15
Lil Wayne No Ceilings mixtape
I've had very few positive rapper mixtape experiences. There's usually a reason why those tracks didn't make it on an official LP. Here, Lil Wayne's No Ceilings, it was a much different case. It wasn't just a collection of demos, freestyles and disses. Weezy took the best beats of the past year, made them his own, and made the tracks much better (and funnier) than anything the original artists pumped out. No Ceilings is packed with memorable lines Wayne's known for. More-so than any 'officially' released album.
I've had very few positive rapper mixtape experiences. There's usually a reason why those tracks didn't make it on an official LP. Here, Lil Wayne's No Ceilings, it was a much different case. It wasn't just a collection of demos, freestyles and disses. Weezy took the best beats of the past year, made them his own, and made the tracks much better (and funnier) than anything the original artists pumped out. No Ceilings is packed with memorable lines Wayne's known for. More-so than any 'officially' released album.
14
The National High Violet
The National has always been a solid band. Unfortunately, they've never made a solid album. Yes, they make some killer tracks. And by killer tracks I mean some of the best songs of that particular year. But here, the talent is evenly spread, with splendid lyrics to boot. High Violet may not contain the National's most memorable moments, but each song actually had something worth saying.Violet manages to be a dark rainy day, and a shelter from that gloomy storm all at once; heartbreak and love found. The album is a personal journey for both listener and band alike, exhausting emotions and creating a middle ground where both parties can sit side-by-side in self reflection.
The National has always been a solid band. Unfortunately, they've never made a solid album. Yes, they make some killer tracks. And by killer tracks I mean some of the best songs of that particular year. But here, the talent is evenly spread, with splendid lyrics to boot. High Violet may not contain the National's most memorable moments, but each song actually had something worth saying.Violet manages to be a dark rainy day, and a shelter from that gloomy storm all at once; heartbreak and love found. The album is a personal journey for both listener and band alike, exhausting emotions and creating a middle ground where both parties can sit side-by-side in self reflection.
13
The Tallest Man on Earth The Wild Hunt
There's modern polish to it. Not production, but in craftsmanship. Storytelling in its rawest form, for a generation that often times craves accesibility out of laziness. But as Kristian Mattson teeters on the edge of plasticity, he quickly redeems himself before falling off the deep-end. On a few occasions Mattson does rely a bit too heavily on the chorus, which a folkster should never really do. The opener is one hell of a zinger and the Springsteen-esque closer is the shining silver nail in this well-constructed coffin.
There's modern polish to it. Not production, but in craftsmanship. Storytelling in its rawest form, for a generation that often times craves accesibility out of laziness. But as Kristian Mattson teeters on the edge of plasticity, he quickly redeems himself before falling off the deep-end. On a few occasions Mattson does rely a bit too heavily on the chorus, which a folkster should never really do. The opener is one hell of a zinger and the Springsteen-esque closer is the shining silver nail in this well-constructed coffin.
12
MIA MAYA
MAYA isn't a step forward, nor a step back for MIA. Merely a step sideways. The album finds itself somewhere between Arular's dancefloor friendly tunes and Kala's experimental creativity. Songs like "It Takes a Muscle," "XXXO," and "Tell Me Why" may come as a suprise to some. Their candy-coated, radio friendly tunes may have fans crying "sell out!" though they should be taken as tongue-in-cheek nods to dance-pop. They're no Clash-sampling, decade-defining anthems here. Just no frills, no brainer , stereo-ready pop magic. "Internet Connection" and "Teqkilla" is where MIA seems to be making headway. She brings the music back to the dancefloor, while seamlessly holding on to the integrities and maturities of her last album, all of which is streamlined in a shiny new package for the masses she pretends to hate.
MAYA isn't a step forward, nor a step back for MIA. Merely a step sideways. The album finds itself somewhere between Arular's dancefloor friendly tunes and Kala's experimental creativity. Songs like "It Takes a Muscle," "XXXO," and "Tell Me Why" may come as a suprise to some. Their candy-coated, radio friendly tunes may have fans crying "sell out!" though they should be taken as tongue-in-cheek nods to dance-pop. They're no Clash-sampling, decade-defining anthems here. Just no frills, no brainer , stereo-ready pop magic. "Internet Connection" and "Teqkilla" is where MIA seems to be making headway. She brings the music back to the dancefloor, while seamlessly holding on to the integrities and maturities of her last album, all of which is streamlined in a shiny new package for the masses she pretends to hate.
11
Damien Jurado Saint Bartlett
There was something special about this Damien Jurado album. There was a certain magic to it that we haven't seen in any of his other work. Yes, his work has always been magical, talented, nearly flawless, and downright admirable. But Saint Bartlett captured Jurado at his charmingest of moments. Although Saint Bartlett echoes numerous talents of singer/songwriter past, the album still feels modern, and most importantly, still feels personal. This is a Damien Jurado album, through and through. No question. The ability to produce music under these guidelines, with genuine ingenuity, free of mimicry or gimmicks, is a rare feat. Bartlett encompasses Jurado for everything he's worth: his ability to write songs effectively and efficiently, compose melodies flawlessly, evoke an emotional response, and all the while remaining snuggly in the confines of a Seattle songwriter profile.
There was something special about this Damien Jurado album. There was a certain magic to it that we haven't seen in any of his other work. Yes, his work has always been magical, talented, nearly flawless, and downright admirable. But Saint Bartlett captured Jurado at his charmingest of moments. Although Saint Bartlett echoes numerous talents of singer/songwriter past, the album still feels modern, and most importantly, still feels personal. This is a Damien Jurado album, through and through. No question. The ability to produce music under these guidelines, with genuine ingenuity, free of mimicry or gimmicks, is a rare feat. Bartlett encompasses Jurado for everything he's worth: his ability to write songs effectively and efficiently, compose melodies flawlessly, evoke an emotional response, and all the while remaining snuggly in the confines of a Seattle songwriter profile.
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