Five Artists With Great Albums to Come in 2019

Here’s just a few of the great things to come in 2019!!

Tool

First and foremost, we’ll start with the most obvious choice. Maynard James Keenan announced over Twitter earlier this month that Tool had finished recording and were now only waiting on the mastering process to complete their fifth studio album. Their first release in 12 years, this album which is still yet untitled could be one of the most hotly anticipated rock albums of all time. There’s been no release date set, but it’s safe to assume that Maynard’s traditional format of Spring or Fall releases will hold steady.

When it comes to sound, it’s anyone’s guess. While recent albums have trended in a softer, more progressive direction, there is really no analog for a band as iconic as Tool returning to the spotlight after such a long hiatus. This becomes even more unique when one considers that Tool’s discography is essentially perfect, and that each member has actually been quite active outside the group, growing in their own excellent side projects. Despite the questions, though, I must simply fall back on the aforementioned perfect catalog to date, along with the incredible performances they’ve given both times I’ve seen them live recently, and say that this album will be well worth the weight.

Slipknot

The nu-metal juggernauts from Iowa have wained in popularity in recent years, but it’s worth remembering what heights they’d once reached. As a staple in the 2000’s hard rock scene and under the guidance of the legendary Rick Rubin, they were able to craft a sound which held onto much of the grit and grime of underground metal while weaving a plethora of catchy hooks and melodies that extended an olive branch to non-metal fans. This, combined with the gimmick of wearing horror masks during live performances, put Slipknot on the map.

That being said, all reports and interviews seem to suggest that the band is headed back to basics. Corey Taylor recently said that the new album will be “one of the darkest chapters in Slipknot’s history,” and that seems to be the case having heard the newest single, “All Out Life.” While the track features a bit of annoying electronic influences, the bulk was true heavy metal. Taylor’s screams are brutal and the guitar tone is the most abrasive it’s been in years. If the single is any indication, we could be in for a heavy addition to the band’s catalog.

Kanye West

Kanye West is one of the most divisive artists of all time, and he was incredibly prolific in 2018. In addition to his own solo record and an LP with Kid Cudi under the newly created KIDS SEE GHOSTS moniker, he produced multiple releases for artists like Pusha T.  He also released three non-album singles, one of which was an extended poop joke, and another was released at the Pornhub awards. Last but not least, he had a fully televised meeting with the president in the oval office. Put simply, Kanye West has placed himself at the center of our culture.

While I didn’t love the majority of his output in 2018, there is no denying the excitement of a Kanye album. While we will likely get one of the albums long rumored to be in the works, namely Watch the Throne 2, Yhandi, or Turbo Grafx 16, though there is really no predicting what could come from Ye. The one thing we do know, is that every Kanye release thus far has been miles ahead of the curve, influencing the culture for many years to come. We can expect nothing less from a Kanye record in 2019.

Hozier

Hozier rocked the music world in 2013 with two EPs which eventually coalesced into 2014’s self-titled LP. It’s an absolute masterclass in lyricism and vocal performance and has become a staple of the modern singer/songwriter scene. From there, we got radio silence for four years. Though he toured and released a few videos, there was little to no hint of a sophomore release anywhere on the horizon until, in 2018, he dropped Nina Cried Power. The four track EP was extremely well received and renewed the public fire for a new record, a request which may finally be granted in 2019.

When wondering what the album may sound like, it’s striking to think that, for all his critical praise and artistic ability, Hozier is still relatively young in his musical career. This was quite apparent on the new EP as he pulled in hip-hop and gospel influences for an entirely new sound. That being said, there are a few things we can count on with a Hozier record, namely, excellent lyrics, dark themes, and fantastic instrumentation. One can only hope for a second record that holds up  to his debut.

