review – KennyBloggins is Kenny Bringelson

Top 10 Must-Hear Albums of 2025 by Kenny Bloggins

Music is the soundtrack to my days, what helps me process the world, and makes life experiences even more memorable. As such, I put together a list of the best and most important records that made my year, in the hopes that you find something new to listen to.

Curated Playlist (standout tracks from each album):

Apple Music | Spotify

1. L.S. Dunes – Violet

Mental—absolutely mental. That’s really the only way to describe Violet, the second LP from L.S. Dunes, in a concise and impactful grouping of words.

Things start calmly enough on “Like Magick,” though you can feel the tension steadily building toward something far more frenetic. That release arrives immediately on the explosive “Fatal Deluxe,” as Anthony Green (of Circa Survive and Saosin) screams—no, shrieks:

“Burn, focus, with a thirst unnatural…”

From there the album only escalates. The center stretch becomes a force of its own, driven not just by the abrasive yet beautiful musical delivery from this supergroup—featuring members of Thursday, My Chemical Romance, and Coheed and Cambria—but also by the confrontational lyrical hooks in tracks four through six.

From “Violet”:

“Know that I forgive you but I never will forget
Unmoved by the attention so I retract the sentiment
The moment I forgave you, I regretted it.”

From “Machines”:

“Wild cry, eczema wreath, wild cry, eczema wreath
Tonight it can be anything you want
The right direction, right direction
Try again, try again, try again, try again.”

From “You Deserve To Be Haunted”:

“My delusion, resist the impulse, the futile cause
The final move, a haunted cross
Will the sickness spread with the witness gone?”

An absolute 10 out of 10 makes perfect sense as none of Violet’s ten tracks are skippable. There’s no doubt this album is helping someone work through very dark times. And it feels fitting that the record closes with “Forgiveness,” a song that simply asks the listener to keep their loved ones safe, far away from the enemy (which is the writer)—something that, at times, may be the hardest but most necessary thing to do.

When an album is this fearless, this cathartic, and this impossible to ignore, the top spot becomes less of a choice and more of a certainty.

2. Thrice – Horizons/West

Horizons/West arrives at a perfect time where AI-created songs are filling up playlists; it is proof that something so natural sounding, so vibrant, so alive could never be created using any type of artificial flavoring or assistance. You would think being the 12^th studio record from these Irvine, California natives that there wouldn’t be much left to say, especially given the tidy genre labels so ungenerously tacked to this band. But there’s no simple way to explain how the quietest and loudest moments, paired with themes of truth and spiritual clarity in the complex modern world, highlight Thrice’s ability to go once again beyond their preconceived boundaries.

The three-four-five track run of “Albatross” –> “Undertow” –> “Holding On” is a masterclass in album sequencing, each song building emotional and sonic momentum. Gnash snarls and slashes apropos to its name. On “Vesper Light,” Dustin Kensrue reaches falsettos that somehow make the chorus yowls hit even harder.

It would be easy to continue pulling out a standout moment from every track. Said differently, Horizons/West doesn’t rely on one, two, or even a group of tentpole songs; every piece finds its own to create an album, a true album at the core of the definition, that is immersive and entrancing from the first building note to the final descending rumble.

Few bands twelve albums deep can still sound this inspired, this purposeful, and this alive—and that’s exactly what makes Horizons/West such a remarkable runner-up.

3. Ben Kweller – Cover the Mirrors

Being sad isn’t supposed to sound this happy, it just doesn’t seem possible. Maybe it’s Ben Kweller’s forever-youthful voice, or the overt nerd-pop glow that immediately calls to mind Blue Album-era Weezer. Maybe it’s simply our instinct, as humans, to search for light in the darkness, especially when we know the real-life event that inspired this record, quietly tipping the half-empty glass toward something sunnier. There’s a temptation to hear joy where there should only be grief.

But no, it’s more than that. Cover the Mirrors is an exceptional piece of work. Kweller has always been good, but this is a different level entirely: Jeff Tweedy-level directness in the vocal delivery, immaculate yet crunchy power-pop craftsmanship, and lyrics that don’t just describe feelings but paint scenes you can’t forget, like those spots/afterimages you see when you close your eyes tight after looking at something bright. It’s music that understands sadness doesn’t have to be dour to be truthful, and that sometimes the brightest melodies are the most honest way to survive what hurts.

Albums like this have a way of settling deeper with time, and it wouldn’t be surprising if Cover the Mirrors quietly grows into the record I remember most from this year.

