AF 2018 IN REVIEW: Our Favorite Albums and Singles of the Year

Here we are again! As the new year approaches, it’s time to look back and take stock of the albums and singles that defined this moment in music history. 2018 was an eclectic year, to say the least, and there are a lot of new names on the list: Tirzah, Snail Mail, Soccer Mommy, Noname, King Princess, and Kali Uchis all had phenomenal debuts this year, not to mention the inimitable Cardi B, who made good on the promise of last year’s smash hit “Bodak Yellow” with Invasion of Privacy in April. There were established artists who still managed to surprise us, whether in the form of unearthed Prince demos, The Arctic Monkeys’ loungey sci-fi concept album, Tim Hecker introducing us to ancient Japanese court music, Dev Hynes making his most personal Blood Orange record yet, or Lil Wayne finally dropping Tha Carter V. And then there are those artists who fall somewhere in between, their ascendant careers a thrill to watch as 2018 saw them finally hit their stride. US Girls. Yves Tumor. serpentwithfeet. And perhaps most spectacularly, Mitski and Janelle Monáe.

As each of our writers (and editors, too) created their own mini-lists, those were two names that kept cropping up, and there’s no doubt you’ve seen them on just about every year-end list on the interwebs. If there’s any chance you haven’t heard Be The Cowboy or Dirty Computer, by all means, fire up that Spotify Premium post haste. But the recommendations here are as diverse as our writers themselves, so we hope you’ll take time to explore some of the lesser-known, hardly hyped artists we’ve highlighted, too – and keep your eyes peeled for more year-end coverage as we cruise in to 2019.

EDITOR LISTS

  • Marianne White (Executive Director)

    Top 10 Albums:
    1) boygenuis – boygenius
    2) Soccer Mommy – Clean
    3) Nenah Cherry – Broken Politics
    4) Mitski – Be the Cowboy
    5) serpentwithfeet – soil
    6) CupcakKE – Ephorize
    7) Blood Orange – Negro Swan
    8) Autechre – NTS Sessions 1-4
    9) Snail Mail – Lush
    10) Cardi B – Invasion of Privacy
    Top 5 Singles:
    1) Let’s Eat Grandma – “Hot Pink”
    2) Jon Hopkins – “Emerald Rush”
    3) The Internet – “Look What You Started”
    4) Cardi B, Bad Bunny, J Balvin – “I Like It”
    5) boygenius – “Bite The Hand”

  • Lindsey Rhoades (Editor-in-Chief)

    Top 10 Albums:
    1) Low – Double Negative
    2) US Girls – In A Poem Unlimited
    3) Madeline Kenney – Perfect Shapes 
    4) Yves Tumor – Safe In The Hands of Love
    5) DJ Koze – Knock Knock
    6) Caroline Rose – Loner
    7) Tim Hecker – Konoyo
    8) Virginia Wing – Ecstatic Arrow
    9) Frigs – Basic Behaviour
    10) bedbug – i’ll count to heaven in years without seasons
    Top 10 Singles:
    1) Janelle Monáe – “Make Me Feel”
    2) Loma – “Black Willow”
    3) The Breeders – “All Nerve”
    4) SOPHIE – “Is It Cold In The Water?”
    5) Jonathan Wilson – “Loving You”
    6) Empath – “The Eye”
    7) Sibile Attar – “Paloma”
    8) Jono Ma & Dreems – “Can’t Stop My Dreaming (Of You)”
    9) Shopping – “Discover”
    10) Ed Schrader’s Music Beat – “Dunce”

  • Mandy Brownholtz (Social Media)

    Top 5 Albums:
    1) Miserable – Lover Boy/Dog Days
    2) Snail Mail – Lush
    3) Mitski – Be The Cowboy
    4) Teyana Taylor – K.T.S.E.
    5) Janelle Monáe – Dirty Computer
    Top 3 Singles:
    1) Nothing – “Blue Line Baby”
    2) Hinds – “The Club”
    3) Mitski – “Nobody”

  • Lauren Zambri (Events)

    Top 5 Albums:
    1) Amen Dunes – Freedom
    2) US Girls – In A Poem Unlimited
    3) Beach House – 7
    4) Iceage – Beyondless
    5) Tirzah – Devotion
    Top 5 Singles:
    1) Jenny Hval – “Spells”
    2) US Girls – “Velvet 4 Sale”
    3) Yves Tumor – “Licking An Orchid”
    4) Amen Dunes – “Believe”
    5) Low – “Always Trying to Work it Out”

