People keep saying 2018 sucked for music. And I just can't totally agree. Sure, there may have been fewer earth-shifting classics, but the sheer amount of worthy goodness I sifted through this year was astounding. Albums were popping up left and right that were scratching itches I didn't know I had. It was a quantity over quality year, perhaps. But certainly not a bad one, if you knew where to look.
There were a few trends I noticed with my listening in 2018:
- 2016 was a year of personal emotional trauma, and the music reflected that. 2017 was a year of recovery, where my listening habits overcompensated a bit. 2018 found a return to balance. Music has always been therapy for me, but overall 2018 was a year in which I listened without reservation or unconscious restriction. I just let the music flow, and I let myself have fun again. And I think variety ended up being a result. In the grand scheme of things, the music in my life is showing more signs of peace. Which is a good thing, considering the rest of the world is going to shit kind of quick.
- Similar to 2017, instrumental/ambient tunes continue to be spiking, even nabbing 4 of the spots in my top 10. Which is probably just a matter of my tastes shifting that way, but I do think a surprising number of quality instrumental tunes have surfaced, which I find interesting.
- I've never actually counted before, but I think I saw more concerts in 2018 than I ever have before. I certainly spent more money and traveled further distances whilst checking off the bucket list with some of the best shows I've seen in my life.
- WOMEN. KICKED. ASS. The ladies simply ruled 2018, and in genres that are all too often dominated by men. Mind you, I'm not one to listen with an agenda in that sort of way. I don't purposely single out by gender, race, etc., but I also will not pretend to like something simply out of social pressure. Naturally, if you're honest about what you truly like it may appear to skew one way or the other sometimes, but for me it's never intentional. What I'm trying to say is, I did not set out with a specific goal to "listen to more women." And yet, the amount of pure gold that reached my ears from artists or bands with a dominant female presence was impressive and refreshing. Were publications pushing it, influencing me to listen to more? Probably, and good for them. But, like I said, I'm not gonna pretend to like something to fit an agenda. If I liked something, it's because it actually kicked ass, not because it was woke to do so. So, well done, ladies.
HERE WE GO.
PREVIEW LINKS PROVIDED IN BLUE
First off, the miscellaneousness...FAVORITE SONGS (again)
FAVORITE CONCERTS OF 2018
1. Smashing Pumpkins w/ Metric
@ T-Mobile Arena, Las Vegas, NV
2. Smashing Pumpkins w/ Metric
2. Smashing Pumpkins w/ Metric
@ Vivint Arena, SLC, UT
3. Beck w/ The Voidz
3. Beck w/ The Voidz
@ Maverick Center, West Valley, UT
4. Thom Yorke
4. Thom Yorke
@ Union Event Center, SLC, UT
5. The Voidz w/ Priests
5. The Voidz w/ Priests
@ Elsewhere, Brooklyn, NY
6. Belle & Sebastian w/ Japanese Breakfast
6. Belle & Sebastian w/ Japanese Breakfast
@ Sundance Mountain Resort, UT
7. Flaming Lips
7. Flaming Lips
@ Ogden Amphitheater, Ogden, UT
8. Beach House w/ Sounds of Ceres
8. Beach House w/ Sounds of Ceres
@ The Depot, SLC, UT
9. Tennis w/ Matt Costa
9. Tennis w/ Matt Costa
@ Metro Music Hall, SLC, UT
10. Tennis
10. Tennis
@ Ogden Theater, Denver, CO
11. Metallica
11. Metallica
@ Vivint Arena, SLC, UT
12. Andrea Bocelli
12. Andrea Bocelli
@ Vivint Arena, SLC, UT
13. Marilyn Manson
13. Marilyn Manson
@The Complex, SLC, UT
14. Cigarettes After Sex
14. Cigarettes After Sex
@ Urban Lounge, SLC, UT
15. The Helio Sequence w/ Wild Pink & Indigo Plateau
15. The Helio Sequence w/ Wild Pink & Indigo Plateau
@ Urban Lounge, SLC, UT
16. Little Dragon w/ Com Truise
16. Little Dragon w/ Com Truise
@ Ogden Amphitheater, Ogden, UT
17. Sylvan Esso w/ Unknown Mortal Orchestra
17. Sylvan Esso w/ Unknown Mortal Orchestra
@ Ogden Amphitheater, Ogden, UT
18. Chromeo w/ STRFKR
18. Chromeo w/ STRFKR
@ Ogden Amphitheater, Ogden, UT
19. TV Girl
19. TV Girl
@ Kilby Court, SLC, UT
20. Wild Nothing
20. Wild Nothing
@ Urban Lounge, SLC, UT
21. Broken Social Scene
21. Broken Social Scene
@ Ogden Amphitheater, Ogden, UT
FAVORITE FILM SCORE
Suspiria \\ Thom Yorke
Runners Up
First Man \\ Justin Hurwitz
Isle of Dogs \\ Alexander Desplat
Annihilation \\ Geoff Barrow and Ben Salisbury
Mission: Impossible - Fallout \\ Lorne Balfe
FAVORITE SOUNDTRACK OF ORIGINAL SONGS
Spiderman: Into the Spiderverse
FAVORITE E.P.
