Table Of Contents:
- Beach House – Depression Cherry
- Beach House – Thank Your Lucky Stars
- Blur – The Magic Whip
- Death Grips – Fashion Week
- Death Grips – Jenny Death
- Death Grips – The Powers That B
- Iron Maiden – The Book Of Souls
- Kendrick Lamar – To Pimp A Butterfly
- Mac DeMarco – Another One
- Muse – Drones
- Pusha T – King Push – Darkest Before The Dawn: The Prelude
- Slayer – Repentless
- Steven Wilson – Hand. Cannot. Erase.
- Steven Wilson – Transience
- Tame Impala – Currents
- Travis Scott – Rodeo
Beach House – Depression Cherry
Beach House releases their first of two albums of 2015.
Beach House was feeling very productive in the three years since Bloom and decided to release two albums in 2015. The first of which was Depression Cherry.
The album starts off with the dizzying heights of Levitation, followed by lead single Sparks, with its blissful shoegaze. Space Song is a fitting title and sounds very much out of this world.
Depression Cherry is glossy and psychedelic, leaning heavily into shoegaze territory, and one of the band’s best albums.
Trivia: Initial pressings of the Depression Cherry came in a velvet case.
★★★★
Beach House – Thank Your Lucky Stars
Beach House releases their second album of 2015.
The second of two releases from the band in 2015, Thank Your Lucky Stars was explicitly stated as being its own album and not a b-sides or companion album.When Majorette kicks in, you do hear its own flavour, separate from the sound of Depression Cherry. Compared to that album, Thank Your Lucky Stars is more raw and guitar driven, evoking those summer beach vibes.
Another solid Beach House record.
★★★★
Blur – The Magic Whip
Blur returns for the first time in 12 years.
Between the release of Think Tank and The Magic Whip, Damon Albarn had released three more Gorillaz records, and not only that, but Gorillaz had become even more popular than Blur had ever been (or at least in North America).
Despite the artistic direction that Albarn had spent the past decade pursuing, The Magic Whip sounds distinguished from Gorillaz, but without losing sight of the new influences that Albarn has accumulated in the years since Blur was last together either.
I’ve never been much of a fan of Damon Albarn’s vocals (even in his prime), but The Magic Whip has enough going for it, musically-speaking, and manages to blend the outdated conventions of britpop with the more modern sensibilities of his other band quite successfully.
★★★½
Death Grips – Fashion Week
Death Grips make an instrumental album.
While fans were anticipating Jenny Death, the second part of The Powers That B (following 2014’s Niggas On The Moon), Death Grips released Fashion Week in the interim; an album of instrumentals, devoid of any trace of MC Ride.
The Andy Morin production here is fine, but without the rapping of MC Ride on top of it, it all just feels empty.
Fashion Week isn’t terrible, but its ultimately a superfluous entry in an otherwise strong discography.
Trivia: The first letters of all of the songs spell out JENNY DEATH WHEN.
★★★
Death Grips – Jenny Death
Death Grips release the second part of The Powers That B.
If Niggas On The Moon was too strange, then Jenny Death might do the trick. While it’s still Death Grips, it’s a somewhat easier pill to swallow, and features guitar from Nick Reinhart on every track, which gives it more of a rock/punk/metal style to the music.
I Break Mirrors With My Face In The United States is fast-paced and manic. Inanimate Sensation (which was released as a single) is a wild ride, with vocal noises that sound like an engine shifting gears on the highway. Turned Off and Centuries Of Damn both cast a sludgy doom. Why A Bitch Gotta Lie is like an Android on virtual crack. Death Grips’ Pss Pss would definitely frighten cats away. The title track sounds like a No Love Deep Web era cut. Beyond Alive and On GP have plenty of killer guitar work. Death Grips 2.0 is a neurotic instrumental closer.
I wouldn’t necessarily call Jenny Death better than N.O.T.M. (or vice versa), but can easily say that they are equal in quality and execution.
★★★★★
Death Grips – The Powers That B
Death Grips release a double album.
