Top 10 Albums of 2015

Death Cab For Cutie - Kintsugi10. Kintsugi – Death Cab for Cutie
There may not be a more aptly named album than Kintsugi (the Japanese art of repairing broken pottery with gold to make the cracks an artistic part of the object’s history). The album finds a band that’s broken, but not shattered. And the group pieces together what remains results in something beautiful. Chris Walla’s swan song with Death Cab for Cutie doubles as the first album the guitarist didn’t produce, and it shows for better and for worse. While Kintsugi lacks some of the intimate, personal touch Walla provided throughout the band’s history, but going with modern alt rock producer Rich Costey gives the songs a certain radio pop polish. Tracks like “The Ghosts of Beverly Drive” and “No Room in Frame” marry Ben Gibbard’s knack for hopefully forlorn lyricism with the band’s ability to still sound fresh and tight after almost two decades of experience to create reconstructed greatness.

Childbirth - Women's Rights9. Childbirth – Women’s Rights
Seattle’s queens of funny feminist punk struck more than a few chords on their sophomore LP Women’s Rights. Both musically and lyrically, the trio revels in its unkempt filthiness and tongue-in-cheek bravado while taking shots at female glamour standards (“Nasty Grrls”), vapid songwriters (“Breast Coast”), dating apps (“Siri, Open Tinder”), close-minded friends and family (“Since When Are You Gay?), and tech bros (“Tech Bro”, duh). And while there’s plenty the band tears down, the music also serves as a rallying cry for a certain strand of feminist thought. The playfully satirical tone has the power to even catch a few detractors off guard and maybe just open up their thinking a little bit.

Bully - Feels Like8. Feels Like – Bully
From the moment Alicia Bognanno begins howling on “I Remember,” Bully instantly becomes a band that’s impossible to ignore. The group’s debut LP Feels Like buzzes for nearly 30 minutes in a triumphant showcase of angsty alt rock. On songs like the pitch perfect “Trying,” Bognanno taps into the sonic legacy of Courtney Love’s rage and Liz Phair’s incredulousness without seeming like some sort of derivative and formulaic ’90s ripoff. It’s the rare instance where a Bully is out to pick a fight and you’re rooting for it to kick the snot out of everyone in sight.

Speedy Ortiz - Foil Deer7. Foil Deer – Speedy Ortiz
Speedy Ortiz’s Sadie Dupuis has long been a lyrical wizard, and that remains the case on Foil Deer. But the album stands out because of the sonic stylistic diversity the band as a whole added to its mix. If it took one (or 10,000) too many comparisons to ’90s indie rock to force the group’s frustrated hands, the end result was worth it (at least for the listener). Whether experimenting with its poppiest song to date (“The Graduates”), menacing dance rock (“Puffer”), a burst of bouncy angst (“Swell Content”), or off-kilter mystery storytelling (“My Dead Girl”), Speedy Ortiz pushes its sound forward at a breakneck speed as soon as the previous track ends. Hopefully the band won’t slow down anytime soon.

Girlpool - Before the World Was Big6. Before the World Was Big – Girlpool
Often times when describing and analyzing emo lyrics, a comparison to reading the singer’s diary is made. But that’s slightly off base. Diaries aren’t just about whining about being heartbroken, they chronicle someone trying to figure out what life’s all about during the messy parts of growing up. No album embodies the actuality of a diary like Before the World Was Big. Girlpool’s Cleo Tucker and Harmony Tividad share their personal journeys in a way that doesn’t seem wrought with drama, but rather sorting out the highs and lows of youth. The duo’s guitar and bass arrangements manage to fill the sonic space to the brim and never seems sparse despite the obvious limitations. Whether singing teen anxieties via childhood reflections (“Before the World Was Big” and most of the other tracks) or simply swimming in Seattle (“Dear Nora”), there’s just enough distance and blurry details to keep it things from seeming uncomfortably personal. The journal entries they do share seem like sonic comfort blankets that warmly wrap around listeners.

