As promised, here are some of my favorite albums of the year up to June. Whether or not my 2-8 Theory of Great Music Years* is coming to fruition is still up to question, but I will say that quite a few releases this year are resonating positively with me in some way, more so than some previous years. I find myself actively putting many of these albums on extended heavy rotation, which doesn’t always happen.
Of course, the best releases are still to come — past experience has proven that the releases from August to November are usually the best of the year. A quick peek at those releases tells me this may be true again this year. Something to look forward to!
* – My 2-8 Theory of Great Music Years is pretty simple: that years ending in 2 and 8 tend to provide us with a bumper crop of stellar, well-crafted albums. That’s not to say that they’ll stick in the minds of everyone, mind you…this is more about my personal tastes and probably has something to do with my state of mind as well. Still, this theory has yet to steer me wrong!
So, on with the show!
BØRNS, Blue Madonna, released 12 January. Quirky, fun synthpop with just that little bit of soul thrown in there to make it funky. Great album for kicking back and relaxing or having fun.
Black Rebel Motorcycle Club, Wrong Creatures, released 12 January. My sister likes cranking these guys up, and I can’t blame her. This is a great album to listen to at top volume, whether it’s their slow dirges like “Haunt” or the raucous “Little Thing Gone Wild”.
GoGo Penguin, A Humdrum Star, released 9 February. As I’ve mentioned previously, I don’t often get this excited about a jazz album. I’ve always loved this kind of trio setup, and this band gives the genre a modern, maybe a post-modern, spin to it. Still bummed that I won’t be able to see them at Outside Lands this year, as we’ll be elsewhere!
Lucy Dacus, Historian, released 2 March. She reminds me of those 90s musicians I liked so much like Jen Trynin and Jonatha Brooke, taking alternative rock in interesting directions while still keeping it laid back. “Addictions” is indeed an addicting song.
The Naked and Famous, A Still Heart, released 9 March. I’d been a passing fan of TNaF, but this album of semi-acoustic covers of their older songs (and a lovely cover of Massive Attack’s “Teardrop”) made me revisit their previous albums to hear the originals. It’s an amazing record and one I’ve been returning to during my writing sessions lately.
The Neighbourhood, The Neighbourhood, released 9 March. I didn’t expect to like this album as much as I do, but I keep coming back to it. It’s weird and dark and experimental but it’s also consistently catchy and groovy. I really like the direction this band has taken.
Wye Oak, The Louder I Call, the Faster It Runs, released 6 April. There are just some albums where certain melodies imprint on your brain and this is one of them. I get the title song stuck in my head all the time, as well as my favorite track from it, “Symmetry”.
The Damned, Evil Spirits, released 13 April. This is one hell of a fine album and possibly one of their best in a long time. While previous albums revisited their early punkish roots, this one revisits their early to mid-80s post-punk sound, which I always felt was their strongest and best. And Dave Vanian’s voice is still amazing after forty-plus years.
Snow Patrol, Wildness, released 25 May. A welcome return for Gary Lightbody and Co, and it’s a great record that seems tighter and more cohesive than previous records. I can definitely hear a few ‘big singles’ tracks, which they were known for in the last decade, but there’s not a bad track on here at all.
Dave Matthews Band, Come Tomorrow, released 8 June. This record reminds me of their less jamming and more single-oriented 90s albums like Crash, and that’s just fine. There’s a certain positive vibe to this particular record that makes it a lot of fun to listen to.
Johnny Marr, Call the Comet, released 15 June. Johnny’s recent solo albums have all been super catchy and fun. This particular record on the other hand feels like he’s decided to return to his 80s roots, because this album really does sound like The Smiths circa 1986-87, when he wrote some of his finest guitar work. It’s his signature sound, and it sounds absolutely lovely.
The first half of 2018 was full of great tunes…I’m definitely looking forward to the second half.