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Edit: From the L2T mod team: After much discussion amongst the mods, we've decided to re-approve this post as a rare exception to the rule. u/mgraunk puts in a ton of work every year, and while the sub does not officially allow playlists posts, u/mgraunk has worked with the mod team to thoroughly vet each artist included to make sure they're within our limits. Thank you to everyone who commented sharing your thoughts on the decision.
Spotify playlist is here
2020 was a crazy year, so it’s understandable if you had a hard time keeping up with new music releases. I was in that other camp of people who found themselves listening to music even more than normal. I continued my (admittedly obsessive) tradition of listening to as many new albums as possible each week, and once again I’d like to share a few hidden gems.
These are not my top 25 albums. These are just 25 albums that I felt were sorely overlooked, based on the criteria that (almost) none of these artists have more than three songs with over half a million plays on Spotify. Hopefully we can bring their music to a wider audience. Without further ado, here are 25 great albums you might have missed in 2020:
1. Keleketla! - Keleketla! (Released 7/3/20, Multinational)
I’m going to break the rules right off the bat by including my absolute favorite album of 2020, which includes contributions from internationally famous recording artists like Tony Allen, Antibalas, and ColdCut. But in addition to these names, the musical project known as Keleketla! features many obscure and underrated artists, both from across the African continent and from members of the diaspora living around the world. It may not meet the letter of the law, but it certainly fits the spirit of this community. It’s a funky, jazzy, groovy blend of musical styles that’s truly unparalleled among album releases this past year. The vocals are carefully selected and powerfully performed, with lyrics that serve as a reminder of the many perspectives often overlooked by western-centric media.
Standout Tracks: Future Toyi Toyi, International Love Affair, Freedom Groove, Crystallise
2. Frankie and the Witch Fingers - Monsters Eating People Eating Monsters... (Released 10/2/20, California, US)
If you’ve listened to my playlists from the past two years, then you know I love me some psychedelic rock. King Gizzard and Tame Impala are great, but the field is really broad right now, and there are plenty of lesser known acts like Frankie and the Witch Fingers who can hold their own. Despite putting out several albums in recent years, this was the first release from Frankie and the Witch Fingers that I’ve thoroughly enjoyed from start to finish. It has a reckless energy, as if the performers are trying to thrash the life from their instruments before the album ends. Given the ongoing absence of live music in my life, this was one of the few albums from 2020 that almost managed to deliver that raw concert experience to the isolation of my apartment.
Standout Tracks: Activate, Sweet Freak, Simulator
3. Gooral - Ethno Elektro 2 (Wolno/Fusion) (Released 3/19/20, Poland)
This album seems to have been released in a couple different formats. When I first discovered Ethno Elektro 2, it was as a 6-song mini-album released in March with the subtitle “Wolno”. But on Spotify, there is an earlier version of Ethno Elektro 2 featuring a completely different tracklist with the subtitle “Fusion”, categorized as an EP. Discogs, however, lists Ethno Elektro 2 as a single 2-disc record containing all the tracks from both Fusion and Wolno. Long story short, they’re both uniquely amazing records, and the album works perfectly when listened to from the first track on Wolno to the last track on Fusion, smoothly fluctuating between EDM-tinged pop and eastern European folk. In addition to techno and D’n’B, Gooral draws heavily upon Polish ethnic styles to create a dance record that is seriously unmatched.
Standout Tracks: Spod tego jawora, Wadi rum, Cas siy nom uodmienić
4. Thy Catafalque - Naiv (Released 1/24/20, Hungary)
Back in the before time, I got together with a friend to make sausage. It was our first attempt, and we were working on a recipe he’d found for “hot Hungarian” sausage. I told my friend I had the perfect record to occupy us while we worked, and put on Naiv, which I had not yet listened to all the way through. We were surprised by just how suitable it turned out to be, and it quickly became my go-to album while working, doing chores around the house, and during further sausage-making ventures. The driving melodies and distorted growls are great for motivation, while the epic choral vocals and diverse instrumentations keep you from getting bored. But if you have a minute to pause and pay closer attention, you’ll also be able to appreciate the unusual time signatures and top-notch production characteristic of great progressive rock.
Standout Tracks: Embersólyom, A valóság kazamatái, Kék madár (Négy kép)
5. Suzie Stapleton - We Are the Plague (Released 7/31/20, Australia)
She may not have garnered much attention yet, but I’m really looking forward to following Suzie Stapleton’s career given the strength of her debut album, We Are the Plague. The album opens with the lyrics “We are the plague / we are the execution / we are the caged / we are the revolution”, and I’ll be damned if that isn’t just the perfect way to sum up 2020. What follows is a murky expedition into the gloomiest manifestations of western popular music - goth rock and dark folk tinged with blues, delivered by a rasping voice that’s equal parts Janis Joplin, Beth Hart and Lucinda Williams. The lyrics conjure images of desolation, destruction, and loss. This is not a happy record, but it is nonetheless a beautiful one.
Standout Tracks: We Are the Plague, Blood on the Windscreen, Don’t Look Up
6. Yuri Gagarin - The Outskirts of Reality (Released 1/31/20, Sweden)
Sweden is known more for its black metal and death metal than for spacey stoner rock, but Yuri Gagarin proves a welcome exception to that stereotype. The Outskirts of Reality hits the ground running with two lengthy jams over ten minutes apiece which together make up the bulk of the five track album. Laboratory1, the shortest track, creates a similar effect to the ambient middle section of Pink Floyd’s “Echoes”, developing an atmosphere that becomes progressively more eerie and unsettling, only to pull you roaring back when the album’s title track kicks in to end the record. It’s not a long album, just under 45 minutes - but that’s enough time for at least, like, three DMT trips, right?
Standout Tracks: Oneironaut, Crystal Dunes, The Outskirts of Reality
7. Aging - Sentenced to Love (Released 5/1/20, England, UK)
Sentenced to Love seems to embrace the notion espoused in the early days of How I Met Your Mother that “nothing good happens after 2 AM”. It is a soundtrack to dastardly deeds committed undercover of the night; the kind of jazz you might hear in a seedy strip club under a freeway while a shady man in a trenchcoat and fedora stares you down from across the bar. There’s an ominous undertone to the album that keeps you on edge, almost paranoid. If the movie Drive were set in the 1940s, this could be the soundtrack. In fact, one look at the album cover should adequately prepare you for what you are about to experience. As someone who works a graveyard shift, this album really resonates. Not the dastardly deeds part though, I swear.
Standout Tracks: The Trapped Man, Sentenced to Love, The Shadow On My Name
8. Ajate - Alo (Released 3/6/20, Japan)
An album like Alo is the musical equivalent of a British television series - it hooks you immediately, and then just as quickly, it’s over. Put it on repeat and you’ll have an album of a more satisfying length. I promise you won’t get bored listening to it over and over, though you might find yourself cursing the universe that there aren’t more bands fusing traditional Japanese and West African dance music, much less on homemade instruments of their own invention. There really isn’t a single other band in the world like this.
Standout Tracks: Uka, Galar, Mammamelie
9. Blessed Black - Beyond the Crimson Throne (Released 1/17/20, Ohio, US)
If you like metal bands that draw from desert rock, grunge, doom metal, and classic Sabbath, then put your bong down and pay attention. Now pick it back up and put on Beyond the Crimson Throne by Blessed Black. It’s derivative in all the best ways, accessible enough for the radio but with enough credibility for the metalhead purists. Expect catchy riffs rather than intricate solos, and clean vocals in place of growls or screams. I daresay this is the best damn butt rock record of the decade.
Standout Tracks: The White Wolf, Arioch’s Bargain, Stormbringer
10. Smoke Fairies - Darkness Brings the Wonders Home (Released 1/31/20, England, UK)
Smoke Fairies is not a new band, but their latest album is definitely their most polished and complete so far. Taken as a whole, the album has a great atmosphere - dark and mysterious, as its name would suggest, with rich harmonies reminiscent of Cocteau Twins. Without the context of the album, the individual songs still stand up. Each one is distinct and engaging, and despite the album’s brooding tone, there are a few good earworms in the mix.
Standout Tracks: On the Wing, Out of the Woods, Super Tremolo
11. The Cool Greenhouse - The Cool Greenhouse (Released 5/29/20, England, UK)
Most of the time, I prefer strong instrumentals over strong vocals. Much of my favorite music is entirely lyricless. The first time I heard The Cool Greenhouse, I wasn’t thrilled with the repetitive 3-note riffs that characterize this album. I almost wrote them off until I started picking up on what their vocalist (I hesitate to call him a singer) was listlessly droning on about in the most unapologetically British way possible. If John Cleese performed slam poetry, I’m not sure he could deliver as scathing a critique of western culture and society as The Cool Greenhouse. Their biting sarcasm is underscored by the apathetic delivery and appropriately low-effort guitar work, but the songwriting is actually pretty brilliant. The more I listened, I realized that what I initially heard as sloppy and uninspired was in fact quite intentional. It’s punk rock for the Doomer generation; the righteous anger is still there, but it manifests in a very different way.
Standout Tracks: Cardboard Man, Life Advice, Smile, Love!
12. Angellore - Rien ne devait mourir (Released 2/14/20, France)
The notes on Angellore’s bandcamp page describe the recording process of this album as “burdensome and depressing”, and while I can promise that listening to it will provide a much more enjoyable experience, this album certainly does take its time to get where it’s going. It doesn’t immediately hook you, but it promises a journey that will be well worth your while. The opening track is 20 minutes long, and starts with a Gregorian chant. From there, it unfolds like the plot of a novel, gradually building to some intense and compelling moments that don’t require any understanding of doom metal growls to be emotionally effective. And there are enough diverse vocal styles over the course of the album that even those who are turned off by unclean vocals can appreciate the vaguely necrophilious lyrical cliches of gothic rock.
Standout Tracks: A Romance of Thorns, Dreams - Along the Trail, Que les lueurs se dispersent
13. N to the Power - Autogenesis (Released 9/4/20, New York, US)
This is some weird, trippy jazz. This is some “don’t put it on until you’re comfortable with the headspace of the acid you just took” jazz. It’s not an easy listen, but it’s not hard to make the time for just five songs. There’s a lot to take in if you can give this music your undivided attention and just focus on the interplay between the different instruments. Each composition expresses a distinct musical idea, and while there are some common elements between them, the album is more an anthology of vignettes than a single theme. But with most of the songs over five minutes in length, none of the songs seem rushed or incomplete.
Standout Tracks: The God Particle, Marrakesh Mesosphere, To the Jackpot
14. Bambara - Stray (Released 2/14/20, Georgia, US)
Stray is a gloomy concept album that combines shimmery surf rock guitars with the gritty imagery of a Rob Zombie or Robert Rodriguez film. There are traces of neo-noir and western in the loosely connected stories of the album’s dismal characters, and also in the music, which vaguely resembles both Nick Cave and Ennio Morricone in trace amounts. While the album is best enjoyed from beginning to end like a nonlinear rock opera, the self-contained stories in each song stand on their own as well - particularly the final track, “Machete”, which would make for a great horror film if the name weren’t already taken.
Standout Tracks: Heat Lightning, Serafina, Machete
15. Tidiane Thiam - Siftorde (Released 5/15/20, Senegal)
There’s not a whole lot to say about Tidiane Thiam. He’s just a guy who taught himself to play guitar, plucking out simple melodies without adornment. His straightforward approach cuts to the heart of the innate human desire to make music. This album is as close as recorded music can get to capturing the experience of sitting around a campfire with your closest friends while someone noodles on a guitar, and the ambient background noises further contribute to that illusion. We may not be able to locate each others’ hometowns on a map, but the universality of this album tells me that we have something in common.
Standout Tracks: Djatasoun, Douga, Yeery-Mayo
16. Zenobia - Halak Halak (Released 6/5/20, Israel)
The duo of Palestinian DJs known as Zenobia make some pretty wild dance tunes. They combine elements of EDM and synthpop with various styles of Arabic pop and folk music that I’m too American to identify. If you’re accustomed to the rhythmic patterns of European and American dance music, you might find this album refreshingly dissimilar. I don’t know what the current slang would be, but in the words of my wife when she’s trying to get under my skin, “this one slaps”.
Standout Tracks: Edine, Halak Halak, Funky Egal
17. Gwenifer Raymond - Strange Lights Over Garth Mountain (Released 11/13/20, Wales, UK)
Not only is she the best primitive guitar player since the OG, John Fahey, Gwenifer Raymond is also a professional game designer and holds a PhD in astrophysics. So she’s got that going for her, which is nice, but neither of those other pursuits have any significant bearing on this album. Her guitar playing is front and center without any vocals to get in the way. Strange Lights Over Garth Mountain is colored by Raymond’s Welsh background, but also draws from the full spectrum of Americana styles and beyond. If you’re yawning at the prospect of another instrumental folk guitar album, just listen to her shred on “Hell for Certain” before deciding this album isn’t worth your while.
Standout Tracks: Hell for Certain, Gwaed am Gwaed, Strange Lights Over Garth Mountain
18. Malena Zavala - La Yarará (Released 4/17/20, Argentina)
I’m going to break the rules ever so slightly again, because Malena Zavala does have three songs with over 500k streams, two of which are different versions of the same song, and none of which are on this album. Her debut was decent, but Zavala’s sophomore release is a lot more polished in performance and production. She displays confidence and purpose in her vocals without sacrificing the emotion. The rich instrumentals reflect her diverse musical influences, with a variety of electric and acoustic instruments that keep things sounding light and bouncy even when the lyrics tend towards more melancholy and introspective topics. A tropical ambiance seeps through on every song, making this the perfect soundtrack for drinking away a bad breakup somewhere on a sandy beach.
Standout Tracks: En la Noche, Company, Ritmo de Vida
19. Ak’chamel, the Giver of Illness - The Totemist (Released 3/27/20, Texas, US)
What even is music, maaan? This album is more like a sound collage, beginning with a relatively familiar psychedelic rock melody that quickly fades to the background amidst distant bird calls and other sound effects. By the end of the first song, an eerie, whispering voice is pulling you deeper into your trip, and that’s when you remember that you aren’t even high. If it weren’t for the percussive instruments providing rhythm and meter, you might even forget you’re listening to an album at all. It’s a sort of new age parody, twisting and distorting the tropes of meditative music into something conspicuously unsettling. If you get anxious easily, you may want to avoid listening to this one when you’re all alone at 3 am. Unfortunately, I speak from personal experience.
Standout Tracks: Firedriver, The Funeral of a Woman Whose Soul is Trapped in the Sun, Dark Hat
20. Ka - Descendants of Cain (Released 5/1/20, New York, US)
As much as I enjoy the genre, hip hop albums don’t often rate very high on my list. A lot of hip hop albums feel bloated and uncurated, with too many filler tracks that rely on lyrical cliches without offering fresh perspectives. Ka’s Descendants of Cain is an excellent exception. The 11 songs center around an allegorical theme that compares the violence in economically depressed communities of color to the Biblical story of Cain and Abel (“brothers killing brothers”). Throughout the album, Ka reflects on his upbringing in cocaine culture, taking every opportunity to insert religious allusions through brilliant wordplay and double entendres. I can’t count how many times I’ve listened to this album already, and every time I pick up on clever details I haven’t noticed before. You don’t have to be a hip hop fan to appreciate the artistry on this album, although it might help to have an English degree.
Standout Tracks: My Brother’s Keeper, The Eye of a Needle, Sins of the Father
21. Matthieu Saglio - El Camino de los Vientos (Released 4/24/20, France)
Matthieu Saglio plays the music of the Mediterranean on El Camino de los Vientos, which features his own cello playing in addition to the contributions of various international collaborators. From song to song, the album travels around the entirety of the Mediterranean Sea, with stops around both Europe and North Africa. The individual pieces are distinct enough to sound as though they were created by completely different composers, but as a whole, the album is a cohesive masterpiece that bridges the cultural gaps between disparate styles of jazz, folk, and neoclassical composition. My wife tells me this album makes her feel like she’s in the “old country”. She doesn’t have an “old country”. She’s under 30 and has lived in the US her entire life. All the same, I can’t say I disagree with her interpretation.
Standout Tracks: Bolero Triste, Amanecer, Sur Le Chemin
22. Dool - Summerland (Released 4/10/20, Netherlands)
There aren’t enough truly great prog groups these days, especially female-fronted prog groups. Dool fills that niche quite nicely with a 70’s-flavored driving rock album that falls somewhere between Rainbow and early Heart. Dool may not have the instrumental virtuosity to place them among the greats, but they have an abundance of psychedelic guitar licks and instrumental jams, with enough catchy hooks to stick with you after listening. There are also elements of contemporary hard rock and metal, but the album isn’t particularly heavy by today’s standards. Summerland is a broadly accessible album for rock fans of any generation, hearkening back to the days when groups like Led Zeppelin were viable for pop radio. And if you have no natural affinity for classic rock, you can at least take solace in the fact that this style of dad rock isn’t likely to catch on again anytime soon. I’m just glad someone is still out there making it.
Standout Tracks: Sulphur & Starlight, God Particle, Ode to the Future
23. Cambriana - Hedonism (Released 12/18/20, Brazil)
A last-minute addition to my favorite albums of 2020, Cambriana’s Hedonism took me completely by surprise at a point when I thought that the year had nothing left to offer. It’s an album of artsy indie-pop jams in the vein of Glass Animals and The Neighbourhood that crawl into your brain and make themselves at home. The songs are simultaneously more delicate and more textured than most of today’s pop hits, with muted drums, shimmering guitars, and layers of synths. The album is immersive even at its slowest moments, and while it never gets too boisterous, there is a restrained energy on songs like “Induction Bread” that gives you the urge to get up and move.
Standout Tracks: Induction Bread, Gamma-Ray Burst, Huge!
24. Sa-Roc - The Sharecropper’s Daughter (Released 10/2/20, Washington, D.C., US)
For most of hip hop’s history, female contributors have been largely overlooked as serious rappers. Sa-Roc has the chops to compete with any of the greats, and a wisdom to her lyrics that would make Tupac proud. While a couple tasteful features provide the opportunity for some interesting back-and-forth dialogue, the album is overwhelmingly just Sa-Roc without any assistance. Lyrically, she surpasses virtually all of her peers in terms of staying on topic throughout the album, keeping her laser focus on topics of social justice without resorting to lazy sex jokes or excessive braggadosio. Not that there’s anything wrong with those tropes, but in 2020, a hip hop album the sort of substance found on The Sharecropper’s Daughter was both welcome and needed.
Standout Tracks: Gold Leaf, The Black Renaissance, Goddess Gang
25. Will Wood & the Tapeworms - The Normal Album (Released 7/10/20, New Zