By Jake Cleland and Kish Lal
RAP/HIP-HOP
DJ Khaled
DJ Khaled and his son Asahd at this year's BET Awards. The rapper-producer lists his eight-month-old son as an executive producer on his new album. Credit: Matt Sayles
Grateful (Epic/We The Best)
The initial announcement of any album tracklisting is usually nothing more than a tool to drip feed fans until its release. When it comes to DJ Khaled though, his credits boast unprecedented collaborations and that alone placed Grateful in contention for album of the year. Many know Khaled from Snapchat and his bigger-than-life personality, but as a producer he's a veteran.
DJ Khaled creates records like it's a game of fantasy football; except it's all real and the players are pop music's elite. Grateful is first and foremost a dedication to Khaled's eight-month-old-son, Asahd, who is also credited as executive producer. Even though Asahd has become a meme and everything DJ Khaled touches turns into a joke, his love for his son feels sincere. The album begins with the lead singles Shining, which unbelievably features super couple Jay Z and Beyonce together, and Wild Thoughts, an exciting genre-mashing collaboration with Rihanna and Bryson Tiller. Khaled's enthusiasm can feel tiresome after a time, but when he steps back, as on Down for Life and Good Man, the album fires. Major Bag Alert with Migos intersects memes and rap with style, and the Atlanta trio feature heavily on the record. I Love You So Much, a song dedicated to the love between a parent and child, feels like a Sesame Street off-cut and Chance The Rapper singing the alphabet turns him into a parody of himself. These low points are easy to look past as the record is ultimately polished, infectious and a lot of fun. If the '60s saw the popularisation of the "supergroup", then it is producers such as DJ Khaled who are leading the game in super production.
KISH LAL
ROCK
Broken Social Scene
Hug of Thunder (Spunk Records)
★★★★
Broken Social Scene might not have the thought-leading cult of personality enviable to young stars, but there's a cult of a different kind that has grown up with the Canadian many-piece since their 2002 breakthrough. This indie rock roadshow, which sported future alt-celebs such as Metric's Emily Haines and Feist, are emblems of the last time music could be considered distinct from its politics. Even when past songs have flirted with politics nobody has ever gone to Broken Social Scene to find out how to vote. The members, mostly through their other bands, had space to air those impulses elsewhere; Broken Social Scene has always sought songcraft over soapboxing. Hug of Thunder has plenty of the former. Even at 53 minutes, Broken Social Scene's first record in seven years is so stacked with earworm melodies and eclectic arrangements that it's always interesting. Hug of Thunder will feel familiar to longtime fans, from the rousing harmonies and bouncing, staccato riffs of its first half (Halfway Home, Stay Happy) to its more dissonant second half (Victim Lover, Vanity Pail Kids), but the band's knack for grandiose pop songs has only grown. Whether this is the last outing with the whole band together or the start of a new chapter for the group, Hug of Thunder feels like a vital addition to the catalogue.
JAKE CLELAND