It’s always tricky to guess what, out of things that seem catchy and appealing at any given moment, will still be those things when the moment has passed. It’s the cold and unpredictable eye of history, which consigns most popular fads to the memory hole while exalting some obscure thing that only 25 people had noticed as world-changing. I know that not everything I initially wanted to listen to every day ended up staying a favorite, and the reverse. The year before last I declared Portugal. The Man’s Woodstock to be one of my favorite albums of the year. I pre-ordered it on vinyl and everything, being all ahead of the curve and whatnot, and now I have to live with hearing a soft-pop cover of Feel It Still as a corporate workplace playlist staple. That’s a pretty hard tumble from indie and cool into corporate-approved fake indie cool. Nonetheless, it’s not shaking me from my faith that this record is a keeper. History will decide what it will, but I’m going to go on listening to Woodstock like it’s the hit of the week.
And now, the moment you’ve been waiting for. Or dreading. Or, more likely, irrelevant and weeks too late to the party. 2017 is over and no one wants to think about it any more. It was a crap year, but crap years often inspire great feats of creativity. At least we had a tide of good music. Oh, so much good music…
1. Pure Comedy – Father John Misty
This is the album we deserve and need. It’s depressing as fuck, its bleakness relieved only by Misty’s signature hyper-articulate mordant wit. After the wedding album comes the hangover album. It’s the work of a man who’s snapped out of his honeymoon haze, looked around and saw the world all gone to hell. If there was one record I leaned on all year, it was this one.
2. Low In High School – Morrissey
You would think that Morrissey, with his nasty eccentricity and tone-deaf statements and complete inability to learn from controversy, has outlived his usefulness as a public figure. Yet he’s still capable of writing some of his punchiest music, and musically at least, he’s still relevant and on-point. He’s still both narcissistic and self-deprecating, angry at the world, romantic, petty, and inexplicably interested in Israel. He may even have matured a little; some of the new songs are quite sexy, as befits a man with some life experience under his belt, no longer pretending to be a celibate little naif.
3. Woodstock – Portugal. The Man
In a crap year, we kind of need a little escapism, a little fun. These guys have been plugging away for years, to little notice, but this year they finally hit the big time. They’ve always had a knack for great catchy tunes, tempered with a little darkness. They’re more catchy than ever, almost too catchy, like a tweaked out parody of catchy. Which is perfect, because we need to get tweaked on something that looks and tastes like pop sugar.
4. Lust for Life – Lana Del Rey
Well, I certainly couldn’t have predicted that Lana Del Rey would become one of the most consistent artists on the scene. She burst out in a blaze of way, way too much hype, and then she went and lived up to it. She likes to toy with romantic cliche in a way that both knowingly ironic and yet sincerely romantic, and she knows her way around retrofitted reference points. On this album she sounds like she’s beamed in from an alternate-universe Summer of Love, and it sounds nothing but timely.
5. Masseduction – St. Vincent
St. Vincent’s hi-fashion aesthetics may make her look like a ‘fun’ artist, but she’s actually a ‘dark’ artist, one who likes to explore the poses we strike in life. She can be depressing, she can be witty, she can be glamorous or scary, she can be all of those things all in one song. She’s one of those increasingly rare artists who work to please themselves, and end up with accolades they never aimed for, because they’ve hit on something pleases a lot of people.
6. Double Roses – Karen Elson
I don’t know about you, but I’ve been waiting for this record for years. Karen Elson’s first album became an instant classic for me in 2010. Now she’s finally back with her gorgeous voice, sophisticated songwriting and gothic folk/chamber-pop aesthetic intact. You gotta appreciate an artist who knows how to make the most of a harp solo.
7. Lotta Sea Lice – Courtney Barnett & Kurt Vile
Courtney Barnett deftly dodges our elevated expectations. And after the big breakout of her debut LP in 2015, the expectations couldn’t be higher. Instead of trying to live up to the hype all over again, she offers instead an informal-feeling collaboration with fellow deadpan songwriter Kurt Vile. It’s just as articulate and insightful as you would expect, with irreverent observations about the mundane and a sense of friends just having fun. Maybe they should form a band.
8. If All I Was Was Black – Mavis Staples
I have a shameful confession to make: I’ve never listened to Mavis Staples before this year. I know that she’s been a force in soul music for decades, and somehow, I’ve never paid attention. Maybe the thing that pushed this particular record into my conscience is its relevance. It’s an of-the-moment piece of work that’s politically relevant, from a veteran of the civil rights movement who can’t believe she’s still fighting the same old battle. But it’s not a work of anger and indignation, but an openhearted and optimistic one; as befits someone who made her name in the 60’s, Staples still believes that love can heal all of our rifts. And if she can, so should we.