Comprised of the previous year’s Niggas On The Moon and the eagerly-awaited Jenny Death, The Powers That B is one of the greatest, most innovative double albums of the decade.
The first half of the album features some of Death Grips’ most experimental work yet (which speaks volumes), with songs primarily made out of chopped up Björk samples, whereas Jenny Death is guitar-centric, branching out into the worlds of rock, metal and hardcore punk.
Initially, these two halves of a whole may seem like they have nothing in common, but they fit together like a yin and a yang and make up a fantastic double album that has cohesion and variety..
A must-listen double album.
★★★★★
Iron Maiden – The Book Of Souls
Iron Maiden makes one of their most progressive albums yet.
Throughout their career, Iron Maiden has never shied away from lengthy compositions, such as on their classic 1984 track, Rime Of The Ancient Mariner, which was over 13 minutes long. In the 2000s, the frequency of longer songs began to increase, which ultimately leads us to The Book Of Souls, which has the band’s longest song yet: the 18 minute-long Empire Of The Clouds, which has piano, strings and the typical Iron Maiden intensity.
If Eternity Shall Fail is a fantastic opener, with a minute and a half intro that leads into the typical galloping rhythms of Iron Maiden. Bruce Dickinson still sounds incredible, to no surprise. Speed Of Light sounds rather bluesy for a Maiden song; more akin to something that Motörhead might have written, but that doesn’t suggest that it’s bad (Motörhead rules). The title track begins with some medieval-sounding acoustic guitar, before quickly-leading into one of their most exotic riffs yet. The riff in Shadows Of The Valley is a little too close to the that of 1986’s Wasted Years, but it still sounds cool, so whatever.
The Book Of Souls may be a bit predictable (which is fair, considering the age of the band) and you might hear some riffs that sound a little too familiar at times, but it’s truly astonishing that a band can still sound this good and this hungry, 35 years after their debut; continuously pushing themselves to write and record such epic songs.
★★★½
Kendrick Lamar – To Pimp A Butterfly
Kendrick Lamar synthesizes half a century’s worth of African-American music into one of the greatest, most artistic and ambitious rap albums of all time.
Kendrick Lamar had just made arguably the greatest west coast rap album of all time, with good kid, m.A.A.d city three years prior. He had gone from a promising rapper to one of the best of his generation, fusing together gritty lyricism that detailed what life was like as a black kid in Compton with theatrical production and voice recordings, which gave the album a cinematic quality.
Instead of coasting on his success or following it up with a victory lap, he doubled down and made an album that’s arguably more ambitious and grand in scale. This time, instead of focusing on the problems he faced growing up at the city level, he looks at the past and current problems that black Americans face all throughout the United States.
The first track, Wesley’s Theory, features the one and only George Clinton of Parliament-Funkadelic fame. Many early Hip Hop records sampled P-Funk and so Clinton’s presence on here is almost a requirement. For Free? has a spoken word segment that goes into some chaotic jazz. King Kunta is one of the funkiest songs of the millennium and it’s a great gateway into Kendrick Lamar’s music, having rock music crossover appeal, with its killer riffs and guitar solo.
Institutionalized features Long Beach legend Snoop Dogg, in a rare sincere and genuine performance, compared to many of his phoned-in features. These Walls is a deep piece of R&B. U sounds like a one-sided precursor of what’s to come seven years later on We Cry Together. Alright is another signature song. The back half of the album certainly doesn’t drag either, as you have stellar songs like Hood Politics, How Much A Dollar Cost and The Blacker The Berry.
The live jazz band on this album is just sublime. The album is just as theatrical and conceptually strong as GKMC was, if not slightly more so. That album was perfect and somehow this album took it up a notch, even though it didn’t seem possible.
An easy contender for the single most important rap album of all time, as well as one of the greatest pieces of music in recorded history.
Trivia: To Pimp A Butterfly won Best Rap Album at the 58th Annual Grammy Awards.
★★★★★
Mac DeMarco – Another One
Mac DeMarco makes another one.