Richard Edwards

Aside from Tool, I’m far more excited for this album than any other. After shuttering the indie-rock group Margot and the Nuclear So and Sos, Edwards dropped his solo debut, Lemon Cotton Candy Sunset, in 2017. It was a sweetly arranged and well written contemplations on the divorce, sickness, and loss that he’d experienced in his few years between releases. He followed up with Verdugo, on the best albums of 2018, a darker approach to similar issues where he fully realized the orchestral folk sound he’d begun to experiment with.

Having announced a new release slated for 2019, there’s every indication that he could drop the best album of the year. His use of strings and other unique instrumentation has created one of the most fascinating and recognizable sounds in all the music industry. His lyricism is thoughtful and visual and considering the trend of his latest work, he seems to be on track for the best release of his career.

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Five Albums That Would Get a 10/10

I always want to talk about these great records, and I just can’t find enough excuses! So here’s Five Albums That Would Get a 10/10!

IDLESJoy as an Act of Resistance (2018)

Putting the list in chronological order means that our first pick is my choice for 2018’s album of the year, IDLES’ Joy as an Act of Resistance. I’ve said quite a lot about this album, so I’ll keep it short and sweet. Drawing from perhaps the most embattled, controversial, and often violent sub-genres in music history, this punk record uses the traditional staples of thrashing guitars, rolling bass, and high energy to craft music that stands up to any one of the punk greats of the 70’s and 80’s. This sets a baseline for Joe Talbot’s lyricism, music on masculinity and all it’s impacts on the modern world. It’s prescient, it’s powerful, it’s hopeful, and above all, it’s perfect.

Kendrick LamarTo Pimp A Butterfly (2015)

It’s hard to believe that we’re fast approaching the fourth anniversary of Kendrick Lamar’s seminal, jazz-rap masterpiece, but here we are. TPAB achieved levels of storytelling which haven’t been matched in rap music before or since and it did that by selling every ounce of the record to the story. The instrumentation is helmed by Kamasi Washington who would go on to release his own debut album two months later. Throughout, each beat incorporates elements of funk, jazz, Africana, soul, boom-bap, rock, and much more. It’s a musical tour-de-force through the history of African American popular music which is only outshined by K-dot’s lyricism.

Telling the story of a young rapper breaking down on tour and returning home to the streets that made him, Lamar dances between the metaphor and the literal, the jarring and the thoughtful, love and hate, all with an eye for the larger picture while not making a single bad track out of the 16. The story ultimately serves as a contemplation on the plight of the African American community in modern America. Is it honorable to thrive while your community suffers? Can an African American ever thrive without selling out struggles they endured? Will the community ever rise above their oppression and how? These questions and more Kendrick asks with remarkable clarity and don’t even get me started on the production. TPAB feels like a living, breathing conversation, and in that sense, it’s perfect.

Jason IsbellSoutheastern (2013)

When Jason Isbell, the resident bad boy of The Drive-By Truckers, was released from the band in 2007 and entered rehab in 2012, he seemed to be an extremely tragic case of one of the greatest young songwriters of a generation who just couldn’t hold it all together. Instead, he emerged a new, sober man, married then-girlfriend Amanda Shires, and released 2013’s Southeastern, adorned with a very simplistic picture of himself staring forward. Southeastern was Isbell’s contemplation on getting sober, growing up, and most of all, on change. It is one of the most moving and honest albums ever written.

With its opener, “Cover Me Up,” a love song written to Shires to assure her that he would get sober for her, the album immediately presented a new version of Jason. One which fully recognized his potential as a lyricist and artist. Throughout Southeastern, every single track is nothing short of pure poetry over chords. He speaks on the difficulties of leaving an old life behind, his fear of losing his love, and his excitement for the new life ahead of him. More so than any other album on this list, Southeastern lands here because it is simply a masterclass in lyricism from one of the greatest writers that’s ever lived.

