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.

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Imagine Dragons Floods the Airwaves With Another Boring Album

Origins contains a precious few shining moments, which are buried in a slog of poorly written product which just isn’t worth sifting through.

     Imagine Dragons is an alternative rock/pop band from Las Vegas. They gained popularity in 2012 with their double platinum debut LP, Night Visions. The strong push from Interscope Records and the massive popularity of singles like “Radioactive,” and “On Top of the World,” were important in their success, but the most important factor was Imagine Dragons’ ability to tap into the growing EDM wave which was cresting at this time, and give it a more accessible slant. This ability netted them two more platinum releases in 2015’s Smoke + Mirrors and 2017’s Evolve.

   While the group hasn’t exactly been a critical darling over the years, their commercial success is hard to deny and the lead up to this album is no exception. With four singles released ahead of time, including one written for the upcoming Wreck It Ralph sequel, Imagine Dragons has once again overtaken the radio in preparation for this LP. Now that it’s finally here, I must say, it’s a pretty weak outing.

   The production, of course, is well done. Working with Interscope Records, it’s virtually impossible to put out a project which isn’t well polished and put together. Origins is no exception. This isn’t nearly enough to save the album, but for so-so tracks like “Cool Out,” or “Bad Liar,” it’s enough to push them over the hump into listenable territory.

   Dan Reynolds’ vocals also have a few shining moments. The opener, “Natural,” has a genuinely impressive bridge, and actually got my hopes up far higher than they should’ve been. Throughout the album, Reynold’s vocals, even when performing obnoxious melodies, are one of the only redeemable qualities of this album.

   When we come to lyrics, there are exactly two well written tracks which are, puzzlingly, stuck on the very tail end of the ridiculous 50 minute runtime. “Burn Out,” tells a fairly conventional story of battling stress and depression, and though the song is certainly hindered by an abrasive instrumental, the sentiment is expressed well. The best track on the record is the closer, “Real Life,” the only of the fifteen tracks to cover a remotely interesting topic. It follows a man as her attempts to hold his marriage together in spite of the horrors of the modern world. It’s an interesting look at how the terrors of the external world, namely 9/11 and the Boston Bombing, effect the personal lives of those who aren’t directly involved. It’s a unique topic, and it’s handled well, lyrically.

   Lyrics, however, are a great place to start on my criticisms of this record. Aside from the two I just mentioned, virtually every other track could’ve been written by a computer. Tracks like “Only,” or “Zero,” are just meaningless. Even a track like “West Coast,” which is genuinely singable, is poisoned by a constant flow of pseudo-meaningful lyricism.

   When the lyrics do try to mean something, however, I’m left missing the soullessness of the previous tracks. Perhaps the most egregious here is “Love,” in which Reynolds drones on about the evils of racism in a series of platitudes, ignoring the real issues of institutional and generational racism, to simply point out that we all have the same blood and that skin color doesn’t matter. It’s naiveté borders on disrespect and it’s easily the weakest track of the bunch.

   The only common theme that can be found throughout appears heavily in tracks like “Machine,” “Digital,” or “Bullet in a Gun.” That is this idea of being an “outsider,” and dealing with the pressures to conform and give up their artistic integrity. Now, ignoring the fact that this band’s debut album went double platinum by essentially commercializing a sound which was popular in the underground before them, even these tracks are purely top 40 style, pop hits. This, along with very poor writing, makes these songs feel particularly disingenuous. The bridge on “Bullet in a Gun,” in which Reynolds shouts “sell out,” at himself nearly made me turn the record off.

   Beyond these lyrical and thematic issues, the instrumentals and hooks are just dreadful. “Boomerang,” borders on unlistenable, “Birds,” is smothered with decade-old trap cymbals, and “Stuck” is driven by an annoying drum track and vocal line that ruins whatever there may have been to appreciate.

   When Imagine Dragons hit the scene, their sound was flawed and a bit watered-down, but their youthful energy and catchy delivery masked most of their short comings. Half a decade later, all of that has faded to leave a boring shell of a group.

   Origins contains a precious few shining moments, which are buried in a slog of poorly written product which just isn’t worth sifting through.

2/10

HEAR ORIGINS: https://open.spotify.com/album/3JfSxDfmwS5OeHPwLSkrfr