2017 Albums ----------- In 2017 I made a specific effort to pay more attention to modern music. Admittedly, I wasn't trying very hard and my efforts were mostly about using the discovery features of Spotify. This did yield some fruit (particularly in the R&B renaissance that was going on) but this year is still mostly comprised of artists from the early century indie boom that I had been following for years. .. image:: images/2017.jpg :width: 900 :alt: My favorite albums from 2017 .. raw:: html - *Unplugged* by **A-ha** - This is certainly the outlier here, a very 90s kind of performance from a very 80s band. I had heard for years about how A-ha were way more popular in Europe and how they were much better than the one hit wonder they were here. The Spotify algorithm decided I needed to her this, and I'm glad it did. The understated arrangements really show off how great their songwriting is. I'm a huge fan now. [*Memory*: I used to listen to this on repeat while painting D&D miniatures] - *Native Invader* by **Tori Amos** - After her previous record I had assumed that Tori was going to make much smaller and more subtle music in her later career. This record certainly proved me wrong on that. A return to her late 90s glory years, this album is a very big sounding, and at times straight up rocking. This isn't *Choirgirl*, but it isn't too far from the best of *Venus*. *Geraldines* scared me a little bit because Tori was starting to sound a bit older. This record makes it clear there are many exciting records yet to come. [*Memory*: Realizing that Tori was going to keep doing what Tori does for a long time, and feeling happy] - *Dedicated to Bobby Jameson* by **Ariel Pink** - Yes it breaks my heart that he has been outed as a terrible person, and I can't imagine I'll be keeping up with his career going forward. That said, these records are stunning works of outsider brilliance. If I'm going to keep records by people like Michael Jackson on this list, there is room for the work other deeply flawed artists. [*Memory*: Enjoying the very dated sounds taking me back to the glory days of this kind of thing around 2010] - *Lust for Life* by **Lana Del Rey** - It is her weakest record thus far, but still among my favorites. The whole thing is a little to mid tempo monotonous, but there are still some stunners here, including the title track. The outstanding production values of the record really puts this one over the top. [*Memory*: This is essentially the background music of this era of my life] - *Dirty Projectors* by **Dirty Projectors** - While this project existed before and will continue after the musical (and romantic) partnership of Dave Longstreth and Amber Coffman, I doubt I will ever enjoy the records made by those other incarnations nearly as much. The exception is this Longstreth solo effort that serves as a document of the dissolution of that central partnership, and a compelling bookend to an amazing run of records. [*Memory*: I heard this album before I knew anything about the breakup, but I didn't need to hear the story from the indie bloggers to know what was up] - *Jardín* by **Gabriel Garzón-Montano** - 2017 was the year I discovered what is now called "Alternative R&B". An ambiguous genre, to me it feels like a return to what Stevie Wonder was attempting to to in the mid-70s. This record especially feels like the kind of thing Stevie would have come up with if he had been born in the 90s. [*Memory*: This was the golden era of Spotify recommendation radio for me, thanks Spotify!] - *Painted Ruins* by **Grizzly Bear** - Some bands are constantly changing and trying new sounds, others like Grizzy Bear, started with a fully developed sound and have been gradually perfecting it. I'm curious how many more albums of this same general formula I will tolerate. "Losing All Sense" is getting pretty close to the ultimate implementation of this kind of music. [*Memory*: I actively avoided the record thinking they had lost the sound I loved, and yeah I was wrong about that] - *Choir of the Mind* by **Emily Haines** - *Metric* is a fine band, but Haines solo work is on a completely different level. We seem to only get one classic album a decade from her, but maybe that is why the level of songcraft is so high. A gorgeous set of songs mostly about the artist and her piano with just enough atmospheric electronics and vocal overdubbing to create a pleasant warmth. [*Memory*: I've listened to "Legend of the Wild Horse" so many times, I know I'll never tire of it] - *Melodrama* by **Lorde** - [**2017 FAVORITE**] This album is amazing, but it fills me with anxiety. I greatly fear the machinations of mainstream pop music will get their hooks into Lorde and turn her into a Billie Eilish style commercial interest instead of her far more interesting authentic self. This album put her much more on the **Kate Bush** path of a prodigy bucking prevailing trends and pushing the boundaries of modern pop. Will this be allowed to continue? [*Memory*: I hated the lead single "Green Light" at first because it was such a change and I wasn't ready] - *Sleep Well Beast* by **The National** - I'm an aging indie bro, so of course I love these guys. There is just enough here to connect me to the band I have loved over the last 10 years. Somehow though, it is just gut enough in a way that makes it feel like my jumping off point. [*Memory*: Somehow this record never sticks in my memory, but I really enjoy it each time I listen to it] - *Kid Kruschev* by **Sleigh Bells** - In the 2010s there were many buzz bands that got way more attention and credit than they probably deserved early in their careers. Some of them have developed into stunning artists that probably are now not getting nearly enough credit. Chief among them is Sleigh Bells, who have turned their semi-obnoxious combination of electronics, guitar riffs, and belting into art rock gold. "Rainmaker" might be the best ever invocation of the "Ashley's Roachclip" break, and that is saying something. [*Memory*: This was the record that made me go back and really realize the amazing body of work these guys have created] - *Planetarium* by **Sufjan Stevens**, **Nico Muhly**, **Bryce Dessner**, and **James McAlister** - I saw a workshop performance of this at the 2012 Music Now festival. I didn't care for it very much then, and the finished product feels way different. I'm fairly certain that Sufjan pretty much wrapped this one up on his own because in the end we got something very much in line with *the BQE* and *Age of Adz*. I'm really pleased that the weirdest form of electro-Sufjan got one last time to shine. [*Memory*: I wish I could hear how that performance back in 2012 really sounded, because I can't related it to what is recorded here] - *Fin* by **Syd** - A great piece of minimalist "alternative R&B". I want dozens more albums in this genre. [*Memory*: I feel like I listened to this record every day at work in 2017] - *Drunk* by **Thundercat** - Is this the new jazz fusion? I hope so. Jazz and fusion have become genres for boring white people rehashing the past. This combination of bass virtuosity and funky sounds is super compelling. Bonus points for the effective use of Kenny Loggins. [*Memory*: I somehow didn't pick up on Kenny Loggins participation until 3 years had passed] - *To the Bone* by **Steven Wilson** - I'm fascinated how Wilson is almost repeating the same career trajectory of his band **Porcupine Tree** again as a solo artist. In both cases he started off as a prog rock revivalist. The second phase, which for his solo career commences with this record, is a lighter alt rock sound. Perhaps the return to progressive metal concept albums is just around the corner? Wilson has mixed in some killer pop songs over the years, but "Permanating" is the finest yet. [*Memory*: Another record I avoided for years due to a bad cover]