STAFF LISTS

  • Ashley Prillaman (Premieres, AudioMama)

    Top 5 Albums:
    1) Alice Ivy – I’m Dreaming
    2) Sudan Archives – Sink
    3) Marlon Williams – Make Way For Love
    4) Earth Girl Helen Brown – Venus
    5) Rüfüs Du Sol – Solace
    Top 3 Singles:
    1) Rhye – “Taste”
    2) Alice Ivy – “Chasing Stars”
    3) Sudan Archives – “Nont For Sale”

  • Tarra Thiessen (Check the Spreadsheet)

    Top 5 Albums:
    1) DRINKS – Hippo Lite
    2) Shannon & the Clams – Onion
    3) Lost Boy ? – Paranoid Fiction
    4) Prince – Piano & a Microphone 1983 
    5) Sloppy Jane – Willow
    Top 3 Singles:
    1) Public Practice – “Fate/Glory”
    2) The Nude Party – “Chevrolet Van”
    3) Big Bliss – “Surface”

  • Natalie Kirch (Pet Politics)

    Top 10 Releases Out of the Brooklyn DIY Scene (in Chronological Order):
    1) THICK — Would You Rather? (Self-Released)
    2) BODEGA — Endless Scroll (What’s Your Rupture?)
    3) Baked — II (Exploding In Sound)
    4) Pecas — After Dark (Broken Circles)
    5) Big Bliss – At Middle Distance (Exit Stencil Recordings)
    6) Kevin Hairs — Freak In The Streets (GP Stripes)
    7) PILL – Soft Hell (Mexican Summer)
    8) Stove – ‘s Favorite Friend (Exploding In Sound)
    9) Lost Boy ? – Paranoid Fiction (Little Dickman Records/ Rich Moms)
    10) Janet LaBelle – I Only See You (Loantaka Records)

  • Sara Barron (Playing Detroit)

    Top 5 Albums:
    1) Kali Uchis – Isolation
    2) Blood Orange – Negro Swan
    3) Cardi B – Invasion of Privacy
    4) Mitski – Be the Cowboy
    5) Noname – Room 25
    Top 3 Singles:
    1) Ama Lou – “Tried Up”
    2) Britney Stoney – “OD”
    3) Janelle Monáe – “PYNK”

  • Luci Turner (Playing Atlanta)

    Top 5 Albums:
    1) The Arctic Monkeys – Tranquility Base Hotel & Casino
    2) The 1975 – A Brief Inquiry Into Online Relationships
    3) Charles Bradley – Black Velvet
    4) Brandi Carlile – By The Way, I Forgive You
    5) Jack White – Boarding House Reach
    Top 3 Singles:
    1) The Raconteurs – “Now That You’re Gone”
    2) Mac Miller – “2009”
    3) Dead Naked Hippies – “Rare”

  • Victoria Moorwood (Playing Cincy)

    Top 5 Albums:
    1) Cardi B – Invasion of Privacy
    2) Lil Wayne – Tha Carter V
    3) J. Cole – KOD
    4) Preme – Light of Day
    5) Jazz Cartier – Fleurever
    Top 3 Singles:
    1) Lil Wayne feat. Reginae Carter – “Famous”
    2) Cardi B – “Thru Your Phone”
    3) J. Cole – “Brackets”

  • Desdemona Dallas

    Top 5 Albums:
    1) Noname – Room 25
    2) Flatbush Zombies – Vacation In Hell
    3) Mountain Man – Magic Ship
    4) Lucy Dacus – Historian
    5) Nao – Saturn
    Top 3 Singles:
    1)  Janelle Monáe – “Make Me Feel”
    2) Twin Shadow – “Saturdays”
    3) Sudan Archives – “Nont For Sale”

  • Erin Rose O’Brien

    Top 5 Albums:
    1) Mitski — Be The Cowboy
    2) Antarctigo Vespucci — Love in the Time of E-mail
    3) Car Seat Headrest — Twin Fantasy
    4) Soccer Mommy — Clean
    5) Janelle Monáe — Dirty Computer
    Top 3 Singles:
    1) Bad Moves — “Cool Generator”
    2) The Beths — “Future Me Hates Me”
    3) Miya Folick — “Stop Talking”

