<\/p>\n
![\"Dinosaur](\"http:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2016\/08\/dinosaur_jr-give_a_glimpse.jpg\")
<\/a><\/h4>\n#10
\nDinosaur Jr.
\nGive a Glimpse of What Yer Not
\nJagjaguwar<\/h4>\n
The second life of Dinosaur Jr. continued this year with the fourth release since lead singer and guitarist J. Mascis and bassist Lou Barlow (and drummer Murph) reunited in 2005 to resurrect the pedal-pushing wall of sound that they first formulated in the late \u201980s. On Give a Glimpse of What Yer Not<\/i>, \u201cGoin Down\u201d and \u201cTiny\u201d come out the gate with big, belting hooks, while other tracks take turns that are sludgy, jangly, or moody and introspective. Per established convention, Barlow lends vocals to a couple tracks that would fit more seamlessly on a playlist of Byrds-era psych rock. While jarring, they\u2019re not unwelcome on a fine installment from one of guitar rock\u2019s greats. JP<\/strong><\/p>\n <\/p>\n
![\"\"](\"http:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2017\/01\/car_seat_headrest-teens_of_denial.jpg\")
<\/a>#9
\nCar Seat Headrest
\nTeens of Denial
\nMatador Records<\/h4>\nCar Seat Headrest\u2019s Teens of Denial<\/i> opens with lyrics that seem especially fitting of this year: \u201cI\u2019m so sick of: fill in the blank.\u201d It\u2019s the band\u2019s first proper studio album of new music (2015\u2019s Teens of Style<\/i> was a compilation of tracks from prolific Will Toledo\u2019s 11 previous Bandcamp releases), and with guitarist Ethan Ives, bassist Seth Darby and drummer Andrew Katz joining Toledo, Car Seat Headrest\u2019s sound is obviously fuller, while the lyrics\u2014whether spoken, crooned or shouted\u2014maintain a sense of intimacy via a borderline confessional tone and introspective grappling with self-doubts and inner demons. Songs about depression\u2014\u201cFill in the Blank\u201d for example\u2014can sound surprisingly upbeat, and a bad trip story, \u201c(Joe Gets Kicked Out of School For Using) Drugs With Friends (But Says This Isn’t a Problem),\u201d becomes tragicomedy. While there\u2019s often a Pavement-like pace to many of the songs, Car Seat Headrest is still incapable of creating something predictable on songs like the soaring \u201cDrunk Drivers\/Killer Whales,\u201d\u00a0 the meandering and beautiful \u201cCosmic Hero,\u201d and the epic \u201cThe Ballad of Costa Concordia,\u201d which contains both a melancholy ballad and an upbeat piano tune. At a time when there is so much to be sick of, Car Seat Headrest is a refreshing antidote. JR<\/strong><\/p>\n <\/p>\n
![](\"http:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2017\/01\/chance_the_rapper-coloring_book.jpg\")
<\/a>#8
\nChance the Rapper
\nColoring Book
\nself-released<\/h4>\nColoring Book<\/i> is the most fun hip-hop record since Kanye\u2019s Graduation<\/i>. While his contemporaries mostly stick to rhyming about the insides of their cells or the insides of their heads, Chance writes about the passion and determination it takes to crash the gates of the music industry. Sometimes that means throwing hands in the lobby (\u201cNo Problem\u201d) and sometimes it means \u201cspeaking to God in public.\u201d Chance launched Coloring Book<\/i> by performing \u201cBlessings\u201d on The Tonight Show<\/i>, making no bones about his intent to worship on national television. The gospel influences don\u2019t tell Chance\u2019s whole story (there are also tracks about what a successful young man might do on a Saturday night), but they do set Coloring Book<\/i> apart from his previous works. He uses choral singers for more than just their symbolism, and he puts the most memorable verses (by a long shot) on the praise tracks. The message is clear: let others move units by watching the bottom line, Chance will outshine them all by keeping his eyes fixed on the horizon. MS<\/strong><\/p>\n <\/p>\n
![\"\"](\"http:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2017\/01\/leonard_cohen-you_want_it_darker.jpg\")
<\/a>#7
\nLeonard Cohen
\nYou Want It Darker
\nColumbia Records<\/h4>\nLike so many of this year\u2019s best records, You Want It Darker<\/i> is haunted by death, with its creator passing away just weeks after its release. Ever the sage, Leonard Cohen seemed to see his death coming, addressing the subject in interviews and in the record\u2019s opening title track in lines like, \u201cI\u2019m ready my Lord,\u201d and later \u201cI\u2019m leaving the table, I\u2019m out of the game,\u201d on \u201cLeaving the Table.\u201d But even if Cohen were still with us, this album\u2019s gravitas would be impossible to ignore. Eschewing the modern keyboard tones of his past few records for a more natural palette, You Want It Darker<\/i> has all the hallmarks of his best work: lyrical poignancy, grand metaphors, that distinctive croon, and a timeless quality that ensures it will live on for ages to come. The only disappointment that comes with this record is that it is his last. SS<\/strong><\/p>\n <\/p>\n