Celebrate Life! \\ Elaquent
Runners Up
Collapse \\ Aphex Twin
Love Chanting \\ Little Dragon
FAVORITE FILM SCORE
Suspiria \\ Thom Yorke
Runners Up
First Man \\ Justin Hurwitz
Isle of Dogs \\ Alexander Desplat
Annihilation \\ Geoff Barrow and Ben Salisbury
Mission: Impossible - Fallout \\ Lorne Balfe
FAVORITE SOUNDTRACK OF ORIGINAL SONGS
Spiderman: Into the Spiderverse
FAVORITE E.P.
Celebrate Life! \\ Elaquent
Runners Up
Collapse \\ Aphex Twin
Love Chanting \\ Little Dragon
10
Celebrate Life! EP \
Baker's Dozen \\ Elaquent
instrumental electronic/hip hop
Ever wanted entire albums worth of the Adult Swim interlude music? I'm sure there's plenty of that floating around, in fact I'm certain Adult Swim has released most of it themselves. But if you don't wanna dig around for that, look no further than Elaquent. I believe I first came across this Canadian beatsmith on Instagram. An artist I was following used the track "Celebrate Life!" to soundtrack a process video and - bless their heart - was decent enough to credit the music. So, I partook. And partook again. And again. It just felt right. Next up, Aqua Teen Hunger Force.
Baker's Dozen \\ Elaquent
instrumental electronic/hip hop
Ever wanted entire albums worth of the Adult Swim interlude music? I'm sure there's plenty of that floating around, in fact I'm certain Adult Swim has released most of it themselves. But if you don't wanna dig around for that, look no further than Elaquent. I believe I first came across this Canadian beatsmith on Instagram. An artist I was following used the track "Celebrate Life!" to soundtrack a process video and - bless their heart - was decent enough to credit the music. So, I partook. And partook again. And again. It just felt right. Next up, Aqua Teen Hunger Force.
9
Singularity \\ Jon Hopkins
instrumental electronic/dance/ambient
Two of my favorite things lately are juicy beats and lush ambient instrumentals. Jon Hopkins captured both this year with the widescreen landscapes of Singularity. The cover is a great representation of the music inside. A wilderness rave at sunset, glued together with plenty of purple, pink and orange. Closest I got to a party like that was listening to it on a road trip through southern Utah. But if anyone wants to blare this album in the desert with me sometime, hit me up.
instrumental electronic/dance/ambient
Two of my favorite things lately are juicy beats and lush ambient instrumentals. Jon Hopkins captured both this year with the widescreen landscapes of Singularity. The cover is a great representation of the music inside. A wilderness rave at sunset, glued together with plenty of purple, pink and orange. Closest I got to a party like that was listening to it on a road trip through southern Utah. But if anyone wants to blare this album in the desert with me sometime, hit me up.
