Scene Point Blank's Favorites: The Year So Far (July 2013)
Feature / Music Scene Point Blank's Favorites: The Year So Far (July 2013)
July 7, 2013
Scene Point Blank's Favorites: The Year So Far (July 2013)
It barely seems like yesterday that we compiled our list of the best of 2012, but already the year 2013 is half finished, leaving in its wake some of the best albums of the last twelve months. Here the SPB team have compiled the best of these records, sorted by genre, format and more, for your listening pleasure. Let us know what records have been dominating your year so far below.
Individual staff lists
The SPB team's favorite albums of 2013 so far
We've compiled a bunch of lists of our staff writers' favorite albums released so far this year. Read on for each staff member's top picks of 2013 thus far.
One part ghost story, one part love letter, The Raven that Refused to Sing (And Other Stories) definitively proves that Steven Wilson need not be confined to the shadow of his own bands. It feels like a step out of time, performed as an homage classic 1970s prog, and being written with a discerning pen and performed by a delicate hand, The Raven is never at a loss for moments of subtle passion and extravagant climax alike. It's both haunting and beautiful while avoiding outright melancholia, making for a pensive release that deserves the time to ponder it over.
Sky Burial is a brutal album—not because it's hard on the ears, but because the emotions it conveys are truly desolate, remorseful, and worse, sincere. This is an album that not only carries the sorrow appropriate of a funeral, but actually posesses the grandeur to do it justice. Listening to Inter Arma's sublime, understated ruminations will either bring you to tears or cripple you trying; absolutely no one will escape this album's majesty.
Threading that delicate line between pop hooks and pure technical insanity, One of Us is the Killer can't be escaped. The album oozes with enticing obsession, refusing to be put down even after a dozen listens or more. It's certainly the finest moment of the Dillinger Escape Plan's already impressive career, and certainly the best starting point for folks unfamiliar with this incredible band.
Deafheaven have a disturbing propensity for writing euphorically arresting music. Blending equal elements of the resplendent and the harrowing, Sunbather isn't merely a beautiful album, it's a punishing one, in a way that only the most passionate of musicians can begin to capture. This is about as close to true bliss as you can get on earth—aurally, anyway.
Taking equal measures from djent and progressive instrumetal, Entities is a fantastic debut. Pomegranate Tiger's effective mix of virtuoso technicality, triumphal melodicism, and a dash of undeniable silliness makes this an album that's not only a musical achievement, but incredibly fun to listen to. Entities is one of the few albums that we can guarantee will bring a smile to your face.
Even with the devastation that their previous album, Mammal, managed to spread, Altar of Plagues did not just decided to remain stable and play it out the safe way. Teethed Glory and Injury takes the band much further that we could possibly imagine with its sheer intensity and ambiance, it is a monument of modern extremity in music.
Existing in a genre that is famed for its extremity, Portal were able to take it up a notch. With their unbelievable musicianship and their love for everything dissonant, Vexovoid resets the borders of extremity…as well as those of insanity.
Similar case with Altar of Plagues, Deafheaven’s debut album Roads to Judah gave us a glimpse of the full potential of the band. And the realization of these suspicions (and hopes) came with Sunbeather.
The blackened sludge of The Psyke Project has been maturing for some time now and with Guillotine the band from Denmark has reached its peak point. The pure strength of this album and their diverse sounds bring songs of colossal force and of undisputable hostility.
Low Culture pulls some intrigue before I’d ever heard them. Ex-Marked Men and Shang-a-Lang? Damn. Believe it or not, it lives up that promise, blending wonderfully fuzz garage with heartwarming melodies.
Chalk this one up in the “long anticipated” category, coming several years after their debut. Allez Allez, though, steps it up a notch and matches the anticipation—a rare feat, but this is a John Reis rawk band we’re talking about here.
I never got too into Big Eyes’ debut Hard Life. It wasn’t bad by a longshot, but it never grabbed me the way their live show does. With Almost Famous, they’ve pulled it all together, studio and stage alike.
Honestly, the book has been written about what OWTH do. The bigger question is more likely how they keep pulling off such solid and consistent records, one after another. Happy 10th anniversary guys.
This one crept up on me. It starts as a good record, but didn’t really grab. But there’s something to be said for repeated listening. It’s a full record, one of a tone more than any single jumping out and burrowing into your core and the calm, positive tones of Shell Shag have been spinning regularly on the ol’ turntable.
Setting a watermark to which all other albums should aspire to rise, Homme and company take the "stoner rock" dismissive out to the desert and bury it in a shallow grave. There is a claustrophobic beauty in this album that is truly rare.