![\"\"](\"http:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2017\/01\/Solange-A_Seat_at_the_Table.jpg\")
<\/a>#6
\nSolange
\nA Seat at the Table
\nSaint Records\/Columbia Records<\/h4>\nOn A Seat at the Table<\/i>, Solange Knowles combines the personal and the political so deftly that the boundary becomes a mirage. Working with a diverse dreamteam of collaborators (including Raphael Saadiq, Dev Hynes, Q-Tip, Sampha, Dave Sitek, Rostam, and Dave Longstreth), she bracingly details the vast and difficult range of emotions that are an inescapable part of 21st century black lives in America. She is, in turn, determined, weary, desperate to escape, defiant, exhausted, and despondent. Remarkably, the magnitude of her personal struggle is matched by her ability to transform burdens into beauty. Even indignation comes out as a lilting melody over a patient groove. Rather than allowing the righteous flame of her anger to rage out of control, she harnesses the energy, containing and tending the fire, and releases it in a slow, steady burn. MS<\/strong><\/p>\n <\/p>\n
![\"\"](\"http:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2017\/01\/savages-adore_life.jpg\")
<\/a>#5
\nSavages
\nAdore Life
\nMatador Records<\/h4>\nAfter 2013\u2019s acclaimed Silence Yourself<\/i>, the Savages\u2019 blistering, assertive debut record, the post-punk British foursome returned in 2016 with Adore Life<\/i>, an even more powerful collection of tracks. It opens with \u201cThe Answer\u201d and the command of \u201cIf you don\u2019t love me, you don\u2019t love anybody\u201d\u00a0 followed by the assertion that \u201clove is the answer.\u201d That line sets the tone for the record; according to the liner notes, \u201cIt\u2019s about love, every kind of love.\u201d It\u2019s tough love on \u201cSad Person,\u201d while it\u2019s something more ferocious on \u201cT.W.I.Y.G.\u201d While hints of the band\u2019s influences are present throughout\u2014from Swans in some feedback-drenched interludes or Siouxsie Sioux in Jehnny Beth\u2019s vocals on \u201cEvil\u201d\u2014at the record\u2019s core is the sound of a band maintaining its trademark urgency and energy without being afraid to evolve. JR<\/strong><\/p>\n <\/p>\n
![\"\"](\"http:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2017\/01\/angel_olsen-my_woman.jpg\")
<\/a>#4
\nAngel Olsen
\nMy Woman
\nJagjaguwar<\/h4>\nWith three stunning albums in quick succession, singer-songwriter Angel Olsen has become a superstar of sorts without succumbing to any cornering identity. She\u2019s the odd one out, capable of wearing multiple hats: the mystic folkie, the alt-country starlet, and the indie goddess with guitar chops that resemble Yo La Tengo in their \u201990s buzzbin days. Though My Woman<\/i> magnetizes with the pop immediacy of its irresistible first single \u201cShut Up Kiss Me,\u201d it mesmerizes throughout with its sleight of hand and subtle graces. Olsen\u2019s rich arrangements rarely shout, and most times, whisper. Whether the influence is a rough-hewn tribute to Neil Young or a metaphysical ode to Stevie Nicks (\u201cSister\u201d), simplicity is at the absolute center. Olsen\u2019s voice serves as the anchor, a confident siren song and the vulnerable sound of pure heartache. My Woman<\/i> is a record that is various shades, but demands repeated listens to realize Olsen as a singular force in a sea of similar counters and less inspired peers (of which there are many). KJE<\/strong><\/p>\n <\/p>\n
![\"\"](\"http:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2017\/01\/nick_cave-skeleton_tree.jpg\")
<\/a>#3
\nNick Cave & The Bad Seeds
\nSkeleton Tree
\nBad Seed Ltd.<\/h4>\nDarkness is a given when it comes to a Nick Cave record. However, his 16th record with the Bad Seeds was produced under perhaps the darkest of shrouds. During the album\u2019s recording sessions his 15-year-old son Arthur died after an accidental cliff fall. While the record was written and the initial recording sessions were completed before Arthur\u2019s death, naturally in revisiting the material the tone changed. And while the record isn\u2019t directly about the incident, there\u2019s an eerily prophetic aspect that hangs over the songs. Fittingly the album is less narrative than what Cave is known for, and the production matches with a moody, minimal and at times dissonant tone. Co-piloted by longtime collaborator Warren Ellis, Skeleton Tree<\/i> is a beautiful, devastating, and emotionally complex record that\u2019s not just one of the best of 2016, but one of Cave\u2019s best. DSH<\/strong><\/p>\n <\/p>\n
![\"\"](\"http:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2017\/01\/atcq-we_got_it_from_here.jpg\")
<\/a>#2
\nA Tribe Called Quest
\nWe Got It from Here… Thank You 4 Your Service
\nEpic Records<\/h4>\n
\nDinosaur Jr.
