With 2018 having brought another bumper crop of great sounds, we tapped on our friends at local record store CD Central to highlight some of their personal picks for the best new music releases of the year, broken down by genre. Readers are encouraged to keep in mind while reading that this is a highly subjective list; not all are necessarily the most popular or best-selling releases but albums that may be a bit under the radar and worthy of a listen.
Key to reviewers:
AA – Aayat Ali
AS – Andy Stith
EM – Edward Mason
EO – Elizebeth O’Dell
MW – Matt Wickstrom
RD – Ronnie Donohue
WB – Will Burchard
Indie/ Alternative
Parquet Courts – “Wide Awake” Andrew Savage and the rest of the Parquet Courts gang are back this year with their impassioned sixth studio album. Enlisting Danger Mouse as producer, the band isn’t afraid to push the envelope, weaving back and forth between angry and nihilistic post-punk, and thought-provoking danceable funk. They’ve stepped out of their comfort zone with this one, and it’s certainly paid off as their most expansive album to date. (EO)
Swearin’ – “Fall Into The Sun” Swearin’s new album squeezes tightly packed catchy pop-punk tunes into 33 minutes of ups and downs, taking care not to overstay its welcome. Taking turns with vocals, Allison Crutchfield and Kyle Gilbride reflect on the rough patches of the past and also look toward the future with a distinctive ’90s sound that I can’t help but fall in love with. Give these Philly indie darlings a listen, and you’ll be sure to enjoy this wistful gem over and over again. (EO)
Father John Misty – “God’s Favorite Customer” Father John Misty wows again on “God’s Favorite Customer,” the fourth studio album under the songwriter’s current moniker (he previously put out a handful of albums as J. Tillman and performed with the band Fleet Foxes as well). The album brims with eclectic songwriting and musical arrangements, even featuring a whistling solo on the song “Mr. Tillman,” a nod to the songwriter’s given name. (MW)
Mitski – “Be the Cowboy” I love this album and think it’s Mitski’s best work to date, thanks to her ability to take simple anxieties (“I’ve been big and small again/ And still nobody wants me”) and turn them into solid rock bops. Although she is singing about the daily insecurities, her voice resonates through it all and encourages us to “Be the Cowboy.” (AA)
Courtney Barnett – “Tell Me How You Really Feel” “Tell Me How You Really Feel” is Courtney Barnett’s music in a nutshell, taking note of her surroundings through a seemingly endless stream of consciousness. Her music shares a conversation with the listener as she matter-of-factly speak/sings her thoughts, which is why her songs continuously stick with me. (AA)
Speedy Ortiz – “Twerp Verse” “Twerp Verse” is calculated and riddled with twists and turns that could give the listener whiplash. Lead singer Sadie Dupuis is known for her meta, unabashedly political, tongue-in-cheek lyrics. With an upbeat, punk-inspired indie sound, the band excels at creating melodies that are ridiculously unpredictable, yet still catchy. (AA)
Unknown Mortal Orchestra – “Sex and Food” This is the album that hooked me on the New Zealand-based psych band. While I had always appreciated their music, the eclecticism of this album – the band’s fourth studio album – really grabbed me. Every track on here sounds different from the last, and the lead single “Hunnybee” is one of the grooviest tracks I’ve heard all year. (RD)
Rosali – “Trouble Anyway” Certain tracks on this overall folky sophomore effort from this the solo incarnation of Philadelphia-based musician Rosalie Middleman sound reminiscent of Patti Smith. Whereas Rosali’s last album was more acoustic, she definitely turns up the layers throughout this one, including the epic “Rise to Fall.” (RD)
The Beths – “Future Me Hates Me” Every song is full of energy and driving guitar on this great late-summer pop rock album – even slower songs are amped up to keep the momentum going throughout the whole album. (RD)
Mt. Joy – “Mt. Joy” Introduced to many in Lexington when they opened for Neko Case at Manchester Music hall last January, Mt. Joy deliver an impressive debut, alternating subtle jams with songs featuring catchy lyrics that’ll quickly get stuck in your head. The end result is a pop-rock collection chock full of soulful harmonies, thoughtful lyrics and excellent musicianship that render it perfect for radio soundscape. (MW)
Horse Feathers – “Appreciation” Frontman Justin Ringle enlists the talents of Lexington’s own J. Tom Hnatow and Robby Cosenza on Horse Feathers’ latest effort, “Appreciation,” an upbeat concoction of soothing indie rock. (MW)
Superorganism – “Superorganism” This eight-piece collective led by vocalist Orono Naguchi released its glittery synth-pop debut album earlier this year. Merging bedroom pop with an impressive juxtaposition of acoustic and synthetic-found sounds and samples, the group credits this unique DIY method to different flavors of their musical influences. “Superorganism” has quickly become one of my favorite electro-pop albums to date. Bouncing ideas off of one another has never sounded so sugary sweet. (EO)