Much like Mule Variations was a whiskey-soaked distillation of Tom Waits' career, the dirges found on Push the Sky Away are a perfect distillation of Cave's. The only difference being instead of an oak barrel, these are served up in an oak casket.
The second best album with an ellipsis in the title. Everything we've come to expect from the beloved boys from Jersey is what made this album good. But all the things we didn't expect, is what made this album great.
A rebirth with new vocalist Todd La Torre. All the elements of everything you've come to know and love from classic 'Rÿche without the spitting, cell-phone tossing pomposity and arrogance.
Smash, kill, fuck, destroy, break, burn, shit, blood, piss, cum…aaarrrrghhhhhhhh, motherfucker! No Peace is the debut LP by Charlottesville, NC’s Nö Pöwer. Primitive, blown-out D-beat, injected with a dose of artiness and drenched in feedback; it’s the perfect amalgamation of punk sub-genres and a furious goddamn record. How much art can you take? Exactly this much.
Weirdo garage punk with some new wave-y parts from Nashville, TN. Hard to tell if the guitars sound like fucked-up keyboards or if there is a keyboard that drowns out the fucked-up guitars. I honestly could care less because I happen to really like it. Sometimes just being a stupid music fan and not some musician is awesome because you don't have to over analyze the shit out of how every little sound is made. Other times it's frustrating because you can't describe it to people without sounding like an asshole. Neither of those things matter to me right now but I thought it was worth mentioning for future reference. Well anyway, if weirdo garage punk with new wave-y parts and fucked-up guitars and/or possibly keyboards sounds like something you'd dig, then Hypertension is right up your alley.
3. California X – Self-Titled (Don Giovanni Records)
It seems the term “grunge” is getting thrown around quite a bit these days when it comes to describing the current crop of buzzy-guitar-based bands. And while the actual definition of the word has always been somewhat confusing, in the 20-odd years it’s existed, it has also become a fairly accurate identifier. It would not be incorrect to use the word when illustrating the sonic resonance of Amherst, MA’s California X. There are a variety of elements at play on their debut full-length—sludgy metal change-ups, lo-fi dream-pop, ‘90s-ish pop-punk (particularly in the vocals,) etc.—and all of them are buried under a glorious heap of ear-piercing guitar fuzz. There are a good chunk of bands doing this type of stuff right now, but California X is easily one of the best. Someone was just telling me about a dude they know who regularly wears a tee shirt that says, “Bring back the early ‘90s.” That dude would love this shit.
4. Baltic Cousins – The Broken Horn (Self-Released)
Out of Bellingham, WA come Baltic Cousins with their debut full-length. The Broken Horn displays an ominous, punk-y brand of Americana that picks up right where they left off on 2011’s For The Hell Of Us EP. Bradley Lockhart’s lyricism, which is seemingly rooted in honesty and realism, walks the line between optimism and gloomy despair. “Junk Beach, Parts 1 & 2” is the absolute best rock ‘n’ roll song of recent times that nobody will hear.
5. Milk Music – Cruise Your Illusion (Fat Possum)
At times Cruise Your Illusion treads dangerously close to guitar-music-for-the-sake-of-guitar-music territory, but never spins completely outside the realm of cult tuneage. Olympia, WA’s Milk Music understands that sometimes you just want a little Neil Young in your punk rock. Take some oddly melodic vocals and pair them with soaring yet murky guitar riffs and you have, you know, grunge or whatever. Their sound is clearly indebted to the past—particularly late-‘80s and early-‘90s alt-rock—but holy shit, have they ever made it sound so good in the present. For what it's worth, despite the CD and digital versions being released on Fat Possum, the band has took it upon themselves to release a vinyl version without the help of a label.
Still stunned... absolutely stunning. Every time I pop this record on I still am shocked. Sure that will eventually go away, but Locrian has definitely turned in one of my favorite albums of this half of 2013. Essential listening for this year. Simultaneously uplifting sounds that feel like they are demanding attention.
2. The Haxan Cloak – Excavation (Triangle)
To this point, the words for describing this album have escaped me; but maybe, just maybe harrowing and ominous should be in the conversation. The Haxan Cloak is slowly but surely carving a wholly captivating path that is completely enthralling. Excavation is one of those records that I keep coming back to over and over again.
Not only ambitious, White Glove Test is just a beautifully vicious record that crushes all the pretenders in its path. Iron Lung is truly at the top of not only their game, but the game with this album.