\nGive a Glimpse of What Yer Not
\nJagjaguwar<\/h4>\n
<\/p>\n
<\/a>#9
\nCar Seat Headrest
\nTeens of Denial
\nMatador Records<\/h4>\nCar Seat Headrest\u2019s Teens of Denial<\/i> opens with lyrics that seem especially fitting of this year: \u201cI\u2019m so sick of: fill in the blank.\u201d It\u2019s the band\u2019s first proper studio album of new music (2015\u2019s Teens of Style<\/i> was a compilation of tracks from prolific Will Toledo\u2019s 11 previous Bandcamp releases), and with guitarist Ethan Ives, bassist Seth Darby and drummer Andrew Katz joining Toledo, Car Seat Headrest\u2019s sound is obviously fuller, while the lyrics\u2014whether spoken, crooned or shouted\u2014maintain a sense of intimacy via a borderline confessional tone and introspective grappling with self-doubts and inner demons. Songs about depression\u2014\u201cFill in the Blank\u201d for example\u2014can sound surprisingly upbeat, and a bad trip story, \u201c(Joe Gets Kicked Out of School For Using) Drugs With Friends (But Says This Isn’t a Problem),\u201d becomes tragicomedy. While there\u2019s often a Pavement-like pace to many of the songs, Car Seat Headrest is still incapable of creating something predictable on songs like the soaring \u201cDrunk Drivers\/Killer Whales,\u201d\u00a0 the meandering and beautiful \u201cCosmic Hero,\u201d and the epic \u201cThe Ballad of Costa Concordia,\u201d which contains both a melancholy ballad and an upbeat piano tune. At a time when there is so much to be sick of, Car Seat Headrest is a refreshing antidote. JR<\/strong><\/p>\n <\/p>\n
<\/a>#8
\nChance the Rapper
\nColoring Book
\nself-released<\/h4>\nColoring Book<\/i> is the most fun hip-hop record since Kanye\u2019s Graduation<\/i>. While his contemporaries mostly stick to rhyming about the insides of their cells or the insides of their heads, Chance writes about the passion and determination it takes to crash the gates of the music industry. Sometimes that means throwing hands in the lobby (\u201cNo Problem\u201d) and sometimes it means \u201cspeaking to God in public.\u201d Chance launched Coloring Book<\/i> by performing \u201cBlessings\u201d on The Tonight Show<\/i>, making no bones about his intent to worship on national television. The gospel influences don\u2019t tell Chance\u2019s whole story (there are also tracks about what a successful young man might do on a Saturday night), but they do set Coloring Book<\/i> apart from his previous works. He uses choral singers for more than just their symbolism, and he puts the most memorable verses (by a long shot) on the praise tracks. The message is clear: let others move units by watching the bottom line, Chance will outshine them all by keeping his eyes fixed on the horizon. MS<\/strong><\/p>\n <\/p>\n
<\/a>#7
\nLeonard Cohen
\nYou Want It Darker
\nColumbia Records<\/h4>\nLike so many of this year\u2019s best records, You Want It Darker<\/i> is haunted by death, with its creator passing away just weeks after its release. Ever the sage, Leonard Cohen seemed to see his death coming, addressing the subject in interviews and in the record\u2019s opening title track in lines like, \u201cI\u2019m ready my Lord,\u201d and later \u201cI\u2019m leaving the table, I\u2019m out of the game,\u201d on \u201cLeaving the Table.\u201d But even if Cohen were still with us, this album\u2019s gravitas would be impossible to ignore. Eschewing the modern keyboard tones of his past few records for a more natural palette, You Want It Darker<\/i> has all the hallmarks of his best work: lyrical poignancy, grand metaphors, that distinctive croon, and a timeless quality that ensures it will live on for ages to come. The only disappointment that comes with this record is that it is his last. SS<\/strong><\/p>\n <\/p>\n
<\/a>#6
\nSolange
\nA Seat at the Table
\nSaint Records\/Columbia Records<\/h4>\nOn A Seat at the Table<\/i>, Solange Knowles combines the personal and the political so deftly that the boundary becomes a mirage. Working with a diverse dreamteam of collaborators (including Raphael Saadiq, Dev Hynes, Q-Tip, Sampha, Dave Sitek, Rostam, and Dave Longstreth), she bracingly details the vast and difficult range of emotions that are an inescapable part of 21st century black lives in America. She is, in turn, determined, weary, desperate to escape, defiant, exhausted, and despondent. Remarkably, the magnitude of her personal struggle is matched by her ability to transform burdens into beauty. Even indignation comes out as a lilting melody over a patient groove. Rather than allowing the righteous flame of her anger to rage out of control, she harnesses the energy, containing and tending the fire, and releases it in a slow, steady burn. MS<\/strong><\/p>\n <\/p>\n
<\/a>#5
\nSavages
\nAdore Life