4. Deftones – private music

I’m what you’d call a late bloomer when it comes to Deftones. While I enjoyed some of the bigger songs on White Pony—“Digital Bath” still has one of the coolest drum sounds ever—and often heard their name mentioned alongside other favorites like Incubus, I initially wrote them off as poster boys for nu-metal. In doing so, I missed the insane growl-to-grace range of Chino Moreno’s voice, the thunderous guitar riffs that hit like clenched fists dripping with hot tar, and the unexpected dream-pop sensibilities that soften and contrast the band’s detuned, hazy moments.

Thankfully, I came to my senses over the past decade, working my way through their back catalog just in time for private music to become one of the first occasions where I could truly experience a new Deftones release in real time. There’s a rawness that runs through all of private music—even the lack of capitalization in the album and song titles feels intentional, like a quiet statement from the band: this is fully human art, no shortcuts, no gloss, and certainly no room for doubt.

5. Franz Ferdinand – The Human Fear

“Alright, here we go with riff one” appropriately opens the fabulous sixth studio album from Franz Ferdinand, the post-punk philosophers who hide behind danceable rhythms. Tight, angular riffs aid in the delivery of the band’s trademark swagger. They’ve famously said they make rock music to dance to—and let me tell you, we are dancing.

“Audacious” is the most Beatle-esque we’ve ever heard the Scots sound, though “Black Eyelashes” isn’t far behind, with harpsichord-laden hooks and pounding drums reminiscent of “Being for the Benefit of Mr. Kite.” Other highlights include pulsating rocker “The Doctor,” “Night or Day” (a song that could have easily been included among their early career hits), and the powerfully aching “Tell Me I Should Stay.”

I think the fear referred to in the title The Human Fear is intimacy, about wanting connection and being exposed by it, or the ache of needing someone while pretending you don’t.

Franz Ferdinand have a reputation for being cheeky (even a little silly), and don’t get me wrong, that label fits. But in time, I think they’ll be properly recognized for what they truly are: meticulously crafted songwriters, buoyed by Kapranos’s theatrical yet tender vocals, a rhythm-first approach, and a rare virtuosity of taste, control, and intent.

6. Inhaler – Open Wide

Inhaler have truly come into their own these past few years, filling a very specific hole in my music collection left by the disbanding of so many jangly indie-rock acts and anthemic guitar music saviors of the early aughts. I’ve been binging on their records this year, revisiting their excellent debut album, which I’ve adored for years, and working my way through the rest of their catalog.

Open Wide didn’t grab me at first; maybe it felt a little too ’80s-influenced or safe. But it eventually clicked once I heard it in context with the rest of Inhaler’s work, especially when it became clear they were aiming for a more dynamic, synth-driven pop sound. “X-Ray” is an exuberant rocker, built around a breathy, gentle, and unforgettable chorus that perfectly lands on the line “feels like heaven.” The subtle yet propulsive bass line on “Again” is a thing of beauty, as is the inward-looking and immediately immersive “Charms.”

7. Matt Embree – Orion

An album like Orion is hard to put into words, but here goes nothing: groove-driven songs that stroll rather than run, pairing spiritual, political, and personal reflections with the act of learning to sit peacefully with the cards you’re dealt. Every piece of music seems intentional—well considered, carefully crafted, and never rushed.

“Side Eye” stands out for the space its production leaves, allowing the roaming bassline and sticky melody to burn through. Many of the songs feel built for late nights and long days, like “Bad Actors,” with its rolling Mellotron and sneaky catchiness. The true apex, though, is “Miscellium,” which resembles capturing an idea before you know what it’s going to become—keeping momentum so nothing slows down, much like the act of sketching. Even so, the pre-chorus and chorus land with absolute precision.

The only real drawback is the album’s short length, but if rumors hold true and a new Rx Bandits record is on the horizon, that concern may soon be eased. Although, if haunting final track “Praying in the Dark” was the last thing we heard from this artist, it would be a standing-ovation worthy swan song.

8. Hayley Williams – Ego Death at a Bachelorette Party

I was really late to the Paramore party. But I think that puts me at an advantage (more on that in a minute).

Their first album came out in 2005 (All We Know Is Falling), and I didn’t start truly listening to the band until the self-titled record arrived eight years later in 2013. Eight years might not sound like much, but that’s two high schools, or a full high school plus a college. I think the reason Paramore didn’t hit that hard for me at the time was that by 2005 I was already moving past “scene” or emo music and deeper into college indie rock. This makes sense, as it was right in the prime of my formative undergrad years, when being a music taste-maker felt almost as important as graduating. The only music in that genre I kept listening to came from bands I’d already built an unhealthy obsession with, like Death Cab for Cutie (Plans), The Juliana Theory (Deadbeat Sweetheartbeat), and Copeland (In Motion), all of whom released great records that year.