RadioheadOK Computer (1997)

One of the most divisive groups in history, you’ll be hard pressed to find a music fan without an appreciation for this album. Coming near the turn of the century, OK Computer feels like the cold air creeping back into a room, no longer staved off by the burning fire that was the early 90’s and the grunge movement. The album aims to capture the apathy and bleak hopelessness of a generation, and Radiohead succeeds in every way. The instrumental pallet is remarkably broad, the production is almost robotic, and Thom Yorke’s vocals are whispish and often haunting.

It’s hard to describe what a cold and distant project this is. With mixes that bury and push odd instruments and arrangements keep listeners guessing by melding organic and electronic sounds seamlessly, Radiohead is able to throw a listener off of their center of gravity, so to speak, and inspire a viscerally lonely experience throughout. Lyrics about the modern condition toe the line so tightly between story and metaphor that what anger and vitriol is drummed up will be immediately stifled by distance. As waves of largely unfamiliar sound wash over you, OK Computer lulls listeners into a bleak apathy like only Radiohead can.

Pink FloydThe Wall (1979)

A very strong argument, and one that I would likely agree with, can be made that Pink Floyd has anywhere from two to five “perfect” albums under their belt and it’s true that few bands ever have had a run like Floyd in the 1970’s, but since this list isn’t called “Top Five Pink Floyd Albums,” I’ve chosen to stick with The Wall. This is, among other things, the defining prog-rock concept album, introducing the idea selling out every aspect of an album toward the concept as very little of The Wall, save “Comfortably Numb,” sounds a whole lot like Pink Floyd. It was also, quite famously, made amid horrific turmoil within the group which likely led to their disbandment.

Nevertheless, the four of them crafted a massive work of art that strikes the heart like few works in any medium. Where Dark Side of the Moon focuses on life and Wish You Were Here deals with fame, The Wall is, above all, about isolation, both the factors that create it and the effects it has on the human psyche. Not content with the simple “love each other,” message of the previous decade, The Wall aims to explored every facet of loneliness and desolation, giving serious credence to the pains which make it seem necessary while honestly addressing it’s detrimental effects. Ultimately, when the masterpiece closer, “The Trial,” ends with the wall finally coming down, the relief is palpable, and any serious listener has learned something about themselves in the process.

Top Ten Albums of 2018

Here it is, ladies and gentlemen! My picks for the top 10 albums of 2018! Thanks to everyone for a great year, and here’s to a fantastic 2019!!

10. John PrineThe Tree of Forgiveness

2018 has been a year full of legacy records, and few were more enjoyable than that of country and americana icon, John Prine. The Tree of Forgiveness is many things, not the least of which is a masterclass in traditional country songwriting. Each track is well-formed and buries its formulaic nature in a heap of heart and wit. We even get a fun feature from Amanda Shires on backing vocals early in the record.

Above all, the album is a showcase for a beloved figure in country music. Prine’s vocals hold the character of his many years atop the charts and his guitar work is as proficient as ever. Importantly, he avoids many of the trappings of legacy record, forgoing the sad longing for the past in favor of upbeat, enjoyable stories. There are heartfelt moments, notably in tracks like “Summer’s End,” and “When I Get to Heaven,” but they’re each softened by Prine’s persistent charm.

9. Kamasi WashingtonHeaven and Earth

The follow up to Washington’s 2015 debut, The Epic, Heaven and Earth is a sprawling jazz epic which fills a nearly three hour runtime to the brim. Intimidating, right? Luckily, Kamasi finds a way to make his music relatively accessible as well. The record ranges from fun and danceable to breathtaking in scope, never really feeling like a slog, despite the length. With the jazz genre having fallen off in popularity over many years, Kamasi is bringing the sound back to the mainstream better than maybe an other artist.

The instrumental pallet is a real pleasure on this one, pulling in choirs, theremins, congos, and a multitude of horns. On the other hands, the staples of his band turn in incredible work as well. The drums never stop and utilize cymbals better than any album I’ve heard all year, the piano is reserved, yet peaking in at the most opportune times, Thundercat’s bass drives each track along with a flare and Kamasi’s saxophone is just undeniably powerful. This is a forceful but gentle sophomore project from one of the most exciting artists in the jazz world today.

8. Post MaloneBeerbongs & Bentleys

Every time I start to think that trap is fully dead with no more quality records left to be made in the style, a record like Beerbongs & Bentleys comes along to reinvigorate it. On one of the catchiest and most successful albums of this decade, Post Malone delivers one fantastic hook after another, separated by well written verses and some excellent instrumentals. Tracks like “Zack and Codeine,” “Better Now,” and “Psycho,” will likely be large parts of our musical landscape for many years, thanks in no small part to Post’s vocal performances and several well placed features. 

Perhaps the highlight of this album, however, is the production by a massive team, lead by Louis Bell and Frank Duke. Each track is so well layered and benefits from a clear understanding of the sound they’re trying to achieve. This an especially apparent on the highlight of the entire tracklist, “Stay,” which wonderfully blends folk music with trap production. In the end, it’s an extremely listenable album with high replay value which we’ll talk about for many years to come.

7. Arctic MonkeysTranquility Base Hotel & Casino

Following a long and critically acclaimed career, the Monkeys announcement of an upcoming 2018 album left me wondering if they’d continue in the vain of their traditional, blues-inspired garage rock or pull in a few outside influences. I could’ve never expected something like this. Tranquility Base Hotel & Casino takes a hard left turn into psychedelic and glam rock territory with full confidence and the new sound benefits the band well.

Alex Turner’s vocals are especially excellent here, channelling his inner David Bowie to deliver a smokey and intriguing performance on every track. Additionally, much of the band took something of a backseat, trading in the guitar heavy sound of the past for a more atmospheric tone, which means that when the guitar finally roars in, each solo is impactful and well placed. Chiefly, TBHC has a tangible space to it and feels like a sonic profile of a real place.

6. Florence + The MachineHigh as Hope

Another simple album, High as Hope is the fourth studio album from Florence + The Machine, having established themselves as alt-rock powerhouses in the previous, indie-centric era. Here, they don’t aim to reinvent the wheel, but instead craft an enjoyable piece of orchestral pop-rock. The drums are very well produced and, though the pallet leaves a bit to be desired, the majority of instrumentation is quite excellent.

All of this is secondary, however, to Florence Welch’s remarkable performance as lead vocalist. She’s remarkably powerful on tracks like “Big God,” and yet sweet and gentle on “June.” Her phenomenal control lets her bring her Irish influences to the front in the form of a multitude of tight runs and she’s so dynamic that she’s able to paint thoughtful melodies over the various tracks, never once seeming to repeat herself or run out of ideas. The group doesn’t let their ambition outrun themselves, but instead create a high quality version of the sound that’s brought them massive success.

5. NonameRoom 25

One of the most surprising releases of the year, Noname’s theme heavy, jazz-rap album is starkly gorgeous. Her poetry background means that every single verse is jam-packed with wordy soliloquies that rely on a softer tone and flow to fit in the timing. After finding some mainstream acclaim with a feature on Chance the Rapper’s 2016 LP, Coloring Book, Noname finally realizes her potential two years later with this album.

Themes like race, feminism, and inequality bleed through this album, boldly informing her writing throughout, as is the case with much of the art that comes out of Chicago. The drum work is nothing short of incredible, setting complex grooves throughout and leading along an impressive team of instrumentalists, all of whom sound incredible thanks to great production, especially for an independent release. In an oddly weak year for rap music, Room 25 was a thoughtful commentary on the modern world and a fun listen all in one.

4. Richard EdwardsVerdugo

After ending his supremely successful run as the frontman of the indie rock outfit, Margot and the Nuclear So & So’s and recovering from worrisome medical issues, Richard Edwards finally returned in 2017 with Lemon Cotton Candy Sunset, his first solo release which promised the release of a sister album this year. While I expected a lot from the follow up, Verdugo crushed every expectation and stands as one of my favorite Edwards project to date.