\nMatador Records<\/h4>\nAfter 2013\u2019s acclaimed Silence Yourself<\/i>, the Savages\u2019 blistering, assertive debut record, the post-punk British foursome returned in 2016 with Adore Life<\/i>, an even more powerful collection of tracks. It opens with \u201cThe Answer\u201d and the command of \u201cIf you don\u2019t love me, you don\u2019t love anybody\u201d\u00a0 followed by the assertion that \u201clove is the answer.\u201d That line sets the tone for the record; according to the liner notes, \u201cIt\u2019s about love, every kind of love.\u201d It\u2019s tough love on \u201cSad Person,\u201d while it\u2019s something more ferocious on \u201cT.W.I.Y.G.\u201d While hints of the band\u2019s influences are present throughout\u2014from Swans in some feedback-drenched interludes or Siouxsie Sioux in Jehnny Beth\u2019s vocals on \u201cEvil\u201d\u2014at the record\u2019s core is the sound of a band maintaining its trademark urgency and energy without being afraid to evolve. JR<\/strong><\/p>\n <\/p>\n
<\/a>#4
\nAngel Olsen
\nMy Woman
\nJagjaguwar<\/h4>\nWith three stunning albums in quick succession, singer-songwriter Angel Olsen has become a superstar of sorts without succumbing to any cornering identity. She\u2019s the odd one out, capable of wearing multiple hats: the mystic folkie, the alt-country starlet, and the indie goddess with guitar chops that resemble Yo La Tengo in their \u201990s buzzbin days. Though My Woman<\/i> magnetizes with the pop immediacy of its irresistible first single \u201cShut Up Kiss Me,\u201d it mesmerizes throughout with its sleight of hand and subtle graces. Olsen\u2019s rich arrangements rarely shout, and most times, whisper. Whether the influence is a rough-hewn tribute to Neil Young or a metaphysical ode to Stevie Nicks (\u201cSister\u201d), simplicity is at the absolute center. Olsen\u2019s voice serves as the anchor, a confident siren song and the vulnerable sound of pure heartache. My Woman<\/i> is a record that is various shades, but demands repeated listens to realize Olsen as a singular force in a sea of similar counters and less inspired peers (of which there are many). KJE<\/strong><\/p>\n <\/p>\n
<\/a>#3
\nNick Cave & The Bad Seeds
\nSkeleton Tree
\nBad Seed Ltd.<\/h4>\nDarkness is a given when it comes to a Nick Cave record. However, his 16th record with the Bad Seeds was produced under perhaps the darkest of shrouds. During the album\u2019s recording sessions his 15-year-old son Arthur died after an accidental cliff fall. While the record was written and the initial recording sessions were completed before Arthur\u2019s death, naturally in revisiting the material the tone changed. And while the record isn\u2019t directly about the incident, there\u2019s an eerily prophetic aspect that hangs over the songs. Fittingly the album is less narrative than what Cave is known for, and the production matches with a moody, minimal and at times dissonant tone. Co-piloted by longtime collaborator Warren Ellis, Skeleton Tree<\/i> is a beautiful, devastating, and emotionally complex record that\u2019s not just one of the best of 2016, but one of Cave\u2019s best. DSH<\/strong><\/p>\n <\/p>\n
<\/a>#2
\nA Tribe Called Quest
\nWe Got It from Here… Thank You 4 Your Service
\nEpic Records<\/h4>\n
<\/p>\n
<\/a>#8
\nChance the Rapper
\nColoring Book
\nself-released<\/h4>\nColoring Book<\/i> is the most fun hip-hop record since Kanye\u2019s Graduation<\/i>. While his contemporaries mostly stick to rhyming about the insides of their cells or the insides of their heads, Chance writes about the passion and determination it takes to crash the gates of the music industry. Sometimes that means throwing hands in the lobby (\u201cNo Problem\u201d) and sometimes it means \u201cspeaking to God in public.\u201d Chance launched Coloring Book<\/i> by performing \u201cBlessings\u201d on The Tonight Show<\/i>, making no bones about his intent to worship on national television. The gospel influences don\u2019t tell Chance\u2019s whole story (there are also tracks about what a successful young man might do on a Saturday night), but they do set Coloring Book<\/i> apart from his previous works. He uses choral singers for more than just their symbolism, and he puts the most memorable verses (by a long shot) on the praise tracks. The message is clear: let others move units by watching the bottom line, Chance will outshine them all by keeping his eyes fixed on the horizon. MS<\/strong><\/p>\n <\/p>\n
<\/a>#7
\nLeonard Cohen
\nYou Want It Darker
\nColumbia Records<\/h4>\nLike so many of this year\u2019s best records, You Want It Darker<\/i> is haunted by death, with its creator passing away just weeks after its release. Ever the sage, Leonard Cohen seemed to see his death coming, addressing the subject in interviews and in the record\u2019s opening title track in lines like, \u201cI\u2019m ready my Lord,\u201d and later \u201cI\u2019m leaving the table, I\u2019m out of the game,\u201d on \u201cLeaving the Table.\u201d But even if Cohen were still with us, this album\u2019s gravitas would be impossible to ignore. Eschewing the modern keyboard tones of his past few records for a more natural palette, You Want It Darker<\/i> has all the hallmarks of his best work: lyrical poignancy, grand metaphors, that distinctive croon, and a timeless quality that ensures it will live on for ages to come. The only disappointment that comes with this record is that it is his last. SS<\/strong><\/p>\n <\/p>\n
<\/a>#6