8
Hive Mind \\ The Internet
r&b/pop/funk
This is the kind of R&B that I crave. Slick, smoove, sensual and soulful. Sexy but not gratuitously sexual. Syd Bennet's understated vocals and playful lyrics lay over stealthy grooves and simple but unpredictable chord progressions, and all of it backed by quite a savory rhythm section. Throw in Steve Lacy's tasty guitar licks and, baby, you got a stew goin'. I think part of what drew me to The Internet this year was their minimalist full-band approach to a genre that gets overblown all too often. And through the lens of 2018, less ends up being more.
This is the kind of R&B that I crave. Slick, smoove, sensual and soulful. Sexy but not gratuitously sexual. Syd Bennet's understated vocals and playful lyrics lay over stealthy grooves and simple but unpredictable chord progressions, and all of it backed by quite a savory rhythm section. Throw in Steve Lacy's tasty guitar licks and, baby, you got a stew goin'. I think part of what drew me to The Internet this year was their minimalist full-band approach to a genre that gets overblown all too often. And through the lens of 2018, less ends up being more.
7
All Melody \\ Nils Frahm
instrumental classical/electronic
I guess Mr. Frahm is technically considered Classical music? But Mr. Hopkins (see #9) and he go hand in hand. In fact, I think they're actually buddies. Or "mates," I guess, neither being American. Frahm uses all sorts of old pianos and vintage gear combined with choral flourishes here and there to make the goodness. And what goodness it is. At an hour fourteen, it's certainly one of the longer albums in a year full of short and sweet, but it reveals more with every listen. Even as I type this, I'm experiencing the quiet beauty of "Fundamental Values" in a new light. Each movement builds on itself and swells to hypnotic perfection, standing on its own whilst contributing to the overall audio narrative. It truly is a cinematic experience (if I may wax a bit cliche), and I would love to hear him score a movie if he hasn't already.
I just looked it up, and he has. But he should certainly do more.
I guess Mr. Frahm is technically considered Classical music? But Mr. Hopkins (see #9) and he go hand in hand. In fact, I think they're actually buddies. Or "mates," I guess, neither being American. Frahm uses all sorts of old pianos and vintage gear combined with choral flourishes here and there to make the goodness. And what goodness it is. At an hour fourteen, it's certainly one of the longer albums in a year full of short and sweet, but it reveals more with every listen. Even as I type this, I'm experiencing the quiet beauty of "Fundamental Values" in a new light. Each movement builds on itself and swells to hypnotic perfection, standing on its own whilst contributing to the overall audio narrative. It truly is a cinematic experience (if I may wax a bit cliche), and I would love to hear him score a movie if he hasn't already.
I just looked it up, and he has. But he should certainly do more.
6
Bon Voyage \\ Melody's Echo Chamber
experimental psychedelic dream pop/rock
Remember how I said "less was more" before? Forget all that. Bon Voyage is one of the more beautifully eccentric releases of the year and practically bursting at the seams with manic psychedelia and personal drama. And yet, it's also a fairly brief affair at only 33 minutes. Originally slated for a 2017 release, its fate was in limbo for some time. Mastermind Melody Prochet got into a bad accident in June of 2017, just as she was about to embark on a tour to support the record. The tour was canceled and the album delayed, but thankfully, she was able to make a full recovery after months in the hospital. A year later, Bon Voyage was released into the world and proved Prochet is more than just a footnote of Tame Impala's Kevin Parker, who produced her first album and then birthed 2015's brilliant Currents as a response to the couple's failed romance (drama, amirite??). Her side of that heartache bubbles up here from beneath the fray. Needless to say, it's an album soaked in physical and emotional turmoil, which you'd think would make it a heavier listen than it ends up being. All that aside, it was well worth the wait. I'm glad she's healthy, and I'm curious to hear what she does from here.
