In no particular order:
Marnie Stern – The Chronicles of Marnia
Yo La Tengo – Fade
The Lonely Island – The Wack Album
My Bloody Valentine – m b v
Free The Robots – In Other Worlds (EP)
Wesley – Second Nature
Chelsea Light Moving – Chelsea Light Moving
Daft Punk – Random Access Memories
Vampire Weekend – Modern Vampires of the City
Quasimoto – Yessir Whatever
Shugo Tokumaru – In Focus?
One disappointing thing I’m seeing with all these lists is Captain Murphy being overlooked. It came out really late, but I think it’s one of the most well rounded rap albums of the year.
Congrats, guys! Now would you mind giving more than a fraction of a fraction of a penny to the guys who made you rich?
I know it was mentioned in the above paragraph, Murder Mystery is a hell of a song. Heroin is probably the only big name omission here, so there isn’t too much to be upset about. Personally, because of the spoken word element to The Gift, I think it should be up there, but the two most important songs from White Light White Heat were well represented, so no biggie.
I understand you guys have been trying to be as against the grain as possible with these rankings, but come on.
I take offense to the Gambino jab. This is just a personal preference, but I hate the uprising of the minimalistic approach that has been running rampant this year in music, and Drake became one of the leaders of the movement with Take Care. Also, from a rap perspective, he was lacking. Lord Knows had too much blasphemy in it for me to really take it seriously (Marley and Hendrix…Going trigger happy…I wonder if they’d survive in this era), same for Over My Dead Body (I think I killed everyone in the game last year), and I’m sorry, but what in the good name of fuck was Practice? Camp got a little redundant after a while, but I’m a sucker for well thought out punchlines and that album is filled with them. As far as a rap album getting no love from either of these lists (although I can’t say I’m surprised), I did feel a wave of disappointment when I saw no mention of Kendrick Lamar’s Section 80.
It’s with a heavy heart that I admit to all of you gummers that I was not a teenager when Nevermind was released. I wasn’t ‘there’ when Kurt and Co. defeated Michael Jackson to claim the top position on the Billboard charts, or when he pierced his grunge laden sword through the hearts of metal bands every where and ‘changed everything forever’. When Kurt took his life, I was still getting the hang of walking upright (I was a slow learner), however, thanks to my father’s record collection, Nevermind made me feel as if I was actually ‘there’, whenever I pressed play. When I was 12, I asked my dad if I could borrow a couple of his albums. Without hesitation, he handed me Nevermind with an arrogant smile on his face and told me that this album was perfect for me. Sure enough, it was, and it still is. I don’t know if it’s Kurt’s gravely howl, his unique brand of confusingly brilliant lyrics, or the almighty fuzz that they produce, but Nirvana can connect to anyone on such a visceral level.