The radio is a barren wasteland anymore with all the fun absolutely absent from what the radio cranks out on a day to day basis, and it is left to people that are not the radio to bring the fun consistently now a days. This is exactly why I say that the Swami proves once again that he is the undisputed king of modern rock ‘n’ roll, and with Allez Allez, he and his pals in The Night Marchers throw down the gauntlet that probably will not be answered the rest of this year.
Certainly worth the long wait, Vertikal is everything that I was hoping for from the band; but Cult Of Luna take their music to new places with this album all while keeping the same intensity that they have always brought with every record.
RVIVR are finally back with their second LP and it is quite a "Beauty." Words of encouragement to be one's self and words of anger towards those who can't understand or just down right hate. All under the veil of fast punk melodies!
I wouldn't call Broadway Calls' second LP, Good Views, Bad News, a softmore slump, but it didn't quite grab my attention like their debut. Comfort/Distraction finds the band traversing some new territory, while bringing along some more of the intensity that I loved from the first.
I'll be the first to admit that I don't care much for the direction Tegan and Sara have been heading in over the years. However, I'd be lying if I said I didn't find Heartthrob to be a hotbed of catchy hooks. I still find myself humming in my head every once in awhile.
4. Bad Religion - True North
It's nothing groundbreaking, but it's also Bad Religion. It's hard not to like. Bad Religion headed back to the known with True North that worked in their favor. Fast and catchy short punk songs are what Bad Religion are all about (ok not ALL)!
5. The Thermals - Desperate Ground
Talk about a band that can pump out the jams! The Thermals take a turn back from 2010's, Personal Life, for a more raucous sound on their Saddle Creek debut, Desperate Ground. It's loud and aggressive, which is something we haven't heard from The Thermals so much since The Body, The Blood, The Machine.
It seems that everyone digs this album and rightly so as it is great. Unlike the black metal/ambient sections dichotomy it's been made out to be be, 'Sunbather' is a fully realised musical and thematic concept, enviable in today's market of forgettable acts. A record to remember for the rest of the year and beyond.
I can't get what I dig about this record as it's a combination of a lot of this I dislike, from lyrical matter to genre stylistics. That said, there's an upbeat, unabashed charm about this album in particular, reminiscent of the early days of pop-punk and being young in general.
I can't say this band have always blown me away, but this album is a significant step up from some of the more trivial material they've put out in the past. Perhaps they've finally realised their stature in pop culture, beyond all the cultural fetishism you could shake a Kula Shaker at.
I was a big fan of their first album and their second builds on it in a number of ways. Vocally, Elias has managed to diversify so he can really rip when he wants to ('You're Nothing'), as well as keep in line with the music when the time demands it ('Morals'). Overall, they've managed to strike a great balance between heaviness and melody, accessibility and obscurity; bravo.
Although the San Diego, CA duo Crocodiles softened things up a bit for Endless Flowers, there was still enough of the lo-fi, druggy, indie-pop goodness of their previous material intact that it probably didn’t scare anyone off that was hoping for another Summer of Hate or Sleep Forever. It might have taken a few spins to get into but eventually it warmed the skin like a sunny day at the beach - except without all the wet dogs, screaming children and broken glass.
Cutty Ranks
Full Blast (Philip Music)
A veteran rude boy—having got his start in Jamaican music at the tender age of 11, and as a participant in one of the biggest sound clashes in the country's history—Cutty Ranks broke a seven year hiatus with a fiery new album that had him not only returning to form but showcasing his growth as artist. He employed a variety of reggae in his methodology for Full Blast; from traditional to lover's rock to dub and of course, dancehall. Cutty called upon some Jamaica's best riddim players and the end result is a wholly enjoyable reggae record from needle drop to completion.
Darling Farah
Body (Civil)
Detroit-born, United Arab Emirates-raised, London-dwelling 20 year-old (You get all that?) Darling Farah's debut album is as varied as his background. Body leads the listener on a head-nodding peregrination through sub-low, minimalism, house, techno, and early UK dubstep. It’s one of those rare EDM records that transcends beyond the genre.
Public Image Ltd.
This is PiL (PiL Official)
Roughly two years after reforming his influential post-Sex Pistols band, Public Image Ltd. for a world tour, John Lydon decided it was time to write some songs and record a new record. This is PiL is as simple a title as it is accurate. Although there are some adventurous moments, the album largely follows the typical PiL formula: luscious, danceable, dub-tinged, post-punk grooves accompanied by Lydon's omnipresent vocal chords, which walk the fence between complimentary and contrasting. Listening to PiL is rarely an easy task—it takes work—in fact it's downright agitating at times—but ultimately it's a rewarding experience.