But once I finally got into Paramore, in the same year Pope Francis was elected, during the Edward Snowden NSA revelations, and when Breaking Bad aired its legendary finale, it was on. My obsession started with the irresistible catchiness of songs like “Still Into You” and “Now,” plus the catastrophic energy of “Part II,” then slowly crept backward in time to the incredible “Decode,” and further still into earlier highlights like “Brick by Boring Brick” and the tremendous “That’s What You Get.”

Fast forward, and I got to experience Paramore glory in real time with 2017’s After Laughter, Hayley Williams’ incredible sleepy solo debut in 2020 with Petals for Armor (which in hindsight feels like a premonition for Ego), and the Grammy-winning This Is Why.

Ego Death at a Bachelorette Party somehow feels just as strong as a full Paramore release, but again, only because I was late to the party. The songs are dynamic, catchy as hell, and destined to be loved for years—something that becomes even clearer when diving into the catalog later (see, there’s my advantage) rather than during Paramore’s Hot Topic–crazed years. “Mirtazapine” is a dangerous ear worm, “Kill Me” would absolutely destroy at a ’90s roller-blading rink, and “True Believer” is next-level in terms of Hayley’s songwriting. At this point, it’s hard to imagine a world without Hayley Williams’ music and each new release somehow makes me look forward to the next even more.

9. The Favors – The Dream

I’ve been aware of Finneas O’Connell for some time, standing alongside his sister Billie Eilish as producer, co-writer, musical director, and more. But I didn’t fully appreciate his standalone abilities until I came across his outstanding cover of “Time of the Season” by The Zombies. His quietly powerful voice has a way of making you feel like you’re in the room with him, and it layers beautifully with other singers.

The Favors, his side project with vocalist Ashe, delivers a beautifully crafted pop record that echoes ’70s folk, baroque pop, and even the sweep of theatrical scores. The heartbreaking post-breakup song “The Little Mess You Made” is a perfect example of how well Finneas and Ashe work together to reach soaring emotional heights. “Times Square Jesus” is a gentler, slow-building tune that grows more dramatic as it unfolds. But the true magic appears on “The Hudson,” which makes you feel like you’re right there walking along the river late at night with this remarkable duo.

In a world of disposable pop, The Dream feels like something carefully built to last.

10. Perfume Genius – Glory

Perfume Genius has some serious legs to stand on with 2025’s Glory, a record packed with what I can only describe as a collection of “bests.” Blake Mills’s production (Feist, Fiona Apple, Alabama Shakes, etc.) and Jim Keltner’s drumming (John Lennon, Bob Dylan, Harry Nilson, anyone who’s anyone) elevate the inherent beauty of Perfume Genius’s songwriting, emphasizing just how strong these songs are without ever overwhelming them. That balance comes through most vividly on “In a Row,” which thumps along like a dying heart before erupting into sudden bursts of baroque power (proof that it isn’t quite ready to call it quits).

While “It’s a Mirror” was the first new song from any artist this year that truly obsessed me, it’s another track, “No Front Teeth,” that will ultimately stand as my song of the year. I loved it immediately, but it crossed into classic territory at exactly the right moment: about twelve minutes into a cold, dark January run, I turned a corner at the bottom of a hill as sunbeams crept through the pines, illuminating a cluster of steaming bushes. That image, paired with the song’s ethereal, soaring, and cascading vulnerability, landed with stunning force. Glory is a masterwork—one that feels certain to deepen and reveal itself even more with time.

Standout Tracks: No Front Teeth | It’s A Mirror | In A Row | Me & Angel | Clean Heart

About the author:

Kenny Bringelson lives in Woodinville, WA with his wife Kristi and two girls (Charlotte and Olivia). He is a music enthusiast who loves listening to records and playing guitar whenever he can. His background includes years studying education, and a master’s degree in journalism/mass communication. Additionally, Kenny recently completed studies at Washington State University in Viticulture and hopes to start his own wine grape vineyard in the future. As a professional, he has worked in educational technology, financial services, and more.

Book Review: Carrie

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By Stephen King

Finished 1/22/26

Carrie is just a well-written—and honestly horrifying—story. It’s one of Stephen King’s most well-known books, so there’s probably no huge need to summarize the entire plot, except for my own memory. What stands out immediately is how simple the premise is and how effectively King turns that simplicity into something unsettling and tragic.