On the heels of Salad Days, which saw a drastic rise in Mac DeMarco’s popularity, largely due to hit songs like Passing Out Pieces and Chamber Of Reflection, Another One finds Mac striking while the iron is hot, with a mini album offering of more of his superlative bedroom indie rock.
The Way You’d Love Her, No Other Heart, Just To Put Me Down and I’ve Been Waiting For Her are upbeat, romantic rockers, similar to what was found on 2 and Salad Days, but other songs like the title track, A Heart Like Hers and Without Me are more subdued and melancholic, pointing towards the direction he’d take on his next LP proper.
While Another One may not be a full-release, it still offers enough to stand on its own as an essential piece of Mac DeMarco’s discography.
★★★★
Muse – Drones
Muse at its most political.
Based on the album title and the extremely on-the-nose album artwork (which lacks any semblance of subtlety), Drones is Muse at its most-political, with an anti-war sentiment and criticism of the cowardly powers that be.
Dead Inside is an 80s-tinged opener and while it’s no Sunburn, Apocalypse Please or Take A Bow, it’s still a decent start to the album. Psycho is a blues-based rocker that has become a live staple. Reapers evokes 80s glam metal. Defector sounds like a hybrid of the hard rock of 70s Queen and the anthemic side of their 80s material. The Globalist is a 10 minute epic that has the band indulging in its bombastic Queen-like tendencies, with the title track acting as a vocal harmony outro.
Drones isn’t quite great, though it is in many ways an improvement over The 2nd Law. Sometimes the political theme of the album can come off a bit hackneyed and clichéd, but I admire Muse for being a band that can kickstart that rebellious spark inside of its younger fans, helping to bring awareness of the corruption of politics and the injustices of the world to millions of fans.
★★★
Pusha T – King Push – Darkest Before The Dawn: The Prelude
Pusha T releases his sophomore solo album.
Pusha T’s debut album, My Name Is My Name, had proved that he could survive without Clipse, or at least without a reliance on The Neptunes or Kanye West (despite some production from the latter). On his sophomore album, Pusha T continues to prove himself as a solo act.
Darkest Before The Dawn: The Prelude may not be an instant classic like the first two Clipse albums, nor is it even as good as My Name Is My Name, but it’s still a decent outing for the Virginia rapper.
★★★½
Slayer – Repentless
Slayer moves on without Jeff Hanneman for their final album.
On Slayer’s first album since the untimely passing of founding member and co-lead guitarist, Jeff Hanneman, the late axeman is replaced by ex-Exodus guitarist, Gary Holt and Dave Lombardo has once again left, with Paul Bostaph returning, who played with the band from 1994’s Divine Intervention to 2001’s God Hates Us All.
Repentless has everything you’ve come to expect from Slayer, from punishing speed to hellish soundscapes and hopefully it would have made Hanneman proud. It’s hard to replicate the success of once novel albums, like Reign In Blood and Seasons In The Abyss, but for a 2015 Slayer album with only two of the original members, you couldn’t really ask for more.
★★★½
Steven Wilson – Hand. Cannot. Erase.
Steven Wilson makes a concept album about the true story of a woman, who died in her apartment and wasn’t discovered for years.
Continuing on from the progressive rock direction of The Raven That Refused To Sing (And Other Songs), while adding some pop-influenced elements. Hand. Cannot. Erase. is a successful example of Steven Wilson achieving balance between pop and prog.
The story of the album revolves around an article that Steven Wilson read, about a woman who died in her apartment and went undiscovered for two years.
An intro track leads into the 10 minute-long, 3 Years Older, which showcases an 80s Rush-style sound. The title track is one of Wilson’s best pop songs, along with his earlier song Postcard and the Porcupine Tree cascading piano ballad, Lazarus.
Perfect Life features a spoken word segment and percussion that wouldn’t feel out of place on a hip-hop song. Home Invasion is both the heaviest and funkiest song here. Regret #9 is an instrumental that sounds like what Genesis would have sounded like, had Phil Collins never led them into the pop charts. Transience is a delicate, finger-picked acoustic track. Ancestral is a 13 minute epic, which features vocals from Ninet Tayeb.