9. The Far Field – Future Islands
I can’t get enough of Future Islands’ retro-synthpop romanticism. Their music sounds like a collage of 80’s New Wave elements, but it’s far too emotional to ever be called a retreat. It’s something beautiful and brand new that sounds like something that’s been around forever. That kind of instant familiarity is what we look for in new music, and we rarely find it, but when we do, it’s like an addition to the family. Samuel T. Herring remains one of the most unforgettable vocalists of the moment.
10. Hopeless Fountain Kingdom – Halsey
Halsey is a young songwriter whose work is both intimately confessional and ambitiously high-concept. On her second album, she writes about the effects of fame (it’s no cure for loneliness) and the challenges of challenges of love, quotes Shakespeare, and ties it all together with a loose narrative about disaffected youth in a near-future world. It’s catchy, modern, and ready for heavy airplay on indie radio at least, but satisfying challenging and personal.
11. Every Where Is Some Where – K.Flay
K.Flay is an artist whose work can be called post-genre. She’s been called – nominally – a hip hop artist, but that doesn’t cover it. She’s pulling sonic influences from all over, but her writing is confessional, almost emo. It’s also her strength. Sometimes dark and laced with profanity, sometimes vulnerable, sometimes funny. She’s part of a new generation of female artists who present themselves as unapologetic anti-heroines, telling their stories, taking pride in their honesty and pain, not afraid to be get weird and ugly. This is her second album.
12. Melodrama – Lorde
Last but not least in the series of outstanding second albums by precocious young women. Who could forget about Lorde? She was the teenage prodigy sensation of 2013 and now she’s almost all grown up. Sure, first love and first fame aren’t exactly fresh topics, and, no, there’s no way anything could be as unexpected and original as Pure Heroine was. But Lorde is approaching those topics with her usual wiser-than-her-years aplomb, and she’s still unique in her eccentricity.
13. Salutations – Conor Oberst
Conor Oberst used to be the teenage prodigy sensation of his time. Now he’s just another nearly-middle aged man who’s not as relevant or as cute as he used to be. That could be a cue to drop off the map. Or it could be a cause for renewed inspiration. It’s frankly great to see a major songwriter, who the emo generation grew up with, becoming mature and staying interesting. Also, what best of- list is complete without a shoutout to Oliver Sacks?
14. Brick Body Kids Still Daydream – Open Mike Eagle
This is the first time I’ve featured a hip hop album as one of my favorites. As you may have noticed, hip hop accounts for a huge swath of today’s pop culture, and it’s something I’m slowly educating myself about. This is a great place to start; it’s free of the aggressive posturing and machismo that makes most mainstream rap (and frankly, most mainstream anything anymore) so unappealing. Open Mike Eagle isn’t here to beef with other rappers or name-check the designer brands in his closet. What he offers is smart, personal, relevant songwriting that cuts across genres. Michael Eagle does standup on the side, and his wit lightens every track (and especially evident in videos.) Also, bonus points for year’s best Bowie shout-out.
The new Portugal. The Man album is pretty outstanding. Possibly one of the year’s best, though I’m not ready to call that race yet. One thing’s for sure; they made one of the year’s best videos. I thought that Rich Friends was the best song on the album upon hearing it, and this just pushes it straight into classic territory. It’s a clever band at their most clever. Put the thing on fullscreen for maximum impact and enjoy an on-point send-up of the internet advertising paradise, starring Dennis Reynolds himself. Maybe watch it a few times just to get all the nuance.
I bet if the Woodstock festival hadn’t been filmed, no one would even remember it. Or rather, those that were there would still be talking about it, but it probably wouldn’t be considered an historic event. Because not that many people were actually there and of those half were too fucked up to remember and the other half recollect the usual festival miseries of bad food, bad weather, and bad bathrooms. Everyone is so attached to Woodstock only because the movie was so good. I imagine the movie is probably better than the experience actually was. I’d say it did a lot to cement the legend of Jimi Hendrix as well. Hendrix had the good fortune to give classic performances at Woodstock and Monterey Pop, placing himself in not one but two of the most memorable and popular concert movies ever made. I’m not suggesting that Hendrix would be any less legendary a musician without appearing in those movies, but it is those performances for which we best remember him.