Someone should make a movie about this.
experimental psychedelic dream pop/rock
Remember how I said "less was more" before? Forget all that. Bon Voyage is one of the more beautifully eccentric releases of the year and practically bursting at the seams with manic psychedelia and personal drama. And yet, it's also a fairly brief affair at only 33 minutes. Originally slated for a 2017 release, its fate was in limbo for some time. Mastermind Melody Prochet got into a bad accident in June of 2017, just as she was about to embark on a tour to support the record. The tour was canceled and the album delayed, but thankfully, she was able to make a full recovery after months in the hospital. A year later, Bon Voyage was released into the world and proved Prochet is more than just a footnote of Tame Impala's Kevin Parker, who produced her first album and then birthed 2015's brilliant Currents as a response to the couple's failed romance (drama, amirite??). Her side of that heartache bubbles up here from beneath the fray. Needless to say, it's an album soaked in physical and emotional turmoil, which you'd think would make it a heavier listen than it ends up being. All that aside, it was well worth the wait. I'm glad she's healthy, and I'm curious to hear what she does from here.
Someone should make a movie about this.
5
Hundred Acres \\ S. Carey
indie folk
When you listen to a lot of music, you sort of get caught daring an artist to surprise you. "What makes THIS worth my time?" you think, wearing your best pressed suit and executive tie. I either want them to show me something "new," or in the very least nail the "old" with precision. Hundred Acres fits comfortably and calmly into the latter. It's a relatively simple folk album. But, I'll be damned if it's not the prettiest thing I heard all year. Carey's last album (2014's lovely Range of Light) had a small hint of experimentation going, and the most recent release of his "other band" was far from "conventional." So, the surprise here ends up being its subtlety. And Carey's angelic voice, of course. Yeah, nothing here but an album's worth of flawless vocal harmonies, charming melody, time spent with those you love, and a quiet walk in the woods. Who knows where he'll go from here, but for now this is a brilliant repose.
indie folk
When you listen to a lot of music, you sort of get caught daring an artist to surprise you. "What makes THIS worth my time?" you think, wearing your best pressed suit and executive tie. I either want them to show me something "new," or in the very least nail the "old" with precision. Hundred Acres fits comfortably and calmly into the latter. It's a relatively simple folk album. But, I'll be damned if it's not the prettiest thing I heard all year. Carey's last album (2014's lovely Range of Light) had a small hint of experimentation going, and the most recent release of his "other band" was far from "conventional." So, the surprise here ends up being its subtlety. And Carey's angelic voice, of course. Yeah, nothing here but an album's worth of flawless vocal harmonies, charming melody, time spent with those you love, and a quiet walk in the woods. Who knows where he'll go from here, but for now this is a brilliant repose.
4
Route One \\ Sigur Rós
Liminal \\ Various Artists
2000-2004 \\ Frakkur
instrumental ambient/electronic
I don't usually like combining spots like this, but the Sigur Rós crew had a busy and sneakily brilliant year despite not releasing an album proper and having to let go of longtime drummer Orri Páll Dýrason amidst sexual assault allegations from an incident in 2013. The remaining members and their extended musical "family" pressed on with multiple ambient projects, all of which were truly sublime and sinfully overlooked. There was Route One, an improvised and deconstructed remix of their last single, which was officially created in 2016 but released as its own breathtaking collection this last year. That alone is a delicate wonder to behold. Then, there were the various movements of Liminal, an "endless ambient mixtape" of reworked older tunes, now sitting at three volumes and counting (listen to that Paul Corley mix of "Untitled 6" and weep). And finally, frontman Jonsi released a collection of minimalist electronic experiments from the early Aughts under the name Frakkur which is very of its time and all the better for it.
I'll be completely honest, I'm still digging through all of this. But I have thoroughly enjoyed doing so. Route One is especially impressive being a full, cohesive album derived from the remixed pieces of a single song (!). If you're a fan of ambient music, few groups do it better than these guys. And if you're a fan of Sigur Rós, you have no excuse. These guys do this so well so often that it gets taken for granted, methinks. They've been quiet (so, so beautifully quiet), but busy.