The novel centers on Carrie White, a quiet and painfully awkward high school girl who is brought up by an extremely religious mother determined to force Carrie to follow in her footsteps. That upbringing leaves Carrie completely unprepared for normal parts of life, including a now-famous scene early in the book where she experiences her first period in the girls’ locker room shower. The other girls mock her mercilessly because she has no idea what is happening. It’s a scene that is both uncomfortable and heartbreaking, and it really sets the tone for the rest of the story.

The cruelty from her classmates leads to consequences for some of the girls, including detention that threatens their ability to attend prom. One of them, Chris, refuses the punishment and becomes determined to get revenge on Carrie. Meanwhile another student, Sue Snell, actually feels guilty about what happened and encourages her boyfriend Tommy to take Carrie to prom as a genuine act of kindness. That decision creates one of the most emotionally interesting parts of the book because, for a brief moment, it seems like Carrie might finally be accepted.

Of course, this is a Stephen King story, and things don’t stay hopeful for long. What begins as a simple act of teenage cruelty eventually escalates into something far darker, especially once Carrie’s telekinetic abilities start to emerge. The famous prom sequence is chaotic and terrifying, and it transforms the novel from a story about bullying into something much larger and more destructive.

One of the most interesting aspects of Carrie is the way King structures the book. Instead of telling the story in a completely straightforward way, he jumps between multiple perspectives and formats—Sue Snell’s later reflections, excerpts from police interviews with survivors, and even newspaper articles examining what happened. That approach gives the novel a strange documentary-like feeling, as if the reader is piecing together the aftermath of an event that shocked an entire town.

Reading it now, it’s also fascinating to see such early writing from King. The voice isn’t quite as polished as some of his later work, but the ideas are already incredibly strong. You can clearly see the themes that would come to define much of his career: social cruelty, small-town pressure, and the terrifying consequences of power appearing in the wrong place at the wrong time.

Even decades later, Carrie still feels tense, tragic, and strangely sympathetic toward its central character. It’s easy to see why it became such an iconic story.

Rating: 8.5/10

Top 10 Must-Hear Albums of 2024 by Kenny Bloggins

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Curated Playlists:

Find these albums on a streaming service or use these playlists to listen to just the best songs (standout tracks):

Apple Music | Spotify

1) Phantogram – Memory Of A Day

I sat there floored after listening to the entire album end-to-end, taking a few seconds to think about what I just heard before leaping up to hit start on the first song again. Phantogram have been a favorite of mine for years, and with this year’s under-the-radar Memory of a Day they have released a full collection of songs that left me in deep thought—its vampiric grip sinking deeper with every listen. Co-founder and lead vocalist Sarah Barthel is equal parts ethereal and haunting, writing songs that deal with some of the heaviest life experiences (some of which I can relate to myself), often veiled by the band’s distinctive pop-infused sound which blends elements of trip-hop, electronic and indie rock. ‘All A Mystery’ sounds like a 1950s doo-wop song reimagined for 2050, ‘Attaway’ and ‘Happy Again’ beg you for a shoulder to cry on, and ‘Come Alive’ lives up to its title’s namesake. Here’s one for the long late-night drives, spontaneous bedroom dancing, and the future listeners who become just as captivated as me.

2) Nada Surf – Moon Mirror

Claiming the second spot for 2024 is Moon Mirror by Nada Surf, an album brimming with heart and purpose. Each moment is filled with signature elements that define the band—90s alt-rock roots, jangling guitars, and melodies that resonate deeply. These songs masterfully balance introspection and optimism, with music crafted to be emotionally stirring and thought-provoking. With poetic lines like, “I am drifting, I’m a cloud… I am bending, I am bowed… I’m just atoms in the air… Dissipating and I don’t care,” Nada Surf challenges listeners to explore existential themes through beautifully wrought, immersive storytelling. Moon Mirror is just the type of thing we need in order to bring balance and resilience to our lives in the face of modern-day challenges.

3) The Smile – Cutouts

The Smile make their return to my list with Cutouts, climbing higher this time to surpass 2022’s A Light for Attracting Attention, which landed at #4 (and they almost nabbed a third spot with Wall of Eyes, another outstanding 2024 release). Tracks like ‘Foreign Spies’ could easily soundtrack a scene from Stranger Things, while ‘Zero Sum’ and ‘Eyes & Mouth’ showcase some of Jonny Greenwood’s most mesmerizing, wandering guitar lines from anything Radiohead-related. This album brings a loose, sprawling energy, blending funky grooves with strong rhythmic depth. Thom Yorke is unmistakable, but this time his voice feels drier, more grounded, and somehow less alien than ever before.

