{"id":4119,"date":"2015-12-29T06:54:31","date_gmt":"2015-12-29T11:54:31","guid":{"rendered":"http:\/\/agitreader.com\/wp2\/?p=4119"},"modified":"2022-11-13T13:05:46","modified_gmt":"2022-11-13T18:05:46","slug":"the-agit-reader-top-10-of-2015","status":"publish","type":"post","link":"https:\/\/agitreader.com\/wp2\/the-agit-reader-top-10-of-2015\/","title":{"rendered":"The Agit Reader Top 10 of 2015"},"content":{"rendered":"

\"New<\/a>#10
\nNew Order
\nMusic Complete
\nMute Records<\/h4>\n

Music Complete<\/i> marks the departure of Peter Hook, the founding member responsible for the signature basslines that helped define the sound of New Order (and, before that, Joy Division). But even without Hooky\u2019s bass, the new record is undeniably New Order, from the soaring synths to the often dark lyrics that belie the danceable music. With Bernard Sumner\u2019s predilection for electronics now more prominent, Music Complete<\/i> has been drawing comparisons to 1989\u2019s Technique<\/i>, but you can also hear haunting guitar tones reminiscent of New Order\u2019s earliest records on cuts like \u201cSingularity,\u201d for example. Ultimately, New Order delivers a triumphant collection of tracks as solid as the title suggests. JR<\/strong><\/p>\n

 <\/p>\n

\"Grimes,<\/a>#9
\nGrimes
\nArt Angels
\n4AD<\/h4>\n

Claire Boucher herself has used \u201cA.D.D.\u201d to describe the music of Grimes. Thus, it’s been hard for her not to flit between the many post-modern genres that fuel her subconscious. Art Angels<\/i>, then, is a statement that declares her universe is of her own design. She doesn\u2019t quite fit anywhere, and she is autonomous to the nth degree. Between K-Pop excursions, avant hip-hop beats, weirdo folk interludes, maximalist pop, and electric guitars, the album represents her artistic vision as euphoric amalgam of styles without borders. Where before Grimes bore a slight redundancy or an ephemeral flimsiness, Art Angels<\/i> posits the young songwriter as terrestrial, confident, and unafraid to bend the limits of pop music to her liking. Art Angels<\/i> is a blueprint to where music is headed, like it or not. KJE<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>#8
\nSalad Boys
\nMetalmania
\nTrouble In Mind<\/h4>\n

That the Salad Boys are everything a classic New Zealand trio should sound like is almost a detriment to the transcendent songs that comprise Metalmania<\/i>. They hail from Christchurch, back up the legendary David Kilgour when touring the homeland, and pack enough bittersweet, wandering guitar jangle into their music that they may as well be the second coming of The Clean. But somewhere a sense of modernity jars them to their senses, and the riffs get sharp, purposefully melodic, and urgent\u2014all qualities that run counter to their brethren. Metalmania<\/i> is not merely homage, it\u2019s the natural evolution of \u201cTally Ho\u201d to how these NZ kids think it should sound in 2015. KJE<\/strong><\/p>\n

 <\/p>\n

\"Kamasi<\/a>#7
\nKamasi Washington
\nThe Epic
\nBrainfeeder<\/h4>\n

No title could more accurately describe this album. It is an odyssey, a journey, and a rite of passage. It\u2019s exciting, of course, to see a jazz album getting so much attention, and it\u2019s difficult to remember the last time it happened. The bottom line, though, is that Kamasi Washington\u2019s daring triple-album is stunning through and through. Recalling all the big boys, certainly, but also Gil Evans, Donald Byrd, Joe Zawinul, and Alice<\/i> Coltrane, The Epic\u2019s<\/i> scope is as big as its ambition. Nothing about the music is modest. It features mostly 11-minute-plus tracks, a 32-person choir, guess spots from bass virtuoso Thundercat and R&B vocalist Patrice Quinn, and ecstatic, cathartic soloing by every player in the group. The emotions are big, the concepts are daring, and Washington makes absolutely no concessions to newcomers or nostalgia. The set opens with \u201cChange of the Guard\u201d and, as that title suggests, this is the sound of a powerful new voice making itself heard, loud and clear. MS<\/strong><\/p>\n

 <\/p>\n

\"Shopping\"<\/a>#6
\nShopping
\nConsumer Complaints
\nWhy Choose
\nFatCat Records<\/h4>\n

This year the world at large was introduced to British trio Shopping with not just one but two records: the reissue of the band\u2019s self-released debut, Consumer Complaints<\/i>, and the band\u2019s follow-up, Why Choose<\/i>. Though both are only about a half-hour in length, each record is stocked with a sparse take on the kind of funk-laden post-punk done so well in decades past by bands like Delta 5, Au Pairs, and The Slits, who Shopping most closely recall. Smart and brash, the London band is just as captivating live, exhibiting the kind of uninhibited joie de vivre indicative of an attitude of fun over fashion. SS<\/strong><\/p>\n

 <\/p>\n

\"Hamilton\"<\/a>#5
\nVarious Artists
\nHamilton: Original Broadway Cast Recording
\nAtlantic Records<\/h4>\n

If you were to tell someone back in January that one of the hottest things to hit pop culture would be a Broadway musical that used hip-hop to explore the life and times of the first Secretary of Treasury, Alexander Hamilton, you might get looks that were a mixture of confusing and pity for the hangover you\u2019d be suffering through when you sobered up. Yet here we are with Hamilton<\/i>, the show people just can\u2019t stop talking about. For those who didn\u2019t score tickets to one of the long soldout performances, the soundtrack is the next best thing; at two hours and 46 tracks, it\u2019s the entire show. Overseen by Questlove and Black Thought of The Roots and the show\u2019s creator and star Lin-Manuel Miranda, it\u2019s an ambitious mix of hip-hop, pop, R&B, jazz, and show tunes. It\u2019s the rare Broadway album that plays just as well to both the hardcore theater geek and the pop fan and an impossibly audacious accomplishment. DSH<\/strong><\/p>\n