There was no shortage of pop gold in 2018. But it's poetically appropriate that a French gal, relatively unknown in the States, would out-MJ Justin Timberlake this year. Might be time to hand over that crown, JT. Taking the form of androgynous alter ego "Chris," Héloïse Letissier has created a brave and expressive modern pop masterpiece that worships the gods of the genre's past in every bold, rule-breaking detail. The aforementioned King of Pop and his kid sister Janet are obvious spiritual guides, but there's also plenty of Madonna and even a hint of Bowie in her gender-bending cheekiness. Chris is full of authentic efforts to break down sexual politics in songs like "Damn (what must a woman do)," which finds her simultaneously mocking and reveling in masculine carnal energy, underscoring the winners and losers of playing the game. Elsewhere, the game gets too damn overwhelming in the beautifully melancholy ballad "Make some sense." Love, lust, heartache, euphoria, English, French, man, woman. It's all there. Even more impressive is the confident charisma with which it's all laid out. One of those albums that has you choosing a new favorite every time you listen.
Liminal \\ Various Artists
2000-2004 \\ Frakkur
instrumental ambient/electronic
I don't usually like combining spots like this, but the Sigur Rós crew had a busy and sneakily brilliant year despite not releasing an album proper and having to let go of longtime drummer Orri Páll Dýrason amidst sexual assault allegations from an incident in 2013. The remaining members and their extended musical "family" pressed on with multiple ambient projects, all of which were truly sublime and sinfully overlooked. There was Route One, an improvised and deconstructed remix of their last single, which was officially created in 2016 but released as its own breathtaking collection this last year. That alone is a delicate wonder to behold. Then, there were the various movements of Liminal, an "endless ambient mixtape" of reworked older tunes, now sitting at three volumes and counting (listen to that Paul Corley mix of "Untitled 6" and weep). And finally, frontman Jonsi released a collection of minimalist electronic experiments from the early Aughts under the name Frakkur which is very of its time and all the better for it.
I'll be completely honest, I'm still digging through all of this. But I have thoroughly enjoyed doing so. Route One is especially impressive being a full, cohesive album derived from the remixed pieces of a single song (!). If you're a fan of ambient music, few groups do it better than these guys. And if you're a fan of Sigur Rós, you have no excuse. These guys do this so well so often that it gets taken for granted, methinks. They've been quiet (so, so beautifully quiet), but busy.
3
Chris \\ Christine and the Queens
popThere was no shortage of pop gold in 2018. But it's poetically appropriate that a French gal, relatively unknown in the States, would out-MJ Justin Timberlake this year. Might be time to hand over that crown, JT. Taking the form of androgynous alter ego "Chris," Héloïse Letissier has created a brave and expressive modern pop masterpiece that worships the gods of the genre's past in every bold, rule-breaking detail. The aforementioned King of Pop and his kid sister Janet are obvious spiritual guides, but there's also plenty of Madonna and even a hint of Bowie in her gender-bending cheekiness. Chris is full of authentic efforts to break down sexual politics in songs like "Damn (what must a woman do)," which finds her simultaneously mocking and reveling in masculine carnal energy, underscoring the winners and losers of playing the game. Elsewhere, the game gets too damn overwhelming in the beautifully melancholy ballad "Make some sense." Love, lust, heartache, euphoria, English, French, man, woman. It's all there. Even more impressive is the confident charisma with which it's all laid out. One of those albums that has you choosing a new favorite every time you listen.
2
Virtue \\ The Voidz
experimental rock/punk
Guyz, I'm a huge fan of The Strokes, ok? So bear with me. I absolutely loved their last effort, 2013's underrated Comedown Machine. But there was a lot of speculation about that one, being the last in a tumultuous contract with RCA (I mean, look at that cover). Was this the last we'd hear from them? Well, their fantastic 2016 EP answered that question...sort of. But in the meantime, Julian Casablancas had embarked on a side quest with The Voidz. Their first outing, 2014's Tyranny, was a wild, intentionally abrasive anti-Strokes statement that ended up being a little hard to swallow, even for me (beyond one or two electrifying punk bangers). The experimentation was welcome, but they were missing the songs. Needless to say, I was unsure about Virtue. Would it be more of the grimy prog of Tyranny? Or was that Strokes EP a sign that Julian hadn't completely lost his taste for the golden hooks he built a career on? To my surprise and absolute elation, it would be a glorious fusion of both.