\nSolange
\nA Seat at the Table
\nSaint Records\/Columbia Records<\/h4>\nOn A Seat at the Table<\/i>, Solange Knowles combines the personal and the political so deftly that the boundary becomes a mirage. Working with a diverse dreamteam of collaborators (including Raphael Saadiq, Dev Hynes, Q-Tip, Sampha, Dave Sitek, Rostam, and Dave Longstreth), she bracingly details the vast and difficult range of emotions that are an inescapable part of 21st century black lives in America. She is, in turn, determined, weary, desperate to escape, defiant, exhausted, and despondent. Remarkably, the magnitude of her personal struggle is matched by her ability to transform burdens into beauty. Even indignation comes out as a lilting melody over a patient groove. Rather than allowing the righteous flame of her anger to rage out of control, she harnesses the energy, containing and tending the fire, and releases it in a slow, steady burn. MS<\/strong><\/p>\n <\/p>\n
<\/a>#5
\nSavages
\nAdore Life
\nMatador Records<\/h4>\nAfter 2013\u2019s acclaimed Silence Yourself<\/i>, the Savages\u2019 blistering, assertive debut record, the post-punk British foursome returned in 2016 with Adore Life<\/i>, an even more powerful collection of tracks. It opens with \u201cThe Answer\u201d and the command of \u201cIf you don\u2019t love me, you don\u2019t love anybody\u201d\u00a0 followed by the assertion that \u201clove is the answer.\u201d That line sets the tone for the record; according to the liner notes, \u201cIt\u2019s about love, every kind of love.\u201d It\u2019s tough love on \u201cSad Person,\u201d while it\u2019s something more ferocious on \u201cT.W.I.Y.G.\u201d While hints of the band\u2019s influences are present throughout\u2014from Swans in some feedback-drenched interludes or Siouxsie Sioux in Jehnny Beth\u2019s vocals on \u201cEvil\u201d\u2014at the record\u2019s core is the sound of a band maintaining its trademark urgency and energy without being afraid to evolve. JR<\/strong><\/p>\n <\/p>\n
<\/a>#4
\nAngel Olsen
\nMy Woman
\nJagjaguwar<\/h4>\nWith three stunning albums in quick succession, singer-songwriter Angel Olsen has become a superstar of sorts without succumbing to any cornering identity. She\u2019s the odd one out, capable of wearing multiple hats: the mystic folkie, the alt-country starlet, and the indie goddess with guitar chops that resemble Yo La Tengo in their \u201990s buzzbin days. Though My Woman<\/i> magnetizes with the pop immediacy of its irresistible first single \u201cShut Up Kiss Me,\u201d it mesmerizes throughout with its sleight of hand and subtle graces. Olsen\u2019s rich arrangements rarely shout, and most times, whisper. Whether the influence is a rough-hewn tribute to Neil Young or a metaphysical ode to Stevie Nicks (\u201cSister\u201d), simplicity is at the absolute center. Olsen\u2019s voice serves as the anchor, a confident siren song and the vulnerable sound of pure heartache. My Woman<\/i> is a record that is various shades, but demands repeated listens to realize Olsen as a singular force in a sea of similar counters and less inspired peers (of which there are many). KJE<\/strong><\/p>\n <\/p>\n
<\/a>#3
\nNick Cave & The Bad Seeds
\nSkeleton Tree
\nBad Seed Ltd.<\/h4>\nDarkness is a given when it comes to a Nick Cave record. However, his 16th record with the Bad Seeds was produced under perhaps the darkest of shrouds. During the album\u2019s recording sessions his 15-year-old son Arthur died after an accidental cliff fall. While the record was written and the initial recording sessions were completed before Arthur\u2019s death, naturally in revisiting the material the tone changed. And while the record isn\u2019t directly about the incident, there\u2019s an eerily prophetic aspect that hangs over the songs. Fittingly the album is less narrative than what Cave is known for, and the production matches with a moody, minimal and at times dissonant tone. Co-piloted by longtime collaborator Warren Ellis, Skeleton Tree<\/i> is a beautiful, devastating, and emotionally complex record that\u2019s not just one of the best of 2016, but one of Cave\u2019s best. DSH<\/strong><\/p>\n <\/p>\n
<\/a>#2
\nA Tribe Called Quest
\nWe Got It from Here… Thank You 4 Your Service
\nEpic Records<\/h4>\n
<\/p>\n
<\/a>#7
\nLeonard Cohen
\nYou Want It Darker
\nColumbia Records<\/h4>\nLike so many of this year\u2019s best records, You Want It Darker<\/i> is haunted by death, with its creator passing away just weeks after its release. Ever the sage, Leonard Cohen seemed to see his death coming, addressing the subject in interviews and in the record\u2019s opening title track in lines like, \u201cI\u2019m ready my Lord,\u201d and later \u201cI\u2019m leaving the table, I\u2019m out of the game,\u201d on \u201cLeaving the Table.\u201d But even if Cohen were still with us, this album\u2019s gravitas would be impossible to ignore. Eschewing the modern keyboard tones of his past few records for a more natural palette, You Want It Darker<\/i> has all the hallmarks of his best work: lyrical poignancy, grand metaphors, that distinctive croon, and a timeless quality that ensures it will live on for ages to come. The only disappointment that comes with this record is that it is his last. SS<\/strong><\/p>\n <\/p>\n