 <\/p>\n

\"Sleater-Kinney,<\/a>#4
\nSleater-Kinney
\nNo Cities to Love
\nSub Pop Records<\/h4>\n

In the year of our Lord 2015, bands reuniting is the least surprising aspect of the current music scene. After all, there are lots of festival stages that need populating. But reunion albums are nerve wracking. Usually, the best one can hope for is that it won\u2019t be cringe-inducing. So when Sleater-Kinney announced that after a decade-long hiatus they had a new album coming out, there was cautious excitement. It turns out that there was no need for worry. No Cities to Love<\/i>, the band\u2019s eighth album and second for Sub Pop picked up as if no time had transpired. Revisiting some of the pop overtones of previous albums and adding some new tricks, it is the logical next step with no asterisk. The balance and chemistry is just as great as it ever was so hopefully the band is back to stay. DSH<\/strong><\/p>\n

 <\/p>\n

\"Royal<\/a>#3
\nRoyal Headache
\nHigh
\nWhat\u2019s Your Rupture?<\/h4>\n

Though in terms of overall spunk I\u2019d give the edge to Royal Headache\u2019s self-titled debut from a couple years ago, the band\u2019s follow-up is otherwise that record\u2019s equal in nearly every other aspect. The Aussie four-piece matches soulful reveries to garage tattersall in a manner that hits on all visceral levels from the primal to the emotional. But that\u2019s only half of it. There are tracks like \u201cWouldn\u2019t You Know\u201d that come off like they were torn from Dion\u2019s songbook and given a modern updating with serrated edges. In other words, this is one for the ages. SS<\/strong><\/p>\n

 <\/p>\n

\"Courtney<\/a>#2
\nCourtney Barnett
\nSometimes I Sit and Think, and Sometimes I Just Sit
\nMom + Pop Music<\/h4>\n

The Courtney Barnett hype train began sometime in 2013 with \u201cAvant Gardener.\u201d That song, which through gardening metaphors and an inexplicably relatable chorus of \u201cI\u2019m having trouble breathing in,\u201d left us thirsty for more. And did she deliver. This year\u2019s Sometimes I Sit and Think, and Sometimes I Just Sit<\/i> picked up right where she left off. There\u2019s nothing unexpected based on what we\u2019ve heard before, but she delivers pure authenticity with great execution. As she did on \u201cAvant Gardener,\u201d she once again makes the mundane seem relevant and distressing on tracks like \u201cDepreston\u201d and \u201cNobody Really Cares If You Don\u2019t Go to the Party.\u201d Then there\u2019s the perfect \u201cPedestrian at Best,\u201d which is a jaw-dropping, mosh-inducing anthem of apathy as good as anything we got from Nirvana in \u201991. Rock hasn\u2019t been in the limelight much this year\u2014after all, who wants to hear another college rock revival\u2014but damn if Barnett doesn\u2019t make a case for the genre. ML<\/strong><\/p>\n

 <\/p>\n

\"Run<\/a>#1
\nKendrick Lamar
\nTo Pimp a Butterfly
\nInterscope Records<\/h4>\n

Kendrick Lamar describes the movements of history, country, and community by laying bare his personal struggles. That’s Kendrick’s biggest strength on this record: while recording his own despair\u2014that moment, repeatedly alluded to, when he’s screaming in a hotel room\u2014he brings it all together, unmasking the forces that led to his strife over a soundscape that links genres and eras. That Kendrick has taken his place alongside Nas, Rakim, KRS-One, Chuck D, Biggie, and Tupac is now a given. What’s more amazing is that he’s done so with an album that cross-breeds the most challenging work of James Brown, John Coltrane, and George Clinton (not to mention Gil Scott-Heron and Amiri Baraka). In a year when there were not words enough to describe the never-ending horrors, when it was imperative to remind the world that Black Lives Matter, Kendrick Lamar (and his collection of widely and wildly talented collaborators) stepped forward with a masterpiece as gut-wrenchingly discordant as the darkest days of the year and as brilliant as the summer sun. MS<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

#10 New Order Music Complete Mute Records Music Complete marks the departure of Peter Hook, the founding member responsible for the signature basslines that helped define the sound of New Order (and, before that, Joy Division). But even without Hooky\u2019s bass, the new record is undeniably New Order, from the soaring synths to the often […]<\/p>\n","protected":false},"author":10,"featured_media":4130,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2479],"tags":[1099,1514,1512,1513,1057,44,1397,1434,1470,1056,2553],"class_list":["post-4119","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-best-of-the-year","tag-courtney-barnett","tag-grimes","tag-hamilton","tag-kamasi-washington","tag-kendrick-lamar","tag-new-order","tag-royal-headache","tag-salad-boys","tag-shopping","tag-sleater-kinney","tag-top-10"],"yoast_head":"\nThe Agit Reader Top 10 of 2015 - The Agit Reader<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/agitreader.com\/wp2\/the-agit-reader-top-10-of-2015\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Agit Reader Top 10 of 2015 - The Agit Reader\" \/>\n<meta property=\"og:description\" content=\"#10 New Order Music Complete Mute Records Music Complete marks the departure of Peter Hook, the founding member responsible for the signature basslines that helped define the sound of New Order (and, before that, Joy Division). 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