey Musgraves and I was a big fan of her record this year, but this is my favorite country record of this year in a walk. The songwriting is strong and simple, foregrounding Andrews’ powerful voice and sad, longing words, and her strong backing band fills the space in just enough to color in the emotion.

7. Typhoon - Offerings: An enormously ambitious indie rock opera about life, death, art, and memory. Vividly detailed, intelligent, and impeccably orchestrated, this is the kind of record that’s aimed right at what I love. Oh, and it also quotes 8 1/2 so it was never not going to be on this list.

6. Parquet Courts - Wide Awake!: Never ones to shut up and play the hits, Parquet Courts goes full political with this one. Full of righteous ideological anger and the best and most varied songs of any of their releases, Wide Awake! tackles collectivism, environmentalism, economic inequality, violence in America, and how to stay aware, stay sane, find love and companionship, remain peaceful, and take care of yourself and others in a crumbling world. I can’t think of a record that captures this sociopolitical era more completely. And fuck Tom Brady.

5. Car Seat Headrest - Twin Fantasy (Face to Face): Will Toledo’s ongoing deep dive through his psyche takes a backwards turn as he remakes one of the more beloved of his “Bandcamp” albums with a full band this time. And these songs are worth the rework, as they are some of the brightest, heartbreaking, insightful, and detailed that Toledo has written in his young career. The new production doesn’t give them too much shine but instead fills out of enough of the sound to let them speak for themselves. Plus he did it all in a way that still fit the concept of the record. Pretty impressive.

4. Saba - Care For Me: Where Quarterthing is wild and Some Rap Songs is experimental, Care For Me is focused. It’s a sad, angry record about grief, loneliness, and depression. Saba’s flow seems to need to erupt out of him at times, culminating in the astonishing climax of PROM/KING as he describes the moment he found out about the murder of his cousin. It’s powerful, devastating music, and easily my favorite rap release this year.

3. Jon Hopkins - Singularity: It’s been 5 years since Jon Hopkins’ last LP and immediately upon listening to this new record, the time just seems to disappear. This is an album that could have taken a decade to make, or could have just appeared in the sleepless work of one night. As all of Hopkins’ work, it is precise and detailed, intricately textured and arranged. And as much as we know that every song on this album was worked over and perfected note-by-note, it still somehow feels organic and natural. Astounding.

2. Low - Double Negative: Despite being one of the figureheads of the genre, it really felt like Low had exhausted all the possibilities of “slowcore”. While they’ve never made a bad album, the formula of slowcore seemed to be inhibiting them more than anything, and it being 25 years into their career, it would be forgivable for Low to just continue making, say, Ones and Sixes over and over again. This is not what they did. This is easily best album Low has ever released. They twist and warp and distort their sound into shapes that are at once gorgeous, ominous, foreboding, isolating, and expansive. It is a remarkably cohesive album united around a sound that ebbs and flows, builds and decays, resolves and dissolves constantly and consistently. This is the undisputed masterpiece of Low’s career and I hope they keep getting better.

1. Beach House - 7: Similar to Low, it also seemed like Beach House had exhausted the possibilities of their brand of widescreen dream pop. To my mind, Bloom was the album they were working to all along and after that, they seemed a bit lost. Depression Cherry and Thank Your Lucky Stars had some nice tunes, but they were records that made it seem like the band didn’t know what to do now that they’ve reached their destination. And the two records made at the same time definitely didn’t help counter the impression that they lost their focus. But 3 years later, Beach House returned with their (duh) seventh album, and it’s the most focused statement of their career. It’s swirling and immersive, dialing up their shoegaze influence to build every song to an enveloping world of sound. It’s the perfect album to crank up my headphones and get lost in and Beach House is the perfect band to deliver that kind of album. It mines all the peaks of their previous records and melds them into one massive record that so consistently aims at my musical pleasure center that it seems a bit unfair to all other acts. I’m so glad that they found they way back, and that the way still points upward.