Virtue is a masterwork of Strokesian rapture soaked in the gritty exhilaration of carefree exploration. The Strokes had dabbled in sounds like this a few times over the years with varying results. But it became clear Julian wanted to branch out and was in the wrong vehicle to properly do so. Much of that frustration seems to be at the center of Virtue (in fact, check out this long, mystique shattering Stereogum essay, one of the best music write-ups I've seen in ages. Seriously, read the whole thing.). First of all, he removed his name from the band title. And throughout the album, he sings about breaking from expectation, escaping those long shadows ("I don't wanna be a puppet that the ghost of my young self still controls"), and false truths. Much of which brilliantly doubles down into a scathing commentary of western society in general. Suddenly, artistic and personal freedom seems like a world shattering dilemma.
This record didn't get the attention it deserved in 2018. It's a beautifully bonkers listen, that's for sure. But would it have been a bigger deal if it wasn't THE Stroke at the helm? Maybe. I get the feeling Jules has always preferred it this way ("I wanna be forgotten/and I don't wanna be reminded"). Many a rock legend have come and gone feeling the same way. He claims he's not done with his "main gig." As a Strokes fan, I'd like to believe that's true. But, if Casablancas keeps making music like this, I actually wouldn't mind if he finally did quit his day job.
experimental rock/punk
Guyz, I'm a huge fan of The Strokes, ok? So bear with me. I absolutely loved their last effort, 2013's underrated Comedown Machine. But there was a lot of speculation about that one, being the last in a tumultuous contract with RCA (I mean, look at that cover). Was this the last we'd hear from them? Well, their fantastic 2016 EP answered that question...sort of. But in the meantime, Julian Casablancas had embarked on a side quest with The Voidz. Their first outing, 2014's Tyranny, was a wild, intentionally abrasive anti-Strokes statement that ended up being a little hard to swallow, even for me (beyond one or two electrifying punk bangers). The experimentation was welcome, but they were missing the songs. Needless to say, I was unsure about Virtue. Would it be more of the grimy prog of Tyranny? Or was that Strokes EP a sign that Julian hadn't completely lost his taste for the golden hooks he built a career on? To my surprise and absolute elation, it would be a glorious fusion of both.
Virtue is a masterwork of Strokesian rapture soaked in the gritty exhilaration of carefree exploration. The Strokes had dabbled in sounds like this a few times over the years with varying results. But it became clear Julian wanted to branch out and was in the wrong vehicle to properly do so. Much of that frustration seems to be at the center of Virtue (in fact, check out this long, mystique shattering Stereogum essay, one of the best music write-ups I've seen in ages. Seriously, read the whole thing.). First of all, he removed his name from the band title. And throughout the album, he sings about breaking from expectation, escaping those long shadows ("I don't wanna be a puppet that the ghost of my young self still controls"), and false truths. Much of which brilliantly doubles down into a scathing commentary of western society in general. Suddenly, artistic and personal freedom seems like a world shattering dilemma.
This record didn't get the attention it deserved in 2018. It's a beautifully bonkers listen, that's for sure. But would it have been a bigger deal if it wasn't THE Stroke at the helm? Maybe. I get the feeling Jules has always preferred it this way ("I wanna be forgotten/and I don't wanna be reminded"). Many a rock legend have come and gone feeling the same way. He claims he's not done with his "main gig." As a Strokes fan, I'd like to believe that's true. But, if Casablancas keeps making music like this, I actually wouldn't mind if he finally did quit his day job.
1
Double Negative \\ Low
dream pop/noise rock
Every single year I wonder if I'm getting too old for this stuff. And by "stuff" I mean the obsessive search for new tunes that ignite my soul. I wonder if this will be the year that I just don't care anymore, that I fail to notice the power of music to shift the earth. Kinda like the bell on Polar Express. At this point, it certainly takes a lot to truly "wow" me. And that is why albums like this are so vital. A pleasant reminder that I can still hear the euphoric sounds of that ringing bell.