Testament
Dark Roots of Earth (Nuclear Blast America)
Like fellow thrash titans Anthrax did in 2011 with Worship Music, Testament returned from a lengthy hiatus with Dark Roots of Earth, a rousing reclamation of the throne. Chuck Billy, all goofiness aside (Playing air-guitar on a fabricated half mic stand that lights up, actually owning a fabricated half mic stand the lights up, being named Chuck Billy, etc.) is undoubtedly a masterful vocalist; effortlessly transitioning between intense growls and enthusiastic howls . He rolls in sync with a concoction of thrash perfection, led by original guitarists Eric Peterson and Alex Skolnick and bassist Greg Christian. This is the nucleus behind most of the band's best work - including 2008's The Formation of Damnation. Returning to the band for the first time since 1997, the lineup is rounded out by drummer Gene Hoglan, who has done time in Dark Angel, Death and Opeth in the interim.
Boston Strangler
Primitive (Fun With Smack)
It took me a while to track this down, but I was finally able to snag a copy of it during this year’s Record Store Day outing. And holy crap was the wait ever worth it. Aptly-titled, Primitive is 11 tracks of angry-ass hardcore that invokes the primal rage and rawness of the highly-touted ‘80s Boston scene. It’s impossible to spin this without my body tensioning as a fuming-mad scowl creeps across my face and my teeth begin to grind. Absolutely killer stuff.
I kind of wrote off Lucero after 1372 Overton Park. While the record wasn’t bad, it felt too average and nothing really jumped out. I took a while, sitting on their 2012 follow-up Women & Work until they came around on tour, and it’s a real grower. The punk urgency is no longer a key element in their songwriting, and the songs sneak up on you rather than punch you in the gut, but the Ben Nichols’ lyrics are as poignant as ever, while the rest of the band continues to crank out moody Memphis-influenced r’n’r.
Okay, so rap metal bands don't always turn out well, but judging by their debut EP, Hacktivist seem to be the exception. Beautifully blending the fast-paced rhythmic dexterity of rap music with the frantic syncopation of djent music, Hacktivist was a risky experiment that has paid off well. Though it's only a few tracks deep, Hacktivist have handily whetted our appetite for more.
Scott Kelly and the Road Home
The Forgiven Ghost in Me (Neurot)
When you look back on Scott Kelly's lastfewworks, it's easy to forget that the guy has an incredibly soft, sentimental side to him. Full of contemplative, folk-inspired works and dark, raspy vocals, The Forgiven Ghost in Me is a forcibly moving album, and one that gives a unique perspective on this incredible musician.
Toundra
(III) (Aloud)
Spanish post-rockers Toundra have been floating under the radar for too long. Though they're far from revolutionary for the genre, they have a keen understanding of it that many bands seem to lack. (III) may not be genre-defying or breaking any boundaries, but it's a beautifully executed, engaging, and enjoyable piece of music, made even better by the fact that their label has made it available for free. Give these guys a listen; you'll be delighted.
Top 5 best post-rock and metal albums of 2013 so far
2013 has been incredibly kind to fans of post- fans, featuring enough high-quality albums that reducing them to a top five inevitably leaves out some great releases. Nonetheless, we here at SPB are paid on a per-list basis, so we are yet compelled to present you with the crème de la crème of this year's post-rock and metal (so far):
As far as ambient sludge is concerned, Inter Arma have nearly closed the book. Sky Burial is by far the fullest expression of the genre yet, with every deep chug and growl resonating loudly against the reverent, melancholic melodies and twangy southern rock passages. It may be a melancholic album, but every moment lives up to the promise of memorializing something even greater. Make sure you hear this.
Shoegazers Deafheaven occupy an odd corner of the musical landscape, blending euphoric melodies and pop-like progressions with raspy vocals and blast beat drumming straight out of black metal. Sunbather is an effective album on more than one level--not only does it drag you along in its inexorable pull, it forces you to be uncomfortable in your own enjoyment. They may be heavily indebted to Alcest, but it's safe to say that Deafheaven have now far outpaced their progenitors.
Cult of Luna have always been fascinated with the darker aspects of humanity, whether writing about the harrowingly sublime aspects of solitude or concocting stories about crippling madness; in that respect, Vertikal shouldn't be shocking. But the cold, isolationist themes seem fresh, ringing with disturbingly pristine clarity from a band normally known for its warmth. This is a bracing and difficult album, but more than ever, Cult of Luna make it worth the effort.
