From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.
60. White Hills - Stop Mute Defeat (Thrill Jockey)
White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans
Please don't adblock PopMatters.
We are wholly independent, with no corporate backers. We can't survive without your support.
59. Everything Everything - A Fever Dream (RCA)
Everything Everything is a band of impossible ambition, apparent from even the name. Merely everything is not enough for this prog-pop quartet and frankly, the world may not be ready to oblige. "I want this planet, and I want it now / to beat like an anvil 'til the poison's out" begins "Desire", one of the album's early gut-punches. If these were times of hope and prosperity, maybe egos this size would be celebrated. But we've made that mistake before. Hovering in our minds is the expectation that we must repent for generations of excess with modesty, conservation, quiet introspection. A Fever Dream embodies none of this. It reeks of English imperialism and mulish masculinity. It's bombastic beyond belief, and it's exactly what we need.
Everything Everything's fourth record is its most personal and urgent yet. The lyrics seem to be a document for primary songwriter Jonathan Higgs' psychological condition, and it's a troubling one, to say the least. He wears his insecurities like armor, and his pride gleams like Excalibur. Enshrouding his big plans for this world gone mad are doubt and defeatism and a predisposition for hedonism. It's the battle of Jonathan vs. the world, but also of the world vs. the world, and of Jonathan vs. Jonathan. For us sons and daughters of the microprocessor, a mere trip to the grocer's forces us to contend with the unruly exponential growth of this absurdist empire—our neighborhoods and international networks, ids and egos are in constant need of rewiring
That concluding track of A Fever Dream rides out with the mantra: "Never tell me that we can't go further." The title of this track is "White Whale"—that impossible desire perpetually just out of reach. Whether for peace on earth or a little peace of mind, the struggle to satisfy it can lead only to insanity or death. But Everything Everything would never strive for anything less. - A. Noah Harrison
58. Do Make Say Think – Stubborn Persistent Illusions (Constellation)
Sometimes you don't know what you've got until it's gone and other times you don't realize it until it returns. Following an eight-year hiatus since Other Truths, Do Make Say Think's previous album, Stubborn Persistent Illusions is the boldest, most arresting progression of songs that the Toronto unit have crafted since Winter Hymn Country Hymn Secret Hymn in 2003. Among the swells and cries of their heavier-hearted Constellation label mates such as Godspeed You! Black Emperor and the Silver Mt. Zion permutations, Do Make Say Think always set themselves apart by keeping spry and limber. The band was, and remains, a kind of compact jazz orchestra in rock band's clothing. Not a moment is wasted even in the record's tranquil stretches. This is fitting for an album whose concept comes from something as deep yet fleeting as an "image in a Buddhist poem about working with a wild mind." - Ian King
57. The Dream Syndicate – How Did I Find Myself Here? (Anti-)
Thirty years on from their last studio album, 1988's Ghost Stories, Steve Wynn has reconvened the Dream Syndicate to release what is arguably the band's best record ever. Yes, Days of Wine & Roses will always remain a touchstone for longtime fans, its surprises still fresh after decades, but How Did I Find Myself Here? distills every lesson Wynn had learned over a long and adventurous career into a coherent eight-song set that finds his band confident and playful in equal measure, amped up and in sync. Here, Wynn is joined by longtime drummer Dennis Duck and bassist Mark Walton and, as he has since the Dream Syndicate's 2012 reformation as a touring unit, Jason Victor (Wynn's longtime partner in Miracle 3) has replaced Paul Cutler on guitar. Further, Kendra Smith's surprising and welcome return on album closer "Kendra's Dream" evaporates time to connect past and future in a perfect psychedelic drift. It all adds up to a triumphant and fitting capstone for the legendary band.