Sleater-Kinney - No Cities To Love5. No Cities to Love – Sleater-Kinney
Everyone was stoked when Sleater-Kinney announced they were reuniting. Getting to see the band live again (or for the first time) would be a treat. The fact that they were going to put out a new album seemed almost like a secondary detail. After all, reunion comeback album almost universally suck. No Cities to Love bucks that trend. It’s not simply good, it’s on par with (or maybe even better than) the classic albums Sleater-Kinney put out its first go-round. Corin Tucker, Carrie Brownstein, and Janet Weiss sound as fierce as ever as they blister though ten anthemic (sorry, “No Anthems”) melodic rock declarations of enduring power.

Will Butler - Policy4. Policy – Will Butler
It terms of out of the blue surprises, no 2015 album matches up to Will Bulter’s solo debut Policy. Who thought a side project ramshackle dance rock record by Win’s little brother could be leaps and bounds better than the last Arcade Fire album (Reflektor wasn’t good, but still)? The album manages to be effectively bipolar. Butler finds success with both slow-burning, lyrically downtrodden tunes (“Sing to Me”) and whimsical numbers that are silly for silliness’s sake (“What I Want”). Policy chatters with toe-tapping exuberant energy as Butler warbles lines like a desperate back alley preacher just looking for a good time.

Father John Misty - I Love You, Honybear3. I Love You, Honeybear – Father John Misty
After lighting the rock world on fire in an attempt to satirically burn it down with his debut album Fear Fun, Father John Misty’s next act was to figure out this whole “love” thing. With luscious arrangements and sharp lyrical witticisms, each song on I Love You, Honeybear comes across like a doomsday prophet seeking companionship for the end times. As the scenes get messy (“The Night Josh Tillman Came To Our Apartment”), the malaise weighs heavy (“Bored with the USA”), and tempers flare in wild ferocity (“Ideal Husband”), I Love You Honeybear becomes one long ballad that attempts—with increasing hopelessness—to find connection while slogging through the bullshit of the modern age. Good luck, weary travelers.

Grimes - Art Angels2. Art Angels – Grimes
By sheer power of will, Grimes makes anything seem possible. On Art Angels, she forges her own weirdo electronic musical path with an unrelenting determination that crushes anything that stands in her path. She can layer a track with enough compelling bells and whistles to turn three repeated chords into the best song of the year (“Flesh Without Blood”). She can base a tune around bloodcurdling yelps (“Scream”) or ethereal dance swells (“Realiti”). She can turn her own fan fiction dreams of vampires and The Godfather into a cheerleader chant-driven scream pop masterpiece (“Kill V. Maim”). Hell, she can even bring a Cheshire grin to a listener’s face with an undeniably cheesy pop ditty (“California”). And maybe that last one is most crucial, because its a testament to her greatest strength: Grimes approaches all the music she makes with unparalleled glee. You can feel it on every Art Angels track.

Mountain Goats - Beat the Champ1. Beat the Champ – The Mountain Goats
With Beat the ChampThe Mountain Goats managed to turn tales from the territorial pro wrestling era into the most beautiful and touching album of the year. Take a moment to consider that degree of difficulty. Somehow, John Darnielle pulled it off flawlessly. Beat the Champ rocks out to captures the pseudo-sport’s violent fun (“Foreign Object”), ruthless aggression (“Werewolf Gimmick”), pride (“The Ballad of Bull Ramos”), and familial roots (“The Legend of Chavo Guerrero”), but also slows things down for breathtakingly gorgeous tunes about the road life (“Southwestern Terriory”), tradition (“Unmasked!” and “Hair Match”), and the faded glory of lost souls (“Luna”). Perhaps those without a background in pro wrestling can’t fully appreciate the mastery of the songwriting on display, but take a moment to look up the real life stories. That knowledge makes Beat the Champ become an even more awe-inspiring feat.

The limping warrior headed back to the locker room with a golden belt slung over his shoulder? That’s The Mountain Goats.

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