Rock & Metal
Ghost – “Prequelle” Everyone wants to think of Sweden’s Ghost as a metal band, but in reality, they’ve never really been a metal band. A modern-day Blue Oyster Cult with a healthy dose of cartoonishly evil satanic theatrics is perhaps a more apt comparison. You really have to see them live to get the full experience. Loosely inspired by the medieval Black Death, “Prequelle” finds the band – perhaps unintentionally – shedding the metal moniker further. This ’80s-inspired, synth-heavy album comes across as sonically more inspired by ABBA or Boston rather than, say, Mercyful Fate, as was the case with their 2010 debut “Opus Eponymous.” However, despite being Ghost’s most accessible material yet (as accessible as an album featuring the lyric “While you sleep in earthly delight, someone’s flesh is rotting tonight” can be), the anthemic, sing-along choruses and ’80s classic rock sound of “Prequelle” is some of the band’s best material yet. (EM)
Hot Snakes – “Jericho Sirens” On its first studio album in 14 years, California-based post-hardcore band Hot Snakes recognizes the dark imperative of the times with 30 minutes of nihilism and discordant riffs. (AS)
Oh Sees – “Smote Reverser” This release from the prolific psych warriors formerly known as Thee Oh Sees, The Ohsees and other iterations is weird enough to overcome my distrust of prolific neo-garage acts; it also has the best fantasy artwork since Magic: the Gathering Fallen Empires. (AS)
Mythic Sunship – “Another Shape of Psychedelic Music” Danish instrumental dudes borrow a sax player and elevate these jams to eleven. (AS)
Cave – “Allways” The Chicago psych/kraut stalwarts amp up the Afrobeat on this late-night long player – it’s a grower not a show-er. (AS)
One Eleven Heavy – “Everything’s Better” Featuring the talents of former Lexingtonian James Toth (Wooden Wand), the good-time warm-clime tunes on this album reconfigure the “jam band” formula, free from tie-dye, harsh vapes and stupid lyrics. (AS)
Foxing – “Nearer My God” “Nearer My God” is a significant departure from Foxing’s earlier, straightforward post-rock offerings. While often described as a part of the contemporary “emo revival,” that description doesn’t really do the band justice, and this album is far more ambitious than that. Spanning a wide range of genres, it incorporates elements from indie rock, post-rock, soul and electronic; at times even recalling some of the more rock-oriented Prince material. With “Nearer My God,” Foxing has really taken a chance moving away from their earlier Explosions in the Sky by way of early 2000s emo – and it has really paid off. (EM)
Brian Fallon – "Sleepwalkers" When Brian Fallon’s previous band, Gaslight Anthem, went on an indefinite hiatus, it left a void in punk-influenced Springsteen-esque rock. I was hoping that Fallon’s solo material would fill this void, but his 2016 solo debut “Painkillers,” despite some terrific songs, was a bit uneven. However, with “Sleepwalkers,” Fallon has righted the ship and then some. The album is just as influenced by Joe Strummer, Tom Petty and Elvis Costello as Gaslight Anthem ever was by Springsteen. This is indeed not a Gaslight Anthem record, but if you enjoyed the more soulful rock direction from the Gaslight Anthem’s “American Slang” and “Handwritten,” “Sleepwalkers” is likely directed at you. (EM)
Deafheaven – “Ordinary Corrupt Human Love” Black metal, post-rock shoegazers – and there are a probably a few other genres that could describe them – Deafheaven released one of their more brutal albums with 2015’s “New Bermuda.” With “Ordinary Human Love,” the band has traded in the black metal for something more influenced by Smashing Pumpkins. That is not to say they have abandoned all things heavy. Songs like “Canary Yellow” and “Glint” hint at the more extreme sound of 2013’s “Sunbather.” For those on the fence about heavy music, this album reveals that metal can be warmer and more organic than previously thought. (EM)
mewithoutYou – "[Untitled]" mewithoutYou have always been a difficult band to describe outside of the enigmatic term post-hardcore, and 2018’s “Untitled” only exacerbates this problem. Their follow-up to 2016’s “Pale Horses” – my pick for album of the year when it was released – somehow charts entirely new melodic territory while also calling back to the band’s earlier, harsher sound. From the glacial melody of “Julia (or, ‘Holy to the LORD’ on the Bells of Horses)” to the frenzied, dissonant “Another Head for Hydra,” the album moves delicately between Aaron Weiss’ quietly sung vocals common in the band’s newer material and the tense, spoken-word from earlier albums. Lyrically, Weiss continues his reign as the best around, with his esoteric Christian and Islamic references and painfully personal stories. (EM)
Jonny Greenwood – “Phantom Thread” soundtrack Another beautiful score from rock’s most-wasted talent. Imagine Debussy and Britten making out during an Ellington concert and you’re halfway there. (AS)
Americana & Country