One of Steven Wilson’s best works in his entire discography, with a well-executed concept and a successful blend of modern sensibilities and a 70s prog influence.
★★★★
Steven Wilson – Transience
Steven Wilson releases his first solo compilation.
Primarily featuring singles, like Harmony Korine and Postcard, deep cuts, like Index, and his more accessible songs, like Hand Cannot Erase (and a re-recording of the Porcupine Tree song, Lazarus), Transience is aimed at attracting the more casual listener, instead of providing a more comprehensive snapshot of his entire body of work.
And so, this compilation may be missing some key tracks, like Raider II, Luminol and 3 Years Older, but those lengthier recordings would not work in the context of such a collection, nor would they fit on a single disc. Otherwise, Transience includes most of the definitive songs from Wilson’s solo career thus far and is a fairly successful attempt at what this disc is aiming to do.
★★★★
Tame Impala – Currents
Kevin Parker leaves acid-soaked, neo-psychedelic rock behind for shiny, sleek R&B-flavoured synthpop.
With Innerspeaker and Lonerism, Kevin Parker had become a torchbearer for modern rock, with his blending of modern production, married to a retro sound and aesthetic. People who had just nearly lost faith in modern rock music still had Kevin Parker in the indie realm. So, Currents and its left turn into synthpop initially felt like a selling out or betrayal to many. Gone were the fuzzy guitars, in were shiny synths and retro 80s vibes. But it all worked so immensely well.
Let It Happen seems like a mission statement for the album and could be aimed towards himself and his audience alike. Let this change happen, and embrace it. This is where life is taking Kevin and so this is the music he must make, and us, as listeners, must trust him and let him do what he needs to do. It’s about discovery.
The Moment is a powerhouse of a dance track, along with The Less I Know The Better, which is probably the most iconic Tame Impala song ever, surpassing even Elephant. Yes I’m Changing has Kevin confronting change, and that as he grows and changes, the music he makes must too.
Eventually is one of his most hard-hitting songs, tugging on your emotions. Disciples makes you wish it was longer than two minutes. Past Life uses a deep robotic voice in lieu of conventional vocals, but still makes use for Kevin Parker’s regular vocals in it’s refrain.
‘Cause I’m A Man resulted in accusations of misogyny, but if you actually listen to the lyrics, it’s Kevin talking about how men are often oblivious and unaware of the things they do, and how women are at times stronger than us men. Love/Paranoia and Reality In Motion may be tucked in at the end of the album, but are as catchy and memorable as the rest of the album.
The final song, New Person, Same Old Mistakes, is something I think we can all relate to. No matter how much you change, you’re still you at the core, for better or worse. We can try our best to grow, but sometimes we may still act on the same instincts and impulses as we once did.
Lonerism showed an increased reliance on synthesizers, so while this album’s direction may have been surprising and jarring to some, it’s not too hard to understand either, especially on a song like the Lonerism b-side Beverly Laurel, which would have suggested this was the direction Parker was heading in.
Ultimately, Currents is a brilliant reinvention and successful creative and commercial left-turn for Kevin Parker, and is the album that’s turned him into one of the most in-demand producers working today and an artist that millions of people now adore.
★★★★★
Travis Scott – Rodeo
Travis Scott sets the template for trap music.
After several singles, mixtapes and even contributing production on Kanye West’s 2013 masterpiece, Yeezus, Travis Scott was on the path to becoming a major player in rap, as well as a pioneer in the trap subgenre.
Pornography is a dark opener, establishing the sleaze and wickedness of the album. Kanye West appears on the devilishly-titled Piss On Your Grave. Pray 4 Love is a ballad featuring The Weeknd, providing a change of pace from the more hardcore songs here. Wasted uses flute samples that have become a staple in trap.
Rodeo is a menacing masterpiece and one of the best debuts in hip-hop in years. Travis Scott’s Kanye West influences are apparent, but he still distinguishes himself from his mentor, through finding his own voice.
★★★★½
FIN
Britain Chambers