  • Ysabella Monton

    Top 5 Albums:
    1) Mitski – Be The Cowboy
    2) Janelle Monáe – Dirty Computer
    3) Brockhampton – Iridescence
    4) Soccer Mommy – Clean
    5) Cardi B – Invasion of Privacy
    Top 3 Singles:
    1) King Princess – “1950”
    2) Childish Gambino – “This is America”
    3) Pusha T – “If You Know You Know”

AudioFemme’s Best of 2013

Best of 2013 Graphic

From elaborate roll-outs to surprise releases, 2013 was a banner year for comebacks, break-outs, break-ups, and overnight sensations.  The fact that the most oblique content could cause rampant controversy to reverberate through the blogosphere turned every song into a story and made every story seem epic.  At the heart of it all are the sounds that defined this particular calendar year, from electronic pop to punk rock  to hip-hop to hardcore and everything in between.

[fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”AudioFemme Staff” author=”Top 50 Albums of 2013″ image=”http://www.audiofemme.com/wp-content/uploads/2014/01/01MBVmbv-300×298.jpg”]

After much debate, we’re proud of our little list and believe it represents releases that are among the best and most important of the year.  Here are our top 50 LPs in two parts: 50-26 // 25-1

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And check out our Top Albums of 2013 Playlist on Spotify.
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In a given year, thousands of records are released, many of them having upwards of ten tracks apiece.  So it’s actually physically impossible to hear them all, and can be downright daunting to wrangle them into some kind of intelligible countdown.  But we certainly have done our best, here cataloging the tunes we just couldn’t stop playing, and stuck fast in our heads when we finally managed to turn them off.

Here’s our Top Tracks of 2013 Playlist on Spotify.

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Staff Lists:

[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”Lindsey Rhoades” author=”RiotGrrl’s Influence in 2013″ image=”http://www.audiofemme.com/wp-content/uploads/2013/12/kimkathleen.jpg”]
Not only are we as a culture stepping up to finally examine sexism and exploitation and appropriation within the industry, there are more acts than ever completely unafraid to do their own thing – be it overtly political (see: Priests) or revolutionary in its emotional candidness (looking at you, Waxahatchee).
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[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”Carena Liptak” author=”Best Album Art” image=”http://www.audiofemme.com/wp-content/uploads/2013/12/sunbather.jpg”]
Let’s all just agree to agree that hip hop as a genre won the album cover contest this year, okay?
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[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”Rebecca Kunin” author=”2013’s Best Soundtracks” image=”http://www.audiofemme.com/wp-content/uploads/2013/12/Soundtrack.jpg”]
Music has the ability to make or break a cinematic moment.  Would Jaws be as scary if it weren’t for the theme song? Or would we cry as hard when Leo Dicaprio sunk to the bottom of the Atlantic Ocean if Celine Dion didn’t belt “My Heart Will Go On” every five minutes? Probably not.
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[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”Lindsey Rhoades” author=”2013: The Year in Music Controversies” image=”http://www.audiofemme.com/wp-content/uploads/2014/01/musicthoughts.jpg”]In the age of the ubiquitous think-piece, here’s another, and this time, it’s about think-pieces.  In 2013 what think-pieces mean is that no one is about to get away with anything.[/fusion_testimonial]

[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”Kelly Tunney” author=”Top 10 Unexplainable Kanye Moments” image=”http://www.audiofemme.com/wp-content/uploads/2013/12/Kanye.jpg”]
Mr. West has built up quite a reputation for himself. His musical talent has remained impressive throughout his 6-album career (Yeezus easily made several of this year’s “best of” lists, including our own) but Kanye’s persona has been the subject of parody and scandal for a long time now. This year, though, held several moments of Kanye-crazy that stood out among the plethora of examples from his memorable past.
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[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”Carena Liptak” author=”Notes From The Road” image=”http://www.audiofemme.com/wp-content/uploads/2013/12/BTHEHc8IgAAESY0.jpg-large.jpeg”]
At the beginning of 2013, adventure felt overdue — something about going to new places, with no routine or expectations, opens you up to hear music you’d never think to listen to otherwise.
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[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”Raquel Dalarossa” author=”Top 7 to Anticipate in 2014″ image=”http://www.audiofemme.com/wp-content/uploads/2013/12/outkast-reunion-big-boi-andre-3000.jpg”]
Between the exciting festival rumors and anticipated album releases, 2014 is already shaping up to be a pretty amazing year (at least musically speaking).
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SHOW REVIEW: Iceage, Pharmakon, and Dream Affair @ Home Sweet Home, 1-26-13

