So I finally made the jump to Spotify Premium this past spring (after being a free user for many years), and it changed the way I listen to music. I’m still adjusting to letting go of the idea of “owning” music, but it’s definitely enabled me to listed to a *lot* more music than I did previously…and particularly to discover a lot more new music. So without further ado…my top 10 albums of 2016:
Blink decided to go back to their pop-punk roots for California after trying out some spacey alt-rock on 2011’s Neighborhoods, and I’m very glad they did. This is a classic, quintessential Blink album that manages to showcase their maturity and musicianship while also sounding like they’re having fun again. Matt Skiba is a great replacement for guitarist Tom DeLonge, and Hoppus’s vocals and Barker’s drumming sound as excellent as ever. California earned Blink their first-ever Grammy nomination (for Best Rock Album) – and it’s very well-deserved.
I love this band, and while Real Emotion is a departure from their previous albums, Paper Route’s more experimental approach here (mostly) works, and I definitely appreciated it more with subsequent listens. The a capella opener and slightly jarring distorted falsetto vocals of “Writing On The Wall” sets the tone for the rest of the album, but “Pretend” and “Chariots” are real highlights and showcase Paper Route at their best. There’s some other strange instrumentals and interludes, and some of the other more envelope-pushing tracks work well – “Laugh About It” and “Zhivago” are great – but “Balconies” is easily my favorite (that synth line!).
This Canterbury, England-based alternative/pop-punk four-piece definitely channels the sound of now-defunct The Dangerous Summer for their second album, but add in enough of their own spin to keep this album interesting. Their single “Honey” was the feel-good pop-punk song of my summer this year, but the rest of the album is solid as well. I love the huge outro of the opener “Pastel” and the epic swell on “Shimmer”; “Knuckles” and “Sway” are also highlights.
This four-piece indie rock band from Hertfordshire, UK’s (sort of) self-titled debut is bursting with youthful energy and raw emotion and is just flat-out one of the most fun albums of the year. With a sound derived from bands like Kings of Leon and Neon Trees, frontman Ryan Potter delivers soaring, super-earnest vocals over huge power chords and crunching guitars. The leadoff singles “Bonfire” and “We Could Be” are highlights, as are “Piece By Piece” (my favorite) and “Never Enough”. The 16-song track list could have benefited from a bit of editing near the end…but I guess these guys took their moniker to heart.
The debut album from crazy-talented British songwriter and multi-instrumentalist Jack Garratt is one of the more impressive efforts this year. Utilizing some innovative production and surprisingly mature songwriting to craft his electronica/pop sound, this album gets more and more impressive as you get deeper into it. From the catchy “Breathe Life” to the undeniably sweet “Weathered;” the haunting repeating female vocal sample on “The Love You’re Given” to the epic choruses of “Surprise Yourself” (easily the high point of the album) and the heavy EDM production on “Synethesia Pt. III” – Phase showcases the full range of Garratt’s abilities.
When I heard the first single (“It’s All In Vain”) off this album, I was intrigued. The atmospheric indie pop/R&B trio from Brooklyn have an understated sound that slowly worms its way into your brain…meaning that this album takes a few listens to get into. But there was something about it that made me keep coming back for another listen, eventually making it probably one of the most-played albums this year. Kelly Zutrau’s earnest, pleading vocals compellingly narrate a collection of sad songs about a doomed relationship…but that doesn’t make this album any less addicting.
A delta blues rock band from Iceland, you say? And they’re actually good? Yeah. These guys are good. If the album didn’t have a song in Icelandic (“Vor í Vaglaskógi”), you’d be forgiven for thinking JJ Julius Son and his counterparts were straight out of Mississippi. Kaleo is equally good when combining Julius Son’s raspy, heart-wrenching vocals and steamy guitar solos on the blues slow-jams (“Way Down We Go” and “I Can’t Go On Without You”) as they are at shredding your face off with the album’s heavier, high-energy tracks (“No Good,” “Hot Blood,” “Glass House”).
This indie electronic 5-piece from Auckland, New Zealand has quietly put out one of the best pop albums of the year. Led by the soaring dual vocals of Alisa Xayalith and Thom Powers, TNAF combines a healthy dose of synths, some stellar programming, and huge choruses to produce a consistently stellar album from start to finish. The singles are phenomenal (“Higher,” “Last Forever,” and especially “Laid Low”), but there’s hardly a misstep on this entire record.
I was fortunate enough to see this New York electro/rock duo perform live this year, and they completely won me over. Their appropriately-titled studio album is probably Phantogram’s most accessible to date, and it’s jam-packed with catchy, infectious electronic pop jams (“Same Old Blues,” “You Don’t Get Me High Anymore,” “Cruel World,” “You’re Mine,” “Calling All”). There are a few times where Sarah Barthel and Josh Carter still get weird (“Run Run Blood” is incredible, “Barking Dog” is particularly bizarre) – but after a few listens even these manage to get stuck in your head.
1. I like it when you sleep, for you are so beautiful yet so unaware of it – The 1975 (Listen on Spotify)
The album title may be overly wordy and self-involved, but the English four-piece’s sophomore follow-up to their 2013 smash self-titled debut was nothing short of spectacular. Sophisticated songwriting, brilliant production, and an even heavier infusion of funk, soul, R&B result in not only a fistful of glorious singles (“Love Me,” “UGH!,” “Somebody Else,” “The Sound”), but also some stunning transition and instrumental tracks (“Please Be Naked,” “Lostmyhead,” the title track). Seriously, the old-school, slow-burning soul vibe of “If I Believe” – complete with organ and church choir background vocals…brilliant. Here’s to hoping their meteoric rise continues.
Honorable Mention:
To Be Everywhere Is To Be Nowhere – Thrice (Spotify) – Musically, it’s Thrice’s heaviest sound to date — and (perhaps appropriately) lyrically its most political. I don’t endorse all of Kensrue’s stances, but this is great rock album.
22, A Million – Bon Iver (Spotify) – The most fascinating, musically innovative, envelope-pushing album of the year. Justin Vernon completely abandons conventional pop song structures and does some crazy things with instrumentation and vocoders on this one. When you’re in the mood for it, this should be listened to with a quality pair of headphones and 100% of your attention.
DNCE – DNCE (Spotify) – This is the most infectious pop album of the year, hands down (and has some surprisingly solid ballads too).
Heads Up – Warpaint (Spotify) – A little more polish to their unique sound this time around; the first half is particularly good.
Golden Silence – The Narrative (Spotify) – Good to see this Long Island indie duo back 6 years after their brilliant self-titled debut.
The Hamilton Mixtape – Various Artists (Spotify) – If you liked the musical/the cast album, you’ll love this.
Changes – Mutemath (Spotify) – Remixes of tracks from last year’s album Vitals, plus a killer new single; probably one of the best remix albums I’ve ever heard.
My Top 10 Songs of 2016
Alex's Top Albums 