<\/a>#6
\nSolange
\nA Seat at the Table
\nSaint Records\/Columbia Records<\/h4>\nOn A Seat at the Table<\/i>, Solange Knowles combines the personal and the political so deftly that the boundary becomes a mirage. Working with a diverse dreamteam of collaborators (including Raphael Saadiq, Dev Hynes, Q-Tip, Sampha, Dave Sitek, Rostam, and Dave Longstreth), she bracingly details the vast and difficult range of emotions that are an inescapable part of 21st century black lives in America. She is, in turn, determined, weary, desperate to escape, defiant, exhausted, and despondent. Remarkably, the magnitude of her personal struggle is matched by her ability to transform burdens into beauty. Even indignation comes out as a lilting melody over a patient groove. Rather than allowing the righteous flame of her anger to rage out of control, she harnesses the energy, containing and tending the fire, and releases it in a slow, steady burn. MS<\/strong><\/p>\n <\/p>\n
<\/a>#5
\nSavages
\nAdore Life
\nMatador Records<\/h4>\nAfter 2013\u2019s acclaimed Silence Yourself<\/i>, the Savages\u2019 blistering, assertive debut record, the post-punk British foursome returned in 2016 with Adore Life<\/i>, an even more powerful collection of tracks. It opens with \u201cThe Answer\u201d and the command of \u201cIf you don\u2019t love me, you don\u2019t love anybody\u201d\u00a0 followed by the assertion that \u201clove is the answer.\u201d That line sets the tone for the record; according to the liner notes, \u201cIt\u2019s about love, every kind of love.\u201d It\u2019s tough love on \u201cSad Person,\u201d while it\u2019s something more ferocious on \u201cT.W.I.Y.G.\u201d While hints of the band\u2019s influences are present throughout\u2014from Swans in some feedback-drenched interludes or Siouxsie Sioux in Jehnny Beth\u2019s vocals on \u201cEvil\u201d\u2014at the record\u2019s core is the sound of a band maintaining its trademark urgency and energy without being afraid to evolve. JR<\/strong><\/p>\n <\/p>\n
<\/a>#4
\nAngel Olsen
\nMy Woman
\nJagjaguwar<\/h4>\nWith three stunning albums in quick succession, singer-songwriter Angel Olsen has become a superstar of sorts without succumbing to any cornering identity. She\u2019s the odd one out, capable of wearing multiple hats: the mystic folkie, the alt-country starlet, and the indie goddess with guitar chops that resemble Yo La Tengo in their \u201990s buzzbin days. Though My Woman<\/i> magnetizes with the pop immediacy of its irresistible first single \u201cShut Up Kiss Me,\u201d it mesmerizes throughout with its sleight of hand and subtle graces. Olsen\u2019s rich arrangements rarely shout, and most times, whisper. Whether the influence is a rough-hewn tribute to Neil Young or a metaphysical ode to Stevie Nicks (\u201cSister\u201d), simplicity is at the absolute center. Olsen\u2019s voice serves as the anchor, a confident siren song and the vulnerable sound of pure heartache. My Woman<\/i> is a record that is various shades, but demands repeated listens to realize Olsen as a singular force in a sea of similar counters and less inspired peers (of which there are many). KJE<\/strong><\/p>\n <\/p>\n
<\/a>#3
\nNick Cave & The Bad Seeds
\nSkeleton Tree
\nBad Seed Ltd.<\/h4>\nDarkness is a given when it comes to a Nick Cave record. However, his 16th record with the Bad Seeds was produced under perhaps the darkest of shrouds. During the album\u2019s recording sessions his 15-year-old son Arthur died after an accidental cliff fall. While the record was written and the initial recording sessions were completed before Arthur\u2019s death, naturally in revisiting the material the tone changed. And while the record isn\u2019t directly about the incident, there\u2019s an eerily prophetic aspect that hangs over the songs. Fittingly the album is less narrative than what Cave is known for, and the production matches with a moody, minimal and at times dissonant tone. Co-piloted by longtime collaborator Warren Ellis, Skeleton Tree<\/i> is a beautiful, devastating, and emotionally complex record that\u2019s not just one of the best of 2016, but one of Cave\u2019s best. DSH<\/strong><\/p>\n <\/p>\n
<\/a>#2
\nA Tribe Called Quest
\nWe Got It from Here… Thank You 4 Your Service
\nEpic Records<\/h4>\n
<\/p>\n
<\/a>#6
\nSolange
\nA Seat at the Table
\nSaint Records\/Columbia Records<\/h4>\nOn A Seat at the Table<\/i>, Solange Knowles combines the personal and the political so deftly that the boundary becomes a mirage. Working with a diverse dreamteam of collaborators (including Raphael Saadiq, Dev Hynes, Q-Tip, Sampha, Dave Sitek, Rostam, and Dave Longstreth), she bracingly details the vast and difficult range of emotions that are an inescapable part of 21st century black lives in America. She is, in turn, determined, weary, desperate to escape, defiant, exhausted, and despondent. Remarkably, the magnitude of her personal struggle is matched by her ability to transform burdens into beauty. Even indignation comes out as a lilting melody over a patient groove. Rather than allowing the righteous flame of her anger to rage out of control, she harnesses the energy, containing and tending the fire, and releases it in a slow, steady burn. MS<\/strong><\/p>\n <\/p>\n