LES bar Home Sweet Home is like a lot of other NYC venues, and then again, it isn’t.  I was reminded of a handful of seedy lounges, kooky galleries, and DIY show spaces, but the reality is that Home Sweet Home takes elements of each and rolls them into something completely immersive.  From the moment I showed ID to security outside, I felt I was being led back to parts of myself I’d forgotten, as if through a maze.  I felt the way I used to feel about going to shows at Glasslands or 285 before the magic of those places became almost commonplace to me.  Maybe I’ve been somewhat jaded about show-going in NYC.  Though I live in a city where beautiful and amazing musical events happen every day and am so, so lucky in that regard, it can feel a little rote when it’s something you do constantly.  There’s no one identifiable reason Home Sweet Home felt like a breath of fresh air, but there are lots of equally inspiring aspects and moments that awed me over and over.

I had to get a ticket from the box office, located upstairs in the Fig. 19 gallery space acting as offshoot of Envoy Enterprises.  Rather than a simple stamp on the hand, the lady in the booth offered me a gorgeous hand-numbered screen-printed ticket specifically designed for the event.

iceageticket

 

The gallery show was curated by Iceage members and featured an eclectic array of pieces, including zines from Adam Rossiter, drawings and paintings from Screaming Female’s Marissa Paternoster, intricate black and white ink drawings from Genesis Crespo, illustrations from Alexander Heir, the chaotic sketches of Sam Ryser, photos from Nina Hartmann and Cali Dewitt and everything in between, from screen-printed t-shirts to video projections.  Though the media was varied, the air and attitude was consistent – one of discontent, alienation, and attraction to decay, all themes that run common to the bands that played downstairs.

It’s a little bit strange, I think, to know you can be soothed by a line-up that includes goth punk, harsh noise, and hardcore.  It could be indicative of the mental distress I was in prior to attendance, but even if my headspace was questionable the quality of the performances was not.  Dream Affair were first, a Brooklyn-based trio of disaffected kids who look too young to have the kind of post punk and cold wave reference points that clearly inform their music.  Their youthful appearance is misleading in that way, because Dream Affair pull off those sounds with unrivaled authenticity, the sound more fleshed out and visceral in a live setting than the somewhat hollow approach on 2011’s Endless Days.  Hayden Payne delivers deep-voiced vocals with a healthy dose of sneering vitriol, backed on stoic bass by Bryan Spoltore.  But it’s the addition of Abby Echiverri that provides the band’s most compelling sounds; her squalling synths and backup shrieking are essential, but when she pulled out an electric violin it launched Dream Affair into a whole other realm for me.

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Dream Affair.
Dream Affair.

It took a while for Margaret Chardiet to set up her various pedals, electronic gadgets, and other blinking things with gobs of knobs.  But these are the instruments of choice for her Pharmakon project, in which this tiny, unassuming Chloe-Sevigny look-alike with silken blonde locks becomes a feral howling creature possessed by something demonic.

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Pharmakon.
Pharmakon.

The demons came out before she even started, as technical difficulties proved frustrating; the miked sheet of metal she’d set up wasn’t making the right kind of racket when she hit it with her fist, and eventually she became so enraged that she knocked the entire apparatus over like a petulant child would.  It sat inert and forgotten on the stage exactly as it fell for the duration of the performance, which consisted of punishing drone and gut-wrenching screams.  Pharmakon is a project that hounds its creator, but also provides catharsis and connection with her audience.  It is impossible not to be moved, not to be captivated by Chardiet’s vocal onslaught, but she takes it several steps further by leaping into the audience, cradling random show-goers in her intense gaze, forehead to forehead (including Elias Bender Rønnenfelt, lead singer of Iceage, who looked on intently).  She lurches through the crowd, wailing, and it feels thrilling but wholly genuine and free of gimmicks, as if this is just how she always behaves.  Recordings from the project are made few and far between and are often released in small editions, making the much sought-after material rare.  But that seems appropriate given the raw nature of Pharmakon’s live set, in which her physical presence dominates a room entirely.  It’s as though her being becomes a channel for something otherworldly, outside of itself, and that’s something that can only be witnessed as it happens before one’s eyes.