The Ocean may have finally expanded past the point of no return. Conceived and written as a single fifty-minute piece of progressive-influenced instrumental post-metal, Pelagial takes the word "epic" and makes it cower in fear. Every minute of this pieces feels beautiful, fully deserving of its massive scope; it wouldn't be hyperbolic to describe this as The Ocean's crowning achievement on top of their already impressive career.
Absolutely nothing about Mouth of the Architect is restrained. From the huge group vocal lines to the climactic crescendos, Dawning is an album that seeks to capture grandeur without dilution--and even the stingiest of listeners must concede that it succeeds. This is an album that won't just blow you away, it will fill every inch of you with awe.
Runners up: Palms — Palms, Sigur Rós — Kveikur, From Oceans to Autumn — Pareto Analysis II: The Vital Few
If this year's prog releases are indicative of anything, it's that, no matter how much things change, some things will just (no matter how stubbornly) stay the same. Despite the readily visible influence of djent and neo/post-prog, some acts seem to be content doing the same things that worked forty years ago. The result is a notably varied countdown of this year's best in progressive music (so far):
The haunting thing about The Raven that Refused to Sing (And Other Stories) isn't just its unnerving subject matter; it's the album's tendency to get under your skin in ways that it shouldn't. Every intense solo, every soulfully delivered vocal line, every finely constructed passage of instrumental splendor has an eerie, subtly profound quality that will leave listeners slackjawed. The Raven, to put it more bluntly than the album itself, is every progressive rock fan's wet dream.
Canadian instrumetalists Pomegranate Tiger struck like a bolt from the blue, self-releasing their stupefying debut Entities. Combining all of the best elements of djent, tech death, and Scale the Summit-esque metal, Entities is an immaculately constructed release, somehow creating a work whose measure as a technical achievement matches how ridiculously enjoyable it is. This is one of the few albums that is truly as much fun for the listener as it is for the band.
The second half of Big Big Train's incredible English Electric had a lot to live up to, and in comparison it's easy to say that it's weaker than it's first half. But there's no denying that, taken alone, Part Two is a fantastic release from an acclaimed band, fusing neo-prog, post-rock, and classic rock into something more moving than it has any right to be. English Electric is undoubtedly Big Big Train's most affecting album yet.
4. Scale the Summit — The Migration (Prosthetic)
Scale the Summit are a monstrously proficient band, and judging by the entry two slots up, strongly influential as well. The Migration, the Texan quartet's fourth album, takes their high-flying guitars to new heights, beautifully fusing soaring melodies with ever-more baffling technical proficiency. The Migration is undoubtedly the culmination of years spent perfecting their uniquely moving songwriting, making it their best yet.
Vultress is very much a no-frills band (as far as that term goes for progressive music), writing tunes that are, at their heart, straight up rock pieces. Though they make some concessions to modern standards for progressive rock (notably some heavier metal sections and the occasional death growl), Vultress, on the whole, do an amazing job of showing what amazing work can be accomplished without the bent for needless novelty.
Runners up: TesseracT — Altered State, Anciients — Heart of Oak, Moth — Endlessly in Motion
Hello. My Name is Nathan, and I'm addticted to rap music. The following mid-year best-of list is culled from my semi-monthly column about mixtapes and other rap-related nonsense called Too Many Rappers. You can find over on ye olden blogge.
1. Underachievers – Indigoism
The Underachievers are the latest duo to spring from New York City’s rap collective, Beast Coast; a crew that also includes Flatbush Zombies, Pro Era, A$AP Mob, and Smoke DZA. Against a backdrop of beats that range from conventional boom-bap to the trap’d gradations of modern-day tape rap, emcees AK and Issa Dash exasperate wordy lyricism at a rate that is both impressive and slightly overwhelming. They go heavy on the sour diesel and psychedelics but disguise it via well-written, clever similes rather than easily decipherable one-liners. Whereas some of their contemporaries are reviving classic NYC rap, Underachievers are strangely enough, reinventing it.
2. Quelle Chris – 2 Dirt 4 TV episode 2: Niggas is Men
Niggas Is Men is the second episode of the Quelle Chris’ 2 Dirt 4 TV series. The production is handled by Stifu, Messiah Musik, and of course, Quelle himself. The majority of the songs feature verses from Cavalier, who's candence compliments Quelle’s oddball delivery quite well. “Natural Flavors” has the captivating buzzed-out bass beat that invokes the same feeling of intrigue that almost broke the Internet the first time everyone heard The S.O.N. EP. Tracks like “Greene Eyes”, “Good Days” and “Long Tokes” are the type of head-nodders that rely heavily on raw sample loops.
