Back in June I lamented the evisceration of the year in terms of music, and since then not much has changed. I just did not have the emotional energy for really investigating new music. My album list is ridiculously thin — it won’t even reach a Top Ten. However, I continued to pay more attention to individual songs, in an effort to reduce the wastage (both of money and storage space) of buying albums I rarely play. Spotify Discovery and Release Radar lists provide a rich mine of suggestions, more than I can rightly get to, and it is possible to purchase individual tracks through Bandcamp and iTunes. Of course the downside is that I end up with fewer albums on the Year End list. If that really is a downside….
So this year I will start with an individual Songs of the Year list, essentially a short-list of songs that I heard and flagged for follow-up, and then decided that I liked them enough to buy them. I used to make playlists constantly on cassette way back in the day, and I recall having some excellent ones. I need to do that more often (not on cassette, of course).
The songs here are either standalone singles, or from albums or EPs that did not make my final Album list. They are sort of ranked…I mean, I like them all, but some I do play more than others. Continue reading The Music of 2020 — The Songs→
So: on to the actual list of actual albums of 2016. My introductory blurb is here. This year it is a Top 20, because the quality of music was just so high. In fact, unlike most years, this time I struggled with the bottom end of the list – there were a number of albums that were very close to making the cut, and it was difficult to not be able to include them (there were some no-hopers — there always are — but rather fewer this year than normal). My apologies to those who didn’t quite make it.
A real feature of the albums at the top is their staying power. Several of them were released early in the year (the Shearwater in fact was released digitally in December 2015 to those who pre-ordered), and despite the passage of time, and the tendency to focus on more recent albums, they hold up: They are as strong at the end of the year as they were when they were first released. For me, this is the true test of an album’s quality: if it gives as much pleasure or demands as much attention from me a year (or more) later as it did when it first appeared.
Van der Graaf Generator – Do Not Disturb
Is this the last VdGG album? There are hints that it might be, but on the other hand there are few musicians out there as prolific as Peter Hammill has been over his career…so who knows? At any rate, this is the old VdGG but sans David Jackson, which does remove a crucial familiar element from the music, but otherwise there is no mistaking the haunted angst, the echoes of the great band of the past.
Throes of Dawn — Our Voices Shall Remain
Throes of Dawn are a Finnish outfit that apparently at one time were black metal. They have softened and broadened their sound, but the metal hasn’t left. They are a bit derivative to my ears, but there are some beautiful instrumental moments in these songs — and whoever that guitarist is — well, it is gorgeous playing, soaring and evocative, and that is enough to slide this album onto the list.
The title track has a bass line stolen right from Editors “Sugar” — but nevertheless, I love the song.
Necro Deathmort — The Capsule
I’ve said this before: it is hard to predict what you are going to get with these guys. Relentlessly prolific, they are continually tossing out EPs and tracks that explore the landscape of ambience, electronica, drone, in myriad directions. The Capsule revisits the disquieting dark moodiness of Music of Bleak Origins, instrumental drone metal underlain with a jittery anxiety.
17. Opeth — Sorceress
Opeth is one of those bands that I have struggled mightily with for a long time, trying to hear what everyone else seems to hear, who love them so much. In the end I guess I have to say that they remain completely hit-and-miss for me. That being said, I find that Sorceress is one of their more accessible albums. I don’t love it, but I can listen to it more than most of their others. So here it is, number 17.
uKanDanz – Awo
And now for something completely different. It is hard to describe what we have here – based out of France, hard, energetic, proggy/jazzy rock, lots of guitar riffage and horns, and on top of it all the unique vocal stylings of their Ethiopian lead singer, Asnake Gebreyes. It is heavy and strangely compelling, but may well be an acquired taste.
Dead When I Found Her – Eyes on Backwards
As I noted earlier, 2016 was the year I really discovered industrial electronica, a genre I had never really explored before, having come across them completely by accident a couple of years or so ago when I found VNV Nation. But this year there seems to have been a bumper crop of the stuff brought to my awareness. DWIFH is a duo from Portland, Oregon; this album is all smooth synths and dark trance, oddly compelling and disquieting, perhaps a bit too sample-heavy for my taste, but interesting enough to make the list.
It’s halfway through 2016, so it is time for the semi-annual roundup of where we are.
It started out slowly, a couple of releases right off the bat from Shearwater and David Bowie, and then it seemed that there was little of interest in the immediate future. However I can’t say that I was paying a whole lot of attention to the music scene anyway: it’s been a tough year personally on a number of levels. But when I started to think about music again, a few surprising things had snuck into my consciousness – albums in styles and genres that I would not necessarily have sought out on my own, but here they are.
Every year I can count on at least one act to show up that I’d never heard of and that blows me away, but this year there are several. There are surprises, and there are disappointments. Obviously the current rankings are tentative and entirely subject to change, but it is unlikely that an album currently sitting near the bottom will suddenly rocket to the top. It is still a crapshoot though: there are a couple of powerful contenders to come, and at least one anticipated release from a trio with no name, and whose sound is a complete mystery at the moment. Who knows what this list will look like at the end of the year?
Before we get into the list and mini-reviews, a quick glance at the albums I know are in the pipeline:
Russian Circles – Guidance (August)
Seven Impale second album — September
Riverside electronica – looks like October
The as-yet unnamed Maciej Meller/Maciej Golyzniak/Mariusz Duda trio album (November)
Here we go: The contenders so far, in reverse order:
Arcade Messiah – II
Complex and heavy instrumental progressive post-rock. There is no doubting the musical chops of these guys, and there are some fine moments, but the album is perhaps a bit too self-important for its own good.
Iamthemorning – Lighthouse
I’d like to like this better than I do, it is quite lovely and atmospheric, but to be perfectly honest the slow baroque-pop tends to get a little samey after a while, and the breathy vocal style wears. The title track works so well because the male guest vocals effectively play off the soprano and provide density and interest. And the last track is outstanding.
David Bowie – Blackstar
Another album I am supposed to like more than I do. It is not a bad album by any means, and the title track is a strange, compelling monster…but I feel that sentiment is not really a good reason to rank an album, and it is only sentiment that could boost this album higher than it is.
The Vliets – I – IX
These guys generally do alternative psychedelic pop, but this album, digital only, is pure ambient electronica, composed as a sonic backdrop for some art installation. It does work perfectly in that context too – excellent background music. It would rank higher if it was longer.
The first or second time I heard this I was kind of excited, because it sounded so much more interesting than the previous album. It is heavy prog metal but more metal than prog, and more than a few moments really caught me up…and then something happened. The third and subsequent times I played it…it just sat there. It lost its edge really quickly, and I find that except for a couple of tracks near the beginning, I so lose focus that I am surprised to discover that the album is over. I barely notice it.
Inspired – Music Inspired by Alchemy
There are some great, atmospheric instrumental pieces on this album, the third in an occasional series, but not enough of them. And most of them are just too damned short. See my review here.
Airbag – Disconnected
I was so hoping that this band would step outside its lush, sweeping Floyd-channelling boundaries this time around, and extend their efforts … but alas, apparently they decided to play it safe. So very very safe. Disconnected sounds so much like the previous two albums that in my mind I have trouble disentangling the songs one album from the other. It’s just more of the same. They can do better than this.
Katatonia – The Fall of Hearts
Another album that is not hitting me where it counts. I was hoping for a return to heaviness, and there is some of that, but mostly they have turned to progressive metal with emphasis on the progressive. Not necessarily a bad thing, but it makes for an album that goes for atmosphere over kick-ass, and an album in which I cannot sustain interest over its considerable length.
Except for “Serein”. Which is jaw-droppingly amazing.