4) Guster – Ooh La La

The bridge in ‘When We Were Stars’ is one of those super rare moments where a song gives you goosebumps, but Guster’s latest album, Ooh La La is filled with countless other instances that truly showcase the magic of recorded music. The hooks on tracks like ‘The Elevator’ sink in deep and refuse to leave, but that’s far form a complaint, given how irresistibly captivating these songs are—drenched in reverb, warmth, and profound contemplation. While I typically gravitate towards their poppier tracks, it’s the softer songs like ‘Black Balloon’ and ‘Maybe We’re Alright’ that I think will go down with the best of their already illustrious catalog.

Standout Tracks: When We Were Stars | All Day | Black Balloon | Keep Going | The Elevator

5) Dustin Kensrue – Desert Dreaming

Imagine driving through the desert, the scent inside your rental car hinting of past journeys, a paperback copy of “All the Pretty Horses” sitting in the back seat, and the road ahead looming of promise with a cotton candy sunset. Desert Dreaming became the perfect soundtrack for a roadtrip my wife and I took to The Modernist Mecca, Palm Springs, for a wedding this spring. Dustin Kensrue talks about legends of treasure in the west, paints a picture of what his granddad’s upbringing may have been like in the heart of the Sedona desert, tells the story of “high scalers” (AKA Hoover dam construction workers) and colorfully illustrates the beauty of “Joshua trees flaunting their silhouettes” on this modern folk country masterpiece.

Standout Tracks: The Heart of Sedona | Treasure In The West | High Scalers | Desert Dreaming | Death Valley Honeymoon

6) Fontaines D.C. – Romance

Romance is a captivating blend of driving beats, 90s influence, psychedelic flourishes, and charged anthems from Fontaines D.C, the Irish post-punk band formed in Dublin. Front man Grian Chatten has a raw and distinctive vocal delivery that is addictive and seductive, with a clarity that’s anchored in both palpability and a slacker mentality. Listening feels like an exercise in push and pull mechanics, with as much punk intensity as there is compelling poetry–there’s hardly a skippable track for those of us still reeling for the next REM, Smashing Pumpkins or even Interpol.

Standout Tracks: Here’s The Thing | Desire | Bug | Sundowner | Motorcycle Boy

7) Billie Eilish – Hit Me Hard And Soft

There are plenty of other reviewers covering Billie Eilish and Hit Me Hard and Soft this year or talking about her part in Charlie XCX’s unavoidable Brat Summer with their collab ‘Guess’. Instead, my focus is on what sets this apart from her contemporaries: Billie’s voice which continues to be haunting and breathy with incredible range, and Fineas’ minimalist, immersive, and unconventional production/playing techniques. I don’t fall into the age group of people Billie wrote these songs for nor relate to the lyrics on the same level, but that doesn’t take anything away from how quickly I latched onto how amazing and rich they sound—it makes me wonder how other independent artists with similar writing chops could benefit from similar access to top-tier studios and professionals to amplify their records.

Standout Tracks: Chihiro | Lunch | Wildflower | Skinny | The Greatest

8) The Early November – Self Titled

The Early November’s self-titled album released in the summer of 2024 highlights a stripped-back, punchy sound propelled by immediacy. Catchy and intense, it’s like an “ear worm” on fire (watch out cochlea). What really excels are the moments that build gradually like on ‘We Hang On’ or the unexpected bursts such as the soaring chorus of ‘Tired of Lying’. These alt-emo New Jerseyans did lots of playing around in the studio with elements of electronic production to lift their already excellent songwriting to the next level, resulting in one of the best post-hardcore albums of the year.

Standout Tracks: What We Earn | We Hang On | Tired Of Lying | About Me

9) Abandoned Pools – The Haunted House

Tommy Walter, the multi-instrumentalist, composer and singer/songwriter behind the moniker Abandoned Pools steps into new territory with The Haunted House. This album marks his most cohesive and inviting record yet, weaving together threads as previous work with fresh blends of electronic, alternative rock, and pop. The result is a tapestry of reflective lyrics and moody vibes—lively, thoughtful and enchanting.

Standout Tracks: In Your House | Big Eyes | Going South | Only So Many Days

10) Snow Patrol – The Forest Is The Path

On their eighth studio album, Northern Irish-Scottish ensemble Snow Patrol have reimagined their soundscape with a refined lineup while enlisting the fabulous Fraser T. Smith to co-produce. The Forest Is the Path marks a triumphant return to their signature indie-rock sound, weaving haunting melodies with raw, evocative storytelling. Softer tracks like ‘What If Nothing Breaks?’ and ‘Talking About Hope’ echo the poignant simplicity of early Snow Patrol, while ‘All’ and ‘Years That Fall’ chart a bright path to come—there should be no worry about the future of this band that means so much to so many.