3. Mr. MFN eXquire – Kismet
Kismet, which means “fate” or “destiny”, is also the name of the new tape by New York’s Mr. MFN eXquire. And while it may seem like an odd title choice for a tape whose cover art shows the emcee gripping a naked woman’s rear end in a pose that can’t be construed as anything other than standing coitus, it’s actually very apropos given the direction he’s taken things since his 2011 tape, Lost in Translation. Sure, the raunchiness and wild’n out aspects are still intact, but several tracks are dedicated to personal insights and human growth. On “Vanilla Rainbows” which apes Curtis Mayfield’s “Give Me Your Love (Love Song)”, the emcee displays his genuine love and respect for women. “Cherry Raindrops,” a tale of ill-fated love and all the struggles that go along with falling out of it, shows him being creepily honest, as he raps things like, “I kissed her on the spine and I kissed her thighs/I almost licked her ass but she started to cry.” Even the lone skit here, “She’s Not Fucking With Me” is a far cry from the blow-job-from-a-hoe-caught-on-tape one that appeared on Translation. This time around he and an unidentified woman are lying in bed, whispering I-love-yous to each other. For the most part, Kismet is dare I say, a kinder, gentler eXquire. That is not to say he doesn’t go hard in typical braggadocios rap fashion from time to time (see: “Illest Niggaz Breathin,’” “Tomorrow’s Gone,” and “Orbz a.k.a. Some Wise Quote Drake Never Said.”) but overall, the tape is more on the personal revelations tip than anything else. eXquire’s flows and beat selections are as varied as you’d expect from a man who refers to himself as an “avant-garde hood nigga.” “Hoes I Don’t Remember” is the Willie Nelson “For All the Girls I’ve Loved Before” of rap songs, if ever there was one.
4. KRNDN – Everything’s Nothing
KRNDN is how Krondon from Strong Arm Steady spells his name now, because he’s like, a rapper and stuff. Everything’s Nothing is his first solo outing, and as anyone familiar with SAS would expect, it’s impressive as hell. It’s hard to put this into words, so I’m not sure this will make sense anyone besides me, but it’s almost as if Krondon accidently created a better piece of art than Kendrick Lamar very purposefully attempted to create with good kid, m.A.A.d city. Against a backdrop of smoothed-out beats (by Cardo, DJ Dahi, DJ Khalil, and 321) he interweaves autobiographical memoirs and herb-puffed anecdotes; parading the laid-back, sunny vibe of California rider music. The sound emanating from your speakers will only enhance the hallucinogenic properties of whatever it is you ingested...if that’s your thing or whatever. Props for the imagery too, which is very much in the vein of DIY zine art.
5. Black Dave – Stay Black
“All I do is rap – All I do is skate,” states the rapper/skater on “Rap & Skate,” the mid-tape track that in the simplest terms possible sums up what Black Dave is all about. Although he’s a New Yorker, Dave applies a multifarious approach to rap, successfully flexing mic skills in a variety of regional styles. He effectively stirs an alluring cocktail of trap, club and boom-bap. Lyrically, he’s not saying much that hasn’t been heard before (see: song titles like “Bitch Nigga Why You Fake?” and “Muthafuck My Enemies!”) but that’s also one of Stay Black’s chief qualities – it’s fucking rap music, man!
Runner Ups: Gunplay - Cops & Robbers, SpaceGhostPurrp - B.M.W., Termanology - Hood Politics 7, Tree - Sunday School II: When Church Lets Out, Western Tink & Beautiful Lou - Mobbin' No Sobbin'
Like I said, I got a rap music problem. Now that we've covered the mixtape game, here's the best of this year's actual albums so far...
1. El-P & Killer Mike – Run the Jewels (Fool’s Gold)
Well, they went and did it again. Following a year that saw El-P and Killer Mike releasing two of the best albums in any genre, let alone rap music, both of which were produced by El-P, the two have returned as the duo Run The Jewels. And as it was expected to be by anyone who loves rap music and/or has a Twitter account, Run The Jewels is actually the best rap album to drop so far this year. El-P's beats are deep, scientific, intense, and so far beyond bass-heavy that they need to be heard with headphones (and possibly a senses-heightening substance, if that’s your thing) to be fully appreciated. Cadence-wise, the duo attacks each track with sweltering intensity and unrestrained emotion. Their verses effortlessly traverse between humorous witticism and cutthroat battering. It’s not an easily shakable listening experience, but it’s wholly enjoyable one.