The album continues, stylistically, where LCCS left off, but this time fleshing out the unique, orchestral folk sound much better. The songwriting is excellent here as well, both in terms of lyricism and hooks, with each song taking turns sticking in your head. Richard’s vocals are simply stunning on this record, especially on the more intimate second half, with “Something Wicked,” being one of my favorite tracks in his entire catalog. Last year’s project landed in the top ten of my 2017 list, but with Verdugo, he cracks my top five for the first time.

3. Father John MistyGod’s Favorite Customer

His fourth studio record and less than a year after his 2017 masterpiece, Pure Comedy, Father John Misty has established himself as one of the foremost songwriters of this decade. While Comedy took a frigid and cynical dive into the horrors of the modern world, God’s Favorite Customer is self-reflective and contemplative. He touches on alcoholism, maturity, loneliness, and much more in a terse runtime that never once feels either bloated or underdeveloped.

Misty is one of the best lyricists writing right now, and he proves that repeatedly on this album. “The Songwriter,” is a moving tribute to the medium of songwriting itself, while “Mr. Tillman,” is a snarky retelling of his own bender is through the eyes of a hotel employee. The way he toys with metaphor, point of view, and tone is fascinating and shows him to be a seriously elite writer. Ultimately, God’s Favorite Customer may not feel quite as prescient as its predecessor, but it’s still a masterclass in songwriting and a remarkable achievement, considering the quick turnaround time.

2. DaughtersYou Won’t Get What You Want

When it came to ranking this years releases, there were exactly two albums that had a shot at the top spot and, in the end, You Won’t Get What You Want came up just a hair short. Once an extreme metal band with songs lasting about 60 seconds, Daughters had blossomed into one of the most unique acts in all of hard rock by the time of their self-titled farewell record eight years ago. Upon their revival this year, however, the band gave us one of the inexplicable music experiences of 2018.

You Won’t Get What You Want incorporates elements of doom, industrial, grunge, punk and a multitude of other sounds to craft an unforgiving soundtrack with a particularly bleak outlook on the world. The lyrics are almost poe-esque horror stories, each conveying some vague sense of impending annihilation, telling succinct tales in of themselves while also having far reaching implications on the political and social landscape of our time. It’s unpredictable, it’s engulfing, it’s terrifying, and yet somehow it’s intensely personal. Easily the best paced album of the year, Daughters slowly and methodically unveil a brutal hellscape that is every bit as sprawling as and psych-rock piece and will remain forefront in the minds of listeners long after the first listen.

1. IDLESJoy as an Act of Resistance

When it came down to it, there was just no other record that could occupy this spot. No other band has so adequately recognized the state of the world in all its glory and shame while providing a fun, singable piece of work. After bursting onto the scene last year with Brutalism, IDLES continued this year with the best punk record in 30 years. This may seem like sacrilege, but I would put Joy as an Act of Resistance up against the seminole efforts of groups like The Clash, The Dead Kennedys, and The Ramones without hesitation. It’s that good and that important.

The overarching purpose of Joy is to examine modern masculinity, worts and all, to see what is worth keeping and what needs to be changed. Short of quoting large sections of lyrics, it’s difficult to explain how well Joe Talbot addresses this topic, following as it spirals through topics like immigration, violence, racism, love, and change. The instrumentation is thrashing and powerful, but it’s somehow still overpowered by the lyricism and Talbot’s performance. In the end, having aggressively hacked away the blocks that exist in society, the record stands simultaneously as a touching celebration of the beauty in the world and a visceral attack on that which robs us of this beauty.

Joy as an Act of Resistance the first album to ever receive a 10/10 score from Brendon’s Beats, and for my money, it’s the undisputed best album of the year. 

The 10 Worst Albums of 2018!!