Standout Tracks: All | Talking About Hope | What If Nothing Breaks | Years That Fall

Best Albums of 2018

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While we are all ready for 2019 to start, not all of 2018 should be forgotten about. It was an excellent year for some shining new artists and some veterans who produced their best work to date. As a result, here are the best albums of the year (according to a recovering music addict):

Listen to all the Best Albums of 2018: Apple Music | Spotify

Listen to the Best Songs of 2018: Apple Music | Spotify

10) Mitski – Be The Cowboy

Standout Tracks

Nobody
Lonesome Love
Washing Machine Heart

What it sounds like: carefully crafted songs that get fired into your cortex like a slap shot taken with hyper-accurate succinctness (most clocking in at less than three minutes each). Hard to classify as straightforward pop, the prominent bits and hooks get locked into your unconsciousness right out the gate.

Why I love it: punchy anthems that grab you by the shirt collar, toss you to the floor, and carefully dust you off–all before you can realize what just happened. This is suave and cheeky artistry worth assimilating.

9) The Magic Gang – The Magic Gang

Standout Tracks

All That I Want Is You
Jasmine
Fade Away

What it sounds like: the most earworm-worthy and addicting release on this list (hard to believe it’s a debut effort), The Magic Gang give a thoughtful nod to clean-shaven Beach Boys, early Weezer and even minor tinges of guitar influence from Strokes era stalwarts. But there’s a uniquely refreshing hint of British snark and maturity that will likely help their self-titled debut sound even better for summers to come.

Why I love it: the nerd rock torch was dropped a while ago (at least in regards to front-to-back albums worth mentioning). The Magic Gang somehow reignite the flame with hook, fuzz and harmony for one of the best straightforward rock records of the year.

8) Death Cab for Cutie – Thank You For Today

Standout Tracks

Autumn Love
Your Hurricane
Northern Lights

What it sounds like: Gibbard’s airy crooning prospers from gentle guitar melodies and atmospheric electronic tones. Thank You For Today borrows elements from the classic Death Cab rulebook, but also expands into different sonic territories, thanks to the addition of two new band members.

Why I love it: I have a special relationship with Ben Gibbard’s catalog–various projects have been in fairly constant rotation throughout the years–and Thank You For Today is destined to sit alongside their best work. It’s been both a challenge and blessing to be a dedicated Death Cab fan due to how easily they can become attached to dramatic real life experiences. Instead, Thank You For Today feels more like a dreamy serenade than a somber soliloquy.

7) Tash Sultana – Flow State

Standout Tracks

Murder To The Mind
Salvation
Big Smoke

What it sounds like: we wouldn’t have Tash Sultana without 90s R&B or Hip-Hop, but equally important are the flashes of Hendrix, Buckingham and a pantheon of jazz guitarists crawling through Flow State. This musical virtuoso can pick up and play over twenty instruments, but has the insight to leave space in compositions so listeners can enjoy each masterfully crafted moment.

Why I love it: bluesy and breathy narrative carries you through intricate guitar work and powerful beats, all written and beautifully performed by Tash. This is the cure for your Sunday morning hangover, an elixir of subtly lush yearning and provocative confidence.

6) Soccer Mommy – Clean

Standout Tracks

Your Dog
Cool
Last Girl

What it sounds like: with a vulnerable intensity that’s fueled by punchy guitars, Clean has finite pure moments but more often penetrates through your ears with a carefully disguised acid tongue. This is angsty guitar rock that rotates between impressive production and performance, both techniques used to highlight Clean’s dynamic elements.

Why I love it: there’s no doubting how well Soccer Mommy can sing with blunt honesty. As you dive into this album, you’ll think you’re feeling empathy for the authors long-lost love, when in reality she’s helping you look more closely into the mirror of your own failed romances. Label this one pre/post break-up album of the year and one that’s guaranteed to inspire a new generation of singer-songwriters, locked away in bedrooms for hours on end.

5) Israel Nash – Lifted

Standout Tracks

Rolling On
SpiritFalls
Looking Glass

What it sounds like: reflections of Neil Young, Wilco and Gram Parsons with luscious three-part harmonies lurking below a layer of Israel’s tender lead vocals. Slide guitar and pedal steel help bridge a path between the vibrant acoustic work and splashes of piano.

Why I love it: Lifted is the perfect album to put on while sitting by a warm fire, savoring a glass of whisky and taking in the mountain air. But it’s just as enticing through the trials and tribulations of everyday life–here’s a record that has the ability to lift your spirits and cleanse your soul.