2. Tie: Gensu Dean & Planet Asia – Abrasions (Mello Music Group) / Durag Dynasty – 360 Waves (Nature Sounds)
Fresno, CA’s veteran underground emcee, Planet Asia has two of the year’s best rap albums so far—Abrasions with beatsmith Gensu Dean and 360 Waves with Durag Dynasty. As evidenced by last year’s Apollo Brown & OC and Guilty Simpson & Apollo Brown outings, MMG has a knack for pairing the right producers and emcees up with favorable results. The same can be said of this duo. Gensu Dean, who’s gone largely unknown up to this point, crafts simplistic yet alluring loops rooted in boom-bap nostalgia. As usual, Planet Asia masterfully rocks the mic with his commanding presence and sharp rhymes. Durag Dynasty finds him teaming up with emcees Tristate and Killer Ben, and prolific beat master Alchemist. Although there is a minimal air of comedy involved, mostly due to imagery and the fact that they’re called, you know, Durag Dynasty, 360 Waves is an exercise in grimy cypher rap – a prominent example of mic skill and hard beats. These two albums will appeal to heads who want more out of their rap music than a clever hook and a generic trap beat.
3. Ill Bill – The Grimy Awards (Fat Beats)
Over a decade has passed since The Future Is Now, the debut album by the now-defunct group Non Phixion, which featured beats from a grip of hip-hop’s most sought-after producers as well as menacing and poignant lyricism, and the vehicle that placed Ill Bill immediately into the annals of underground hip-hop greatness. For the latest in a fertile catalog of work that includes numerous collabos, supergroups, mixtapes and solo records, he has returned to that early formula of using high profile beatsmiths and spitting venomous rhymes. The sonic direction of the album is driven by some hard-hitting boom-bap backing from the likes of Large Professor, Pete Rock, the Beatnuts, DJ Muggs, El-P, and DJ Premier. But Ill Bill’s lyricism and delivery is as equally on point as his beat-selection. Not only does he do the requisite murder and paranoid conspiracy raps, but he gets deeply personal about his life, loved ones, and how much hip-hop (and even heavy metal) shaped him. The Grimy Awards is as near a “classic” rap record as we’ve heard in a while.
4. Ghostface Killah – Twelve Reasons to Die (Soul Temple)
Twelve Reasons to Die is the latest release in a recent-ish half dozen or so of hits ‘n’ misses for the Wu Tang Clan’s Ghostface Killah. More in line with the hits Fishscale and Apollo Kids than the misses The Big Doe Rehab or Ghostdini, the record is produced entirely by beat-maker Adrian Younge, and narrated by Wu head honco RZA. Twelve Reasons is a concept album of sorts. The premis being, Tony Starks is a former enforcer for a crime family, who gets murdered by the mob after falling in love with the Boss's daughter. His remains are melted in vinyl and pressed into a dozen LPs that, when spun, revivify him as the Ghostface Killah. He then exacts his revenge on his killers. It’s often been said that rap music is cinema for the ears, and it couldn’t be truer with Twelve Reasons. Similar to Prince Paul (or even early Cage) albums, this is story time rap being taken to the next level. The synergy between Young and Ghost is so air-tight it’s hard to believe this is the first project they’ve done together.
5. Kid Tsunami – The Chase (Head Bop / Fat Beats)
The Chase is the debut album from Perth, Australia’s producer extraordinaire Kid Tsunami. As someone who appreciates all forms of hip-hop (at least for their mere existence, if anything) I don’t really like throwing around terms like “real hip-hop” because I think it cheapens the evolution of the art form and more-or-less excludes anything that’s not boom-bap. But I’m going to give myself a pass here and just say it: This is on some real-ass hip-hop right here! Dude is a student of the game, as he has obviously immersed himself in classic hip-hop. And by that, yes, I do mean BOOM-BAP. There are 16 tracks here, constructed from soul, jazz and funk sample flips, with a virtual who’s who of emcees rhyming on them—Kool Keith, Sean Price, OC, Masta Ace, Sadat X, J-Live, Craig G, AG, Kool G Rap, KRS-One, Pharoahe Monch, Jeru The Damaja, and more. DJ Bless also leaves his mark on the project, as he flexes his impeccable turntablism skills, mixing the whole thing together and dropping some serious cut-laden hooks.
This St. Paul, MN three-piece started out playing fairly straight-forward ‘80s-influenced hardcore punk, with Greg Ginn-esque guitars and all the trimmings, but over the course of six pieces of wax, they have evolved into a uniquely original entity. Their latest EP finds Condominium furthering the noise and arty experimentation that left a mark on 2011’s Warm Home LP, but also digging their claws even deeper into the feverish anger from which they were born. Each component of their sound is functioning at a high level of intensity. The vocals sound meaner than ever before, the bass playing is downright nasty, the guitars are urgent and assaulting to the senses, while the drums fill every available nook and cranny with skillful pummeling. Carl is a powerful piece of art, and a strong indicator that these guys are capable of taking hardcore to places rarely explored.