56. Lee Ann Womack - The Lonely, the Lonesome, & the Gone (ATO)
Lee Ann Womack recorded The Lonely, the Lonesome & the Gone in Houston, not far from the small town where she grew up. The album is rich with a mythical Texas in the best possible ways. Womack sings with a twang and gets sentimentally soppy or wickedly mean as the songs suggest. She goes to the extremes one would expect of a Lone Star musician. It may not be the biggest state geographically, but Texans have always done things bigger. Like her fellow state-mate George Jones, whose gospel "Take the Devil Out of Me" she covers, she's pure country, meaning she probably won't be played on country radio these days. Womack wrote half of the songs here, and redoes classic material associated with Patsy Cline, Lefty Frizzell, and Johnny Cash. She covers them with a style that shows her respect for past masters and still manages to make their songs her own. - Steve Horowitz
55. Charly Bliss - Guppy (Barsuk)
On the first track of Charly Bliss' debut album Guppy, the pop-rock band, led by potent vocalist Eva Hendricks, makes a bold declaration of self. On "Percolator", Hendricks defines her artistic self and if that definition includes some uncertainty and some conflict, so much the better as Hendricks's confidence bursts forth in accepting all those elements. The rest of the album, a joyous bash of guitars and energy, pounds through related but non-repetitive territory. Hendricks takes on relationships, abuse, and harassment (and more), vocalizing complex feelings and ideas that need to be heard. She shifts quickly from anger to humor to questioning without breaking stride. The band and its sound of eating candy in the garage delivers catchy melodies and bright sounds that matches the sense of seeking and realization throughout the album. Guppy looks for sense in a demanding world while retaining a strong center, keeping a strong self-assurance in the face of various challenges. - Justin Cober-Lake
54. Tyler, the Creator - Flower Boy (Columbia)
After baiting the media with controversial, derogatory statements for years, the fact that Flower Boy was hyped as the album where Tyler, the Creator came out of the closet was, for some, reason enough to dig into it, to give him a second chance, to reassess his past statements or, you know, dismiss him all over again. Yet despite lines about "kissing white boys since 2004", the crux of Flower Boy isn't Tyler revealing his sexuality so much as he's revealing his loneliness. This is a profoundly sad album, where the immaculate production hits all of your brain's pleasure centers at once while distracting you from how isolated he feels. Happiness is always elusive, which is why he pulls out every trick he can to prevent us from seeing the real human beneath, from stacking the tracks with guest spots to releasing the worst song as the lead single. Yet the more time you spend with it, the more you wan to keep coming back to the emotional world he's constructed for himself. You'll share in his loneliness, too. - Evan Sawdey
53. Lana Del Rey – Lust for Life (Interscope)
The image of physically scaling the Hollywood sign's "H" encapsulates Lana Del Rey's ethos in that celebrity is not some abstract pinnacle one reaches but one that needs to be experienced in person. Chasing the rush of fame drove the impeccable Born to Die and, five years later, the feeling of having achieved it is evoked by the smoldering warmth of Lust for Life. Still, the disarray of the world broke through even to pop's foremost escapist, but she addresses it and her well-earned status with cryptic optimism; "Is it the end of an era? / … / No, it's only the beginning." What Lust for Life teaches is that one can – and, possibly, should – stay as vigilant towards the affairs that affect us all while also indulging in the selfish, beautiful act of seeking love. - Brian Duricy
52. Paramore - After Laughter (Fueled by Ramen)
Many bands know what a Herculean undertaking reinventing their sound is. This year, nobody did it better than former pop-punkers Paramore. Four years since their last release, Hayley Williams and co. released After Laughter, which fuses sleek elements of '80s new wave, funk, and synthpop while keeping their emotional foundations intact. The most important ingredient to Paramore's success is the return of founding member Zac Farro, whose musical direction in side project HalfNoise point to the influence he had on crafting the new Paramore. Although ten years removed from their breakout, Riot!, they're still "in the business of misery" with songs like "Fake Happy" and hit single "Hard Times". But if the misery business means more of these grooving bass lines and tropical marimbas and guitar riffs, sign me up. - Chris Thiessen
51. (Sandy) Alex G - Rocket (Domino)
Alex Giannascoli refines his paradoxical impulses on Rocket. On his eighth full-length overall, and second for Domino, he crafts a beautifully strange brew of haunting folk with a narrative that's oddly indistinct. He's learned to work within the constraints of an album, a format that he treated with some flippancy during his Bandcamp years, though he still finds any excuse to circumvent the format as he draws upon a patchwork of ideas. Giannascoli finds his muse in longtime collaborator, and partner, Molly Germer, an accomplished violinist who adds whim and character to his otherwise sparse arrangements. From yearning country ballad "Bobby" -- their voices entwined and harmonized to their lush, string-led compositions -- to the gliding melancholy of "Powerful Man", they provide a touching ode to traditional folk that comes across as some alien take on a Smithsonian Folkways recording. And yet Rocket is so much more, taking on a surfeit of modern and antiquated music styles set against a backdrop of bucolic terrain. But even at its most eccentric, Giannascoli has accomplished a winsome collection of handcrafted songs that leave a lasting impression. - Juan Edgardo Rodriguez