4) Leon Bridges – Good Thing

Standout Tracks

Shy
Bad Bad News
Bet Ain’t Worth The Hand

What it sounds like: smooth as ever, Leon on Good Thing isn’t quite as distant as the one found on Coming Home like some reviews may lead you to believe–but this certainly is a new phase of Bridges’ career. Leon moves past the innocence of 50s/60s Motown and starts tipping his hat to other R&B influences more closely traced back to the 70s/90s.

Why I love it: Bridges found even more groove and control while creating this example of neo soul perfection. Recognition must be granted to the ultra talented backing group, with extra accolades directed at the rhythm section on tracks like “ Bad Bad News” and “Shy”. Good Thing is like a two ingredient cocktail—one part will make you move, the other will move you.

3) Franz Ferdinand – Always Ascending

Standout Tracks

Paper Cages
Feel The Love Go
Always Ascending

What it sounds like: pronouncing guitars battle against seismic choruses, loaded with tranquilizing backing vocals that slide in between Kapranos’ trademark howls. This one’s a party of snappy indie rock.

Why I love it: while the rest of us are doing our best to forget 2018, Alex Kapranos and co. are already looking forward to 2020 and beyond. Most may pass over this album while thinking it’s the same old mid-2000s indie marketed to meet the needs of today’s listeners. Instead, we’ve been graced with a band gravitating towards new heights and leaving behind the disciples who didn’t make it into the music streaming stratosphere.

2) Father John Misty – God’s Favorite Customer

Standout Tracks

Just Dumb Enough To Try
Please Don’t Die
God’s Favorite Customer

What it sounds like: Misty gets down to brass tacks on God’s Favorite Customer. There’s fewer quips than Fear Fun, more heartfelt memoirs than we heard on Honeybear, and a near-complete removal of the dismal world view found on Pure Comedy. These songs are concisely-constructed and calculated attacks on his own personal relationship fumbles.

Why I love it: Father John’s snarkier songs are undeniably enjoyable, but it’s always been the more sincere cuts that convey his full potential. Luckily, that’s exactly what we get here. On “Just Dumb Enough To Try” we get full-blown ballad Elton meets Nilsson, while “Please Don’t Die” begs to be played on repeat with the most impressive falsetto vocals we’ve heard from Father Josh. This might be his best yet (noting this is just the type of commentary he’d hate to read, and that makes it ever more important to write since it’s guaranteed to fuel his next effort).

1) Jump Little Children – Sparrow

Standout Tracks

X-Raying Flowers
Euphoria Designed
White Buffalo

What it sounds like: an elegant endeavor into infectious melodies and exciting musical arrangements. Jay Clifford’s soothing vocals glide across the speakers, pushing through with breathy undertones earmarked with gusto. The production and execution supersedes even heftier budgeted work from major league-level recording studios.

Why I love it: Sparrow is a valiant return to recorded music where Jump Little Children twist between variances of folk, jazz and orchestral rock. They’ve combined veracious lyrics with vital musicianship and tenacious rhythms to somehow breed an inspiring new form of baroque pop. If this your first foray into JLC’s catalog, you’ll quickly understand why you’ve been missing out.

Honorable Mentions:

Thomas Dybdahl – All These Things, Muse – Simulation Theory, The Coral – Moving Through The Dawn, The Vines – Miracle Land

About “The Best Albums of 2018” List:

The above list was developed to help readers find new music via the music service of their choice. I try to keep the commentary concise, only including the elements that I find most helpful when receiving a recommendation: brief list of my favorite songs, how each record compares to other artists/albums folks may know, and what’s unique (or what do I love) about these albums in particular.

– Kenny Bringelson

Vinyl View: Miles Davis – Sketches of Spain

January 19, 2014December 29, 201414 Comments

Cinematic jazz lead by a trumpet engulfed in purity, provacativity and unmatched prowess. It begins as a romantic journey that develops into a dramatic apex and finally returns to a gentle, comfortable location. More classical than the usual improv-based jazz that Miles Davis fans are used to.