2. Raw Meat – Demo on a 7” EP (Vinyl Rites)
This New York unit, featuring members of Rival Mob and Nomos, plays crazy-aggressive hardcore that’s not easily dismissable. Pissed-off, throat-burning vocals grind against a massive wall of fuzzed-out, loud, fast and crunchy riffage. These are songs from their demo cassette that have been remixed and re-mastered, and then pressed to vinyl, with the addition of the Combat 84 cover, “Rapist.” It’s nearly impossible for the listener to walk away from Raw Meat unscathed, as it’s a bruising incident on the uglier side of hardcore. Sadly though, they have already called it quits.
3. Wild Child – Self-Titled EP (Deranged)
Out of Minneapolis, MN comes Wild Child with seven inches of manic hard punk, played with sloppy aggression. The guitars are hollow-ish, clanky and fast while the drums and bass race along, seemingly on their own accord with little regard for things like holding the beat. The snotty, Darby Crash-like vocal styling of the singer lends a bit of early-LA punk to the overall feeling. The recording, which was done by Condominium’s Matt Castore, perfectly encapsulates the raw intensity and reckless abandon with which these guys attack their art.
Chicago, IL’s trio Daylight Robbery play upbeat punk, with dual male/female vocals, and pulse-pounding, rhythmic trappings that draw heavily from some of punk rock’s most historically revered artists. Wire, X, Blondie; lazy comparisons, but not at all inaccurate. Distant Shores is three moody, captivating tunes that embrace various musical shadings from within’ the genre. There are bits of post-punk, garage rock and melodic trad-punk at play here that makes for a really enjoyable listening experience.
5. Cokskar – Repetitive Stess EP (Self-Released)
Female-fronted grindcore out of Minneapolis, MN. More on the punk side of things than the metal. Speaking in fragmented sentences trying to describe this is apropos, so I’ll continue to do so. Spastic, unfettered aggression, driven foremost by the hyper-fast, chipmunks-on-speed vocals. Clever and biting lyrics when decipherable. 10 songs that are over before they even started. The first one is called “Powerviolence.” So there’s your frame of reference. Awesome.
Mario (Big Sad - bass) SPB: Who is the most underrated Florida band (current or all-time, your choice)? Mario: Grabass Charlestons/Careeners Not only is their entire catalog solid, but their last LP, Dale & The Careeners is the best album No Idea Records ever put out. Whenever I find a …
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Derek (Static Friction) SPB: What is the furthest you’ve ever traveled to see a single show (and who was it)? Derek: Oh boy, I just so happen to have a good answer for this one. My wife and I have been planning an Italy trip for about a year and …
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Sam (Feel It Records) SPB: What is your favorite album cover of all time? Sam: Funkadelic - Maggot Brain Totally iconic, striking, and still relevant to this day. Still wakes me up every time I pick it out to spin.
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Hey folks, Toby here, and the SPB team asked me to provide some insights about some stuff from our catalog now that Red Scare is (you gotta be shittin’ me?!) twenty years old. Specifically a “memory or modern take” on some past releases, and they picked some doozies, so let’s …
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UltraBomb is Greg Norton - Bass (Hüsker Dü), Finny McConnell - Vocals and Guitars (The Mahones), and Derek O'Brien - Drums (Social Distortion), replacing Jamie Oliver (UK Subs). References are being dropped like an UltraBomb (like that? ha!) so, that being said: are they a supergroup or power trio? Neither …
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Hey folks, Toby here, and the SPB team asked me to provide some insights about some stuff from our catalog now that Red Scare is (you gotta be shittin’ me?!) twenty years old. Specifically a “memory or modern take” on some past releases, and they picked some doozies, so let’s …
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How do you sum up a 3-day weekend where you’ve spent approximately 36 hours watching live music and seen nearly 50 bands -- and also missed another 300? The Fest is a wonderful beast where you venue hop to catch up-and-comers, watch headliners outside on the big stage, and stumble …
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We've rolled out an extra-special feature for this year's Fest: that's right, it's FEST LIBS. You've played it before, but not like this – fill in our interactive form here, then sit back and read your customised FEST LIBS. The results may surprise you. But before you go generate your …
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It took me a while to track this down, but I was finally able to snag a copy of it during this year’s 