John Prine – “Tree of Forgiveness” John Prine needs no introduction. If you are unfamiliar with this icon of country and folk music, my first suggestion is to go buy his back catalog and thank me later. His first album in over a decade doesn’t chart any new ground; however, it does give us something we desperately needed: more John Prine songs. If that doesn’t excite you enough, the album features guests ranging from Brandi Carlile to Jason Isbell. Songs like “Knockin’ on Your Screen Door” and “Lonesome Friends of Science” fit right in with that classic John Prine sound of whimsy, humility and hope. (EM)
Wayne Graham – “Joy” The Eastern Kentucky group led by brothers Kenny and Hayden Miles have done it again, conjuring up a magical blend of honky-tonk and psychedelia. “Joy!” is the group’s second release on the Dresden, Germany-based label Home Caravan. (MW)
River Whyless – “Kindness, A Rebel” The Asheville, North Carolina, foursome continue their ongoing journey of experimental indie folk expression with “Kindness, A Rebel.” Taking the spotlight on the record are the angelic vocals of guitarist Ryan O’Keefe and timely fiddle jams from Halli Anderson. (MW)
Kacey Musgraves – “Golden Hour” If Dolly Parton and Willie Nelson had a love child, she would be Kacey Musgraves. “Golden Hour” uses a perfect blend of pop and country, with a dash of sequins-laden disco beats, that brings a familiar yet euphoric sound to the Americana genre. Sometimes artists get too caught up in trying to be as metaphorical as possible, and that’s why this album stands out to me. It’s simply about someone in love – cutting right to the chase without sacrificing beautiful, twangy melodies. (AA)
Anderson East – “Encore” With commanding and versatile vocals soaked in a mix of R&B, soul and Southern rock, Anderson East captivates on “Encore.” (MW)
Bottle Rockets – “Bit Logic” The Bottle Rockets trade in their punk and rock infused undertones for a distinctly outlaw country vibe on “Bit Logic,” keeping the group’s signature matter-of-fact songwriting intact. (MW)
Brent Cobb – “Providence Canyon” Songwriter extraordinaire Brent Cobb returns with this follow-up to 2016’s “Shine on Rainy Day.” Produced by arguably the most sought-after producer in Nashville (and Cobb’s cousin), Dave Cobb (Jason Isbell, Sturgill Simpson, Chris Stapleton), this latest effort features more of his signature storytelling along with a collection of guitar and instrumental riffs that continually top themselves. (MW)
Sarah Shook & The Disarmers – “Years” Sarah Shook makes her case to be outlaw country’s leading lady on her new album, a compilation of tales looking back on painful past experiences – and in some cases drinking to forget them – combined with an in-your-face mix of honky-tonk and punk rock. (MW)
Jazz / Rap / R&B
Kamasi Washington – “Heaven and Earth” The man who almost single-handedly stayed the cultural execution of jazz has created a double album that actually has something to say. (AS)
Quin Kirchner – “The Other Side of Time” Thanks to ongoing efforts by the patron saint of local music Ross Compton (Outside the Spotlight concert series), I was able to see this act in face-melting glory when they came through in October. To those who missed out, you will have to console yourselves with this simulacrum, which is still better than anything in your Spotify algorithm. (AS)
Nels Cline 4 – “Currents, Constellations” One of the world’s best and most consistent player/composers pares down from his last orchestral record with an album that’s idiomatic and funky yet harmonically adventurous. (AS)
Jon Hassell – “Listening to Pictures (Pentimento Volume One)” It’s not every year we get a new Jon Hassell record. In this case, it’s been nine, but like the monolith in Kubrick’s “2001: A Space Odyssey,” the luminary trumpeter and composer is so far beyond our earthly reckoning that during those infrequent rencontres the rest of us can only sit back, enjoy the trip and have our minds blown. Still exploring his hypnogogic mixture of indigenous rhythms and heavily treated instrumentation, Hassell’s compositions play like light filtered through a jungle canopy or the outside world as heard through the hum of the womb. They move in and out of recognizable time and harmony. “Listening to Pictures” is in many ways the apotheosis of Hassell’s career, alluring and impenetrable, dense and beautifully engineered, moving effortlessly through sound and genre while still retaining its fundamental mystique. Star gate optional but not included. (AS)
Blood Orange – “Negro Swan” Dev Hynes of Blood Orange puts a new spin on the idea of the black swan, revisiting grim memories of being bullied and how that has followed him into adulthood as a marginalized person in today’s society. It’s a handbook for the downtrodden that fuses jazz and R&B and explains how isolating the world can feel – no one wants to be the black sheep, or as he puts it on the track “Charcoal Baby,” “No one wants to be the odd one out at times / No one wants to be the negro swan.” (AA)
Pearl Charles – “Sleepless Dreamer” Rising songbird Pearl Charles wows with this sophomore effort. With a unique blend of soul, pop, rock and sometimes funk, “Sleepless Dreamer” tells stories of empowerment and past mistakes without an ounce of regret. (MW)