Upon first experiencing Double Negative, I knew it was my album of the year. That was it. I couldn't fathom the possibility that the universe would grant me anything better than this sonic behemoth, and I felt greedy even asking. I knew the band had been around for awhile, and I'd dabbled here and there, but I never expected this. It reminded me of a certain band in the early 2000's who had also hit me over the head with a life changer despite me thinking very little of them at the time. If you know me, you know that comparison is high praise. In fact, there are many similarities between the two: both eschewed their traditional guitar based sounds for distorted electronics, both manipulated their vocals to a point of near disintegration, both destroyed the old to make way for the new, finding beauty in the chaos. And both looked upon the world around them, horrified with what they saw, and documented it in sound. But something that makes Low's point of view all the more interesting is that Alan Sparhawk and Mimi Rogers, the married nucleus of the group, are Mormon. Just like me. And apparently also just like me, they're seeing a lot of turmoil through that particular lens. Opening track "Quorum" starts things off speaking pretty directly of hypocrisy and accountability from a very Latter Day Saint point of view, and themes of temptation, the sting of death, light, fire, and "apocryphal verse" abound throughout the album's turbulent journey. Although the Mormon perspective adds a few layers, these are generally universal themes. It's an album of sonic decay and deconstruction that profoundly mirrors the chaos of our current world. There are, however, mantras of belief, meditative silence, and contemplative change between moments of despair, as if taking a breath before diving back into the emotional deluge. The record even finishes with self reflection, hoping to find a different way before it falls into total disarray. Perhaps "Double Negative" refers to a canceling out. An eventual equilibrium beyond the flames. Sometimes all you can do is close your eyes and wait to find out. In the meantime, we get this masterpiece.
2018 marked Low's 25th year as a band. If they aren't too old to make this grim glory, surely I'm not too old to listen to it right? RIGHT.
The end.
dream pop/noise rock
Every single year I wonder if I'm getting too old for this stuff. And by "stuff" I mean the obsessive search for new tunes that ignite my soul. I wonder if this will be the year that I just don't care anymore, that I fail to notice the power of music to shift the earth. Kinda like the bell on Polar Express. At this point, it certainly takes a lot to truly "wow" me. And that is why albums like this are so vital. A pleasant reminder that I can still hear the euphoric sounds of that ringing bell.
Upon first experiencing Double Negative, I knew it was my album of the year. That was it. I couldn't fathom the possibility that the universe would grant me anything better than this sonic behemoth, and I felt greedy even asking. I knew the band had been around for awhile, and I'd dabbled here and there, but I never expected this. It reminded me of a certain band in the early 2000's who had also hit me over the head with a life changer despite me thinking very little of them at the time. If you know me, you know that comparison is high praise. In fact, there are many similarities between the two: both eschewed their traditional guitar based sounds for distorted electronics, both manipulated their vocals to a point of near disintegration, both destroyed the old to make way for the new, finding beauty in the chaos. And both looked upon the world around them, horrified with what they saw, and documented it in sound. But something that makes Low's point of view all the more interesting is that Alan Sparhawk and Mimi Rogers, the married nucleus of the group, are Mormon. Just like me. And apparently also just like me, they're seeing a lot of turmoil through that particular lens. Opening track "Quorum" starts things off speaking pretty directly of hypocrisy and accountability from a very Latter Day Saint point of view, and themes of temptation, the sting of death, light, fire, and "apocryphal verse" abound throughout the album's turbulent journey. Although the Mormon perspective adds a few layers, these are generally universal themes. It's an album of sonic decay and deconstruction that profoundly mirrors the chaos of our current world. There are, however, mantras of belief, meditative silence, and contemplative change between moments of despair, as if taking a breath before diving back into the emotional deluge. The record even finishes with self reflection, hoping to find a different way before it falls into total disarray. Perhaps "Double Negative" refers to a canceling out. An eventual equilibrium beyond the flames. Sometimes all you can do is close your eyes and wait to find out. In the meantime, we get this masterpiece.
2018 marked Low's 25th year as a band. If they aren't too old to make this grim glory, surely I'm not too old to listen to it right? RIGHT.
The end.
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