<\/a>#5
\nSavages
\nAdore Life
\nMatador Records<\/h4>\nAfter 2013\u2019s acclaimed Silence Yourself<\/i>, the Savages\u2019 blistering, assertive debut record, the post-punk British foursome returned in 2016 with Adore Life<\/i>, an even more powerful collection of tracks. It opens with \u201cThe Answer\u201d and the command of \u201cIf you don\u2019t love me, you don\u2019t love anybody\u201d\u00a0 followed by the assertion that \u201clove is the answer.\u201d That line sets the tone for the record; according to the liner notes, \u201cIt\u2019s about love, every kind of love.\u201d It\u2019s tough love on \u201cSad Person,\u201d while it\u2019s something more ferocious on \u201cT.W.I.Y.G.\u201d While hints of the band\u2019s influences are present throughout\u2014from Swans in some feedback-drenched interludes or Siouxsie Sioux in Jehnny Beth\u2019s vocals on \u201cEvil\u201d\u2014at the record\u2019s core is the sound of a band maintaining its trademark urgency and energy without being afraid to evolve. JR<\/strong><\/p>\n <\/p>\n
<\/a>#4
\nAngel Olsen
\nMy Woman
\nJagjaguwar<\/h4>\nWith three stunning albums in quick succession, singer-songwriter Angel Olsen has become a superstar of sorts without succumbing to any cornering identity. She\u2019s the odd one out, capable of wearing multiple hats: the mystic folkie, the alt-country starlet, and the indie goddess with guitar chops that resemble Yo La Tengo in their \u201990s buzzbin days. Though My Woman<\/i> magnetizes with the pop immediacy of its irresistible first single \u201cShut Up Kiss Me,\u201d it mesmerizes throughout with its sleight of hand and subtle graces. Olsen\u2019s rich arrangements rarely shout, and most times, whisper. Whether the influence is a rough-hewn tribute to Neil Young or a metaphysical ode to Stevie Nicks (\u201cSister\u201d), simplicity is at the absolute center. Olsen\u2019s voice serves as the anchor, a confident siren song and the vulnerable sound of pure heartache. My Woman<\/i> is a record that is various shades, but demands repeated listens to realize Olsen as a singular force in a sea of similar counters and less inspired peers (of which there are many). KJE<\/strong><\/p>\n <\/p>\n
<\/a>#3
\nNick Cave & The Bad Seeds
\nSkeleton Tree
\nBad Seed Ltd.<\/h4>\nDarkness is a given when it comes to a Nick Cave record. However, his 16th record with the Bad Seeds was produced under perhaps the darkest of shrouds. During the album\u2019s recording sessions his 15-year-old son Arthur died after an accidental cliff fall. While the record was written and the initial recording sessions were completed before Arthur\u2019s death, naturally in revisiting the material the tone changed. And while the record isn\u2019t directly about the incident, there\u2019s an eerily prophetic aspect that hangs over the songs. Fittingly the album is less narrative than what Cave is known for, and the production matches with a moody, minimal and at times dissonant tone. Co-piloted by longtime collaborator Warren Ellis, Skeleton Tree<\/i> is a beautiful, devastating, and emotionally complex record that\u2019s not just one of the best of 2016, but one of Cave\u2019s best. DSH<\/strong><\/p>\n <\/p>\n
<\/a>#2
\nA Tribe Called Quest
\nWe Got It from Here… Thank You 4 Your Service
\nEpic Records<\/h4>\n
<\/p>\n
<\/a>#5
\nSavages
\nAdore Life
\nMatador Records<\/h4>\nAfter 2013\u2019s acclaimed Silence Yourself<\/i>, the Savages\u2019 blistering, assertive debut record, the post-punk British foursome returned in 2016 with Adore Life<\/i>, an even more powerful collection of tracks. It opens with \u201cThe Answer\u201d and the command of \u201cIf you don\u2019t love me, you don\u2019t love anybody\u201d\u00a0 followed by the assertion that \u201clove is the answer.\u201d That line sets the tone for the record; according to the liner notes, \u201cIt\u2019s about love, every kind of love.\u201d It\u2019s tough love on \u201cSad Person,\u201d while it\u2019s something more ferocious on \u201cT.W.I.Y.G.\u201d While hints of the band\u2019s influences are present throughout\u2014from Swans in some feedback-drenched interludes or Siouxsie Sioux in Jehnny Beth\u2019s vocals on \u201cEvil\u201d\u2014at the record\u2019s core is the sound of a band maintaining its trademark urgency and energy without being afraid to evolve. JR<\/strong><\/p>\n <\/p>\n
<\/a>#4
\nAngel Olsen
\nMy Woman
