This is ironic, because I find her voice to be one of the most unique in this category. I believe that Tink’s Winter’s Diary 4 has been wrongfully lost amidst 2016’s cluttered array of female-fronted R&B. (And by the way, if you’re looking for some gospel shit, this is a much better choice than Coloring Book.) Then again, this record has a genre-defying subtlety that transcends complexity or influence, becoming something new. How many of us heard “Broccoli” for the first time and scoffed, only to return days later, hypocrisy be damned? That’s kinda how I feel about this whole album. The ideas are counterintuitive, almost confusing in their buoyancy, and they take a few listens to sink in, which isn’t the standard for a “pop” album. has a knack for melodies, the kind that burrow inside your brain and take root. When I glazed over #1Epic as an overproduced Chance the Rapper spinoff, I never thought I’d be eating my own words a year later as I bumped “Cash Machine” every day for weeks straight. I can’t think of a better formula for a successful trap record.
Hotel Paranoia is brimming with elusive rhythms, nightmarish imagery, and a healthy dose of unchecked narcissism. Jazz tends to go the opposite way of Yachty, though – his lyrics are incredibly moody and his beats are abrasive bangers, sort of like early Drake meets $uicideboy$ (and it’s pretty much as good as that sounds). For the same reason people are drawn to Lil Yachty for his uniquely happy-go-lucky brand of trap, I find myself attracted to Jazz Cartier’s own adaptation of the genre. I’m not particularly bothered by this, but I can see why it’s fair.
Disco, punk, psych rock, funk, and so many more sounds are explored here, molded by a band whose lineup changes just as much as their song structures, but somehow they find their niche and mine it for consistency.Īs trap has been exploding in the past few years, many critics have noted a lack of forward momentum within the genre. This record reeled me in with its Grateful Dead-inspired cover art, and kept me close with its explosive psychedelic tantrums. In a year full of revivalism and homages, Guerilla Toss managed to come through with an album that fuses its influences into something truly interesting and innovative. (All jokes aside, I love every album on this list.
What I’m tryna say is, get the fuck out of here with that “oh, Preston, where is Blonde?” “Where is A Seat at the Table?!” This isn’t a Pitchfork popularity contest. They are not the most “important” or the most “creative” or even the “best ” simply, my favorite. These are the 25 records I got the most enjoyment out of in this calendar year. Let’s get one thing straight: this is a list of my favorite albums of 2016.
0 kommentar(er)