Thought I’d take some time and have some fun talking about the albums I really didn’t like this year! Let me know what you think in the comments.

10. Kanye WestYe

Including this record was a difficult decision for me for a few reasons. Firstly, it hasn’t garnered near the universal distaste that has followed many of my entries on this list and I seem to be in the minority in my dislike. Secondly, it is leaps and bounds better than the majority of this list. However, considering Kanye’s long career of gigantic, meticulously crafted masterpieces, Ye is heartbreakingly aimless and meandering. At the end of a runtime that barely clears half an hour, listeners are left with nothing by way of answers for Ye’s recent antics or even an enjoyable piece of art to justify them. Instead, we have to stew with the fact that, after 8 breathtaking and diverse albums, Ye has finally let us down for the first time.

9. Sun Kil Moon This is My Dinner

Following one of the best releases in his very long career in last year’s Common as Light and Love Are Red Valleys of Blood, Sun Kil Moon made a quick turn around and seemed poised for an impressive follow up. Unfortunately, This is My Dinner fails fantastically. While the dreamy instrumentals and wide pallet are quite nice, they constantly marred as the man himself seems determined to mumble over them constantly while saying exactly nothing. When it comes to a Sun Kil Moon record, we don’t ask for active vocal melodies or catchy hooks, but we do ask for great lyricism, and when that is lacking, the project is almost unlistenable.

8. Kevin GatesLuca Brasi 3

Another entry in this list which received some sporadic, critical praise, Luca Brasi 3 is by no means unlistenable. In fact, if I’d never heard trap music before, I may even enjoy it. But after more than a decade of trap’s position at the top of popular music, the fatigue effects this album worse than most. This is because Kevin Gates does virtually nothing to differentiate his project from the tsunami of average, dime-a-dozen trap albums which is washing over the music industry at the moment. Snarky, braggadocios lyrics, trap cymbals, extended flows, we’ve heard it all a million times.

7. Nicki MinajQueen

Few feelings compare in intensity to the dread I felt when sitting down to a 70 minute Nicki Minaj album. Shockingly, it was slightly less offensive than expected, though it still lands here. While the instrumentals are, mercifully, more than mind numbing trap beats, they are nevertheless extremely puzzling, featuring strange pianos and the odd latin influence. Nicki’s trademark voices and accents are as grating as ever, though there’s a noticeable lack of her classic, high-pitched squeal, which is progress of a kind. Queen is just an overall unenjoyable experience which can at least be ignored, which is an improvement over previous work.

6. Lil DurkSigned to the Streets 3

There was a time when a new Lil Durk mixtape, particularly a continuation of the Signed to the Streets series, some of the best albums to come out of the drill scene, would’ve been massive news. It would’ve dropped to massive acclaim on Spinrilla and boast hard hitting bars and excellent underground features. Instead, it dropped on Spotify to virtual radio silence and featured the likes of Future and Lil Skies. In most cases, I wouldn’t even include this album on this list, and I’ve largely ignored the majority of Durk’s recent work, but Signed 3 is a disappointing conclusion on par with the likes of Godfather III, and I couldn’t help but mention it on this list.

5. Panic! At the DiscoPray for the Wicked

Speaking of artists that have aged poorly, Panic’s recent release is the sixth and worst in their discography. 2016’s Death of a Bachelor was the first time we heard Panic as a Brendon Urie solo project and though the absence of the other members was felt, there were enough unique ideas and Urie’s vocal was good enough to muscle the album up to a bearable level. Pray for the Wicked, on the other hand, is lacks all semblance of fun. Each track is a predictable, synth-heavy slog that feels almost obligatory at this point. There are no exciting vocal moments, no catchy hooks, just one uninspired attempt at a radio hit after another. It seems blatantly obvious now that Urie has outgrown the Panic moniker and the limitations that come with it.