Let me preface this review by stating a very important fact: I am no jazz aficionado. However, my qualifications for this review are as follows:

I own and enjoy multiple jazz records (including another Miles Davis/Gil Evans record, Quiet Nights)
I have always been extremely fascinated by 1940s Jazz, including Django Reinhardt’s two-fingered, French-Gypsy, swing-style
I believe that I have a good ear for understanding music that’s considered “different”, while enjoying modern progressive artists that reference Miles Davis as a major inspiration

Side I:

“Concierto De Aranjuez”

For the sake of this review, I have broken down this lengthy track into four sections – divided by tempo changes or other dramatic alterations

– Part I –

The album starts with the mysterious clattering of castanets, followed by some distant horns, strings and elegant percussion that builds upon a slow cinematic experience. Lead by Davis’ signature trumpet, the beginning of the marvelous “Concierto De Aranjuez” sounds like the start of a gentle rainfall. An elegant string section, gentle harp and perfectly supportive horn section join carefully placed hits of the high-hat and a muddled bass line. This part of the song would go well with a cloud-covered walk along the beaches of Cadaqués, or any other coastal town in Barcelona.

– Part II –

In the middle of a verse (near the three minute mark) the beauty is replaced by an outburst of electrifying sound, fronted by an aggressive array of horns. As the beat changes into a swing, the mood is carefully altered. Blistering horns and eerie strings support Davis’ provocative melody. The production here is superb – giving Miles Davis the ideal platform for showcasing his incredible talent alongside Gil Evans superb orchestral arrangement. The end of this section sounds like a theatrical form of jazz with a dramatic eeriness (I’m guessing Sondheim may have found inspiration here for elements of Sweeney Todd’s 1979 musical score).

– Part III –

Another significant development in “Concierto De Aranjuez” occurs right before the eight minute mark. The castanets return as Evans, once again, alters the arrangement to deviate his orchestra into a new direction. Davis’ muted trumpet creates a pure sound that compliments the adventurous mood of this third act. It now feels more like traditional jazz than any of its proceeding moments. An interesting bass line carries the majority of this section, until the climatic apex around the twelve minute mark.

– Part IV –

Another intense outpouring of trumpets and other horns prelude this final section. Aggressive tambourine shakes lead directly into an anxious arrangement of brass. A gentle array of woodwinds follow and seem to apologize for the previous hostility. The listener is taken on a new journey as quiet becomes the leading element. Davis’ signature trumpet closes out this track as the castanets return one final time – taking you back to the calming beach on Cadaqués.

“Will O’ The Wisp”

The second track, “Will O’ The Wisp”, has a contemporary structure (especially when compared to it’s predecessor). The catchy melody is easy to follow and the orchestra works to compliment Miles throughout the cut. A soulful bass provides bottom something primarily dominated by high pitched trumpets. “Will O’ The Wisp” feels more like an interlude than a complete song with the sole mission of preparing the listener for side two of the album.

Side II:

“The Pan Piper”

Side II begins with a brief declaration by Miles’ vibrant trumpet, followed by trailing flutes and breezy bells. “The Pan Piper” is a great song that fuses together Gil Evans’ excellent sense of certain classical elements with upbeat jazz. The real hero of this track is found in the partnership established between the bass and drums which gives Davis the perfect canvas to sketch his playing upon. You’ll wish the rhythm track went on forever or at the very least, spanned the entirety of the track (instead of just the second half).

“Saeta”

If the Spanish military had a soundtrack, “Saeta” would definitely be on it. Davis’ timbre is exceptional here as his instrument takes center stage. But the rest of the song seems odd with a marching drum beat that dominates, droning strings and a horn sound reminiscent of a réveil from a bugle. “Saeta” is strange when set amongst the other cuts on Sketches of Spain and is the only questionable moment on the record. It seems like there must be a backstory to this song, which could help give it context.

“Solea”

“Solea” also includes a similar military drum beat, but instead uses this more as a starting point, rather than the main basis for the song. Maybe the strongest piece of work on Sketches of Spain, this final track has near perfect production. A magnifying bass line fits in perfectly amongst the rhythm section. Evans’ arrangements help to compliment Davis’ playing in a way that feels planned but not stale in any way. For me, this is the song that includes everything I want from a Miles Davis record: a great melody played flawlessly by Miles, has both quiet instances and climactic apexes, and establishes a refreshing structure that is contained yet still feels improvised at times. Listeners of “Solea” are guaranteed to start dancing or moving in their seat during the concluding moments as Sketches of Spain draws to a close.

Final View: Sketches of Spain truly is a masterpiece – but it also requires an asterisk (*): this challenging record is not meant to be played in the background of a casual dinner party, like some other jazz albums. Careful listening is required to enjoy the moments of quiet beauty while the surprising outbursts of sound could send the wine glass of any casual listener flying across the room. Listener, consider yourself warned and appreciate this cliché – expect the unexpected.

Overall score: 9/10

Recommended if you like: Miles Davis albums, jazz with minimal improv, classical music

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About “The Best Albums of 2018” List:

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