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Iceage.
Iceage.

Iceage didn’t waste anytime in setting up and unleashing their brutal, blistering brand of industrial-influenced no-wave.  The set opened with “Ecstasy” from the much-anticipated sophomore album You’re Nothing, out on Matador February 19th.  If a band like Iceage seems a tad out of place on the label that birthed bands like Cat Power and Yo La Tengo, there are two important things to remember.  The first is that Matador’s catalogue is actually pretty diverse (especially in terms of its “alumni”), spanning many a genre, hosting many a genre-defining act. The second thing to remember is that if there’s anything that ties its roster together, it’s that Matador has represented the biggest, best, and brightest acts and are in the business of making them legendary in ways that independent acts rarely enjoy.

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EBR.
EBR.

While Iceage’s new record sees the band dealing with more interior thoughts and experimenting with some lighter touches, Matador hasn’t turned them into Belle & Sebastian by any means.  The searing live performances the band is capable of delivering prove that, and the new material is every bit as ferocious as the old.  Rønnenfelt was at his spastic best, model-gorgeous and buttoned up as usual but thrashing, moaning, and tearing electrical wires from the low rafters above his tall frame.  The skittering drums, scorched guitars and insistent bass that marked Iceage’s sound on 2011’s prolific New Brigade have carried over to the tracks the band developed for You’re Nothing, and though the band has been touring behind its older material for what seems like eons now their delivery packs every bit as much gusto.  In every way, Iceage makes it clear that they’ve taken to heart their role of ushering in a new era of punk rock, even if they seem removed from the hype that surrounds them.

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SHOW REVIEW: Vår

On Saturday I had every intention of seeing Gap Dream and Grass Widow but had absolutely no energy left for anything not resembling sleep. My family was still in town and while it was wonderful it was still totally draining. I did make sure to catch the Sacred Bones showcase on Sunday at Glasslands, but didn’t get there until Vår were almost finished with their set.
As a side project of Danish band Iceage’s Elias Rønnenfelt, Vår could be considered a slightly darker and more electronic-based iteration of the hardcore punk for which Iceage is known. This show was supposed to be their New York debut but only a few days prior they’d played a raucous secret set at Wierd in which Rønnenfelt and bandmate Loke Rahbek made out to an instrumental track for almost ten minutes. When I arrived at Glasslands, the place was swathed in thick clouds emanating from multiple fog machines, and Vår was performing perhaps their best known single, “Hold Me In Your Arms”. The pounding beat and pleading vocals were not unlike an arrow through my chest, with any other senses obscured as they were by the dense fog.
I was slightly side-tracked by trying to locate my own crush, and by the time I found him Rønnenfelt and Rahbek were already locked in an embrace that made ours look pretty hetero-normative and not so Scandinavian, either, so we debated instead about whether their move was “brave” or “gimmicky”. The fact is that no matter how much I want a show-stopper like that to be commonplace, we live in a political climate where it’s still challenging to some. So challenge away, you beautiful Danish teenagers you.

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I borrowed this image from nyctaper, since it was way too dark & foggy for me to get photo or video of my own. Thanks nyctaper!

Amen Dunes played next, with Crystal Stilts to follow. But Amen Dunes’ set was admittedly less interesting to me at that point than going somewhere for a burger and flirting, so after they played a version of “Bedroom Drum” that (inexplicably) did NOT feature the essentially titular bass drum we took off.

Sacred Bones does a pretty awesome job forwarding the interests of the bands they represent; I think I’ve seen every band on that label play somewhere in Brooklyn or beyond at least once with exception of, I don’t know, Slug Guts? And maybe Pop. 1280 because I’m just not that into it. It’s not all that strange that label stalwarts Crystal Stilts headlined the show. But with all the buzz surrounding Vår, not to mention the fact that the band needed passports to get here, makes putting Amen Dunes above them on the bill a somewhat questionable move. After all, this was Vår’s official debut, and Amen Dunes plays NYC constantly. Then again, I can also go to Dumont anytime I like, so maybe there’s also something to be said for force of habit.

 


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