4. Imagine DragonsOrigins

It seemed after last year’s Evolve, that Imagine Dragons’ career had run its course and possibly even overstayed their welcome. A year and another album later, this is the case tenfold. Origins makes some effort at interesting or heartfelt songwriting, but it’s so horribly stifled by the band’s need to write catchy hits for whoever listens to their watered down, EDM influenced pop, that these efforts are thwarted at every turn. The production is atrocious, zapping nearly all of the character from the lead vocals which are the record’s only prayer of an interesting quality. The worst offense, however, is the constant lyrical fixation on being an outsider and fighting the system, this coming from a band who’s debut album went double platinum and who’s music has flooded radio stations since their inception, chiefly because of their willingness to take underground influences like EDM and hip-hop and repackage them for mainstream audiences. This album is about as rebellious as the droves of Harley Quinn costumes that filled halloween parties this year, and it’s extremely boring to boot.

3. Fall Out BoyM A N I A

In a similar vein to P!atD, Fall Out Boy has been cashing in the good faith from their two good albums in the mi- 2000’s for almost a decade now with one vapid, overproduced, emo-pop album after another. With M A N I A, it would appear that they’ve scraped the bottom of the barrel. Soulless production, and atrocious instrumental pallet, and often grating hooks are just the start. The lyrics sound like the scribblings of a 12 year old FOB fan, desperately attempting to sell the illusion of edginess. Additionally, Patrick Stump turns in his most unforgivable vocal work to date. This is just yet another gratuitous release from a band that is so far past their sell by date that it’s becoming depressing, especially considering the special place their earlier work holds in all of our memories.

2. Florida Georgia LineFlorida Georgia Line

Granted, this was only an EP, but it was so egregious that it simply couldn’t escape this list.  When you start this album, there’s a lag moment, where your brain struggles to parse out what it’s hearing. Next, your body instinctively recoils, trying to defend itself from what it’s hearing. By the time you’ve reached the “acceptance” step of hearing a Florida Georgia Line project, it’s nearly over. I use the hyperbole because it’s difficult to point to one problem that lead to this, mostly because the answer is all of it. Vocals are comically twangy, the instrumentation sounds like a stock, country music ringtone, the hip-hop influences are atrocious, and the lyrics could be written by a country mad-lib book. Imagine a man in cowboy boots, drinking Mike’s Hard Lemonade, and vaping. That’s this album’s target demographic. It is, however, mercifully short, which is so much more than I can say for my top choice on this list. 

1. Drake Scorpion

How did you feel when you heard that Drake’s new album would be 25 songs and 90 minutes long? Me too. Following a very publicized beef with Pusha T which Pusha ended with one of the most brutal diss tracks in rap history, Drake entered his album cycle, for the first time, with a massive blemish on his record. Scorpion could’ve been a long, stream-of-consciousness contemplation on Drake’s fame and the issues he’s faced. It could’ve been a hard-hitting push back against his detractors. Instead, it was musical wallpaper, much like every other Drake album, but this time with a larger budget and a 90-minute runtime. Scorpion is a giant tribute to the epidemic of meaningless, effortless albums flooding the industry today and because of that, Scorpion is the worst album of the year.

Highlights of My Vinyl Collection

I’ve been collecting vinyl for awhile now. A few years and a few hundred albums later, here’s five highlights from my collection!

5. Richard Edwards – Pity Party LP

R-11145459-1519071279-3636.jpeg     On first glance, this may not seem like much. It’s been kept in relatively great condition, the cover is minimalistic and interesting, and the lightning blue vinyl is striking. What makes it special, however, is it’s status. The record only sold about 500 copies, and hasn’t been reprinted since. It was produced as a collectors edition, and as a place holder between Edwards’ excellent solo debut, Lemon Cotton Candy Sunset, and his even better follow up, Verdugo.