\nJagjaguwar<\/h4>\nWith three stunning albums in quick succession, singer-songwriter Angel Olsen has become a superstar of sorts without succumbing to any cornering identity. She\u2019s the odd one out, capable of wearing multiple hats: the mystic folkie, the alt-country starlet, and the indie goddess with guitar chops that resemble Yo La Tengo in their \u201990s buzzbin days. Though My Woman<\/i> magnetizes with the pop immediacy of its irresistible first single \u201cShut Up Kiss Me,\u201d it mesmerizes throughout with its sleight of hand and subtle graces. Olsen\u2019s rich arrangements rarely shout, and most times, whisper. Whether the influence is a rough-hewn tribute to Neil Young or a metaphysical ode to Stevie Nicks (\u201cSister\u201d), simplicity is at the absolute center. Olsen\u2019s voice serves as the anchor, a confident siren song and the vulnerable sound of pure heartache. My Woman<\/i> is a record that is various shades, but demands repeated listens to realize Olsen as a singular force in a sea of similar counters and less inspired peers (of which there are many). KJE<\/strong><\/p>\n <\/p>\n
<\/a>#3
\nNick Cave & The Bad Seeds
\nSkeleton Tree
\nBad Seed Ltd.<\/h4>\nDarkness is a given when it comes to a Nick Cave record. However, his 16th record with the Bad Seeds was produced under perhaps the darkest of shrouds. During the album\u2019s recording sessions his 15-year-old son Arthur died after an accidental cliff fall. While the record was written and the initial recording sessions were completed before Arthur\u2019s death, naturally in revisiting the material the tone changed. And while the record isn\u2019t directly about the incident, there\u2019s an eerily prophetic aspect that hangs over the songs. Fittingly the album is less narrative than what Cave is known for, and the production matches with a moody, minimal and at times dissonant tone. Co-piloted by longtime collaborator Warren Ellis, Skeleton Tree<\/i> is a beautiful, devastating, and emotionally complex record that\u2019s not just one of the best of 2016, but one of Cave\u2019s best. DSH<\/strong><\/p>\n <\/p>\n
<\/a>#2
\nA Tribe Called Quest
\nWe Got It from Here… Thank You 4 Your Service
\nEpic Records<\/h4>\n
<\/p>\n
<\/a>#4
\nAngel Olsen
\nMy Woman
\nJagjaguwar<\/h4>\nWith three stunning albums in quick succession, singer-songwriter Angel Olsen has become a superstar of sorts without succumbing to any cornering identity. She\u2019s the odd one out, capable of wearing multiple hats: the mystic folkie, the alt-country starlet, and the indie goddess with guitar chops that resemble Yo La Tengo in their \u201990s buzzbin days. Though My Woman<\/i> magnetizes with the pop immediacy of its irresistible first single \u201cShut Up Kiss Me,\u201d it mesmerizes throughout with its sleight of hand and subtle graces. Olsen\u2019s rich arrangements rarely shout, and most times, whisper. Whether the influence is a rough-hewn tribute to Neil Young or a metaphysical ode to Stevie Nicks (\u201cSister\u201d), simplicity is at the absolute center. Olsen\u2019s voice serves as the anchor, a confident siren song and the vulnerable sound of pure heartache. My Woman<\/i> is a record that is various shades, but demands repeated listens to realize Olsen as a singular force in a sea of similar counters and less inspired peers (of which there are many). KJE<\/strong><\/p>\n <\/p>\n
<\/a>#3
\nNick Cave & The Bad Seeds
\nSkeleton Tree
\nBad Seed Ltd.<\/h4>\nDarkness is a given when it comes to a Nick Cave record. However, his 16th record with the Bad Seeds was produced under perhaps the darkest of shrouds. During the album\u2019s recording sessions his 15-year-old son Arthur died after an accidental cliff fall. While the record was written and the initial recording sessions were completed before Arthur\u2019s death, naturally in revisiting the material the tone changed. And while the record isn\u2019t directly about the incident, there\u2019s an eerily prophetic aspect that hangs over the songs. Fittingly the album is less narrative than what Cave is known for, and the production matches with a moody, minimal and at times dissonant tone. Co-piloted by longtime collaborator Warren Ellis, Skeleton Tree<\/i> is a beautiful, devastating, and emotionally complex record that\u2019s not just one of the best of 2016, but one of Cave\u2019s best. DSH<\/strong><\/p>\n <\/p>\n
<\/a>#2
\nA Tribe Called Quest
\nWe Got It from Here… Thank You 4 Your Service
\nEpic Records<\/h4>\n
<\/p>\n
<\/a>#3
\nNick Cave & The Bad Seeds
\nSkeleton Tree
\nBad Seed Ltd.<\/h4>\nDarkness is a given when it comes to a Nick Cave record. However, his 16th record with the Bad Seeds was produced under perhaps the darkest of shrouds. During the album\u2019s recording sessions his 15-year-old son Arthur died after an accidental cliff fall. While the record was written and the initial recording sessions were completed before Arthur\u2019s death, naturally in revisiting the material the tone changed. And while the record isn\u2019t directly about the incident, there\u2019s an eerily prophetic aspect that hangs over the songs. Fittingly the album is less narrative than what Cave is known for, and the production matches with a moody, minimal and at times dissonant tone. Co-piloted by longtime collaborator Warren Ellis, Skeleton Tree<\/i> is a beautiful, devastating, and emotionally complex record that\u2019s not just one of the best of 2016, but one of Cave\u2019s best. DSH<\/strong><\/p>\n <\/p>\n
<\/a>#2
\nA Tribe Called Quest
\nWe Got It from Here… Thank You 4 Your Service
\nEpic Records<\/h4>\n
<\/p>\n