   The album itself is a combination of tracks from the two aforementioned projects, each performed solo on an acoustic guitar with minimal production. Edwards has such a gorgeous voice and talent for commanding attention to stripped back performances. In most cases, the less barrier between him and the listener, the better. In the end, this is one of his best projects to date, and I only wish it was in full circulation for those who weren’t able to procure it on it’s first and only print.

4. Tool – Lateralus LP

tumblr_n55pmsbyt01rgojw1o1_500_600x   Turning from one of my favorite folk artists to may absolute favorite hard rock group of all time, my second choice has got to be my Lateralus by Tool. The design on the case is gorgeous enough, sporting the colorful spirals associated with the record’s theme, but the picture discs on the inside are even more impressive. They show the upper half of a human body, removing one layer for each side of the two discs. It’s a purely Tool design, and it sets the mood before the record has even played.

   Musically, what is there to say? It’s a Tool album. It’s fantastic. Lateralus is the band’s most technical work, mixing in complex mathematical elements and executing polyrhythms with a rare precision. Instrumentally, this album is a peak, especially for Justin Chancellor’s bass work, as he begins to find his footing with the group in a major way. Maynard’s vocals and lyrics are, of course, incredible, and overall, the album is just a pure master work.

3. Pink Floyd – Collection

  From progressive metal to pure progressive rock, we’ll turn to my personal choice for the greatest band of all time, Pink Floyd. My collection is missing only a few entries, namely Wish You Were Here and A Momentary Lapse of Reason, but the bulk of their massive discography sits comfortably near the front of my record box. The designs are breathtaking in their simplicity, one of my favorite qualities of Floyd’s album covers. Dark Side of the Moon and Atom Heart Mother in particular create so much meaning with basic covers.

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   When it comes to content, as I said, I consider Pink Floyd the greatest rock band of all time. Listening to their discography in order, you’ll hear them grow and breathe as a group with very few stumbles along the way. Their prime period, from Dark Side of the Moon in ’73 to The Wall in ’79, is nothing short of perfect. However, their earlier, more experimental work is fun and exciting and their later work is expansive and powerful. They’re simply the best to ever do it.

2. Kendrick Lamar – Autographed Damn. LP

Screen Shot 2018-10-18 at 8.42.39 AM.png   Though rap music doesn’t have nearly the tradition in the vinyl world that other genre’s do, I just can’t resist including this gem. The blood red vinyl references one of the best tracks on the album and Kendrick’s enigmatic face peaks out irresistibly as one flips through their stacks of records. Above all, however, the autograph elevates this LP above the rest of my Kendrick collection.

   Musically, DAMN. certainly isn’t my favorite album from Lamar’s discography. That being said, it’s still one of the best records of 2017 by a mile. The heavy trap influences and simple aesthetic is a notable difference from To Pimp a Butterfly’s jazzy, maximalist style. Kendrick’s flow is blistering, and his lyricism is second to none in modern hip-hop. He’s one of the greats, and it is a pleasure to be alive during his run.

1. Margot and the Nuclear So & So’s – Broadripple is Burning/Holy Cow SINGLE

R-745551-1518276605-9152.jpeg   This was my white wale, and last year, I finally caught it. The debut single for one of my favorite bands is the reason I started collecting vinyl in the first place and it was brutally hard to get my hands on. I eventually got my hands on it for less than $100, a score as far as I’m concerned, and it now sit’s proudly atop my collection. The cover is simple and hand-drawn, the disc is a basic black, and the packaging is fairly worn, but it still stands as my crown jewel.

   The lead track is beautiful, as one would expect from a band fronted by Richard Edwards. His voice is youthful and the instrumentation is full in a way that it wouldn’t be on later releases. Lyrically, it’s one of my favorite tracks of all time, as evidenced by the line from it’s second verse which rests permanently on my arm. The B-side, “Holy Cow,” is fun as well, sounding much more like the band’s later work, but nothing tops “Broadripple is Burning.” I’ve collected nearly 200 records at this point, but none of them have given me the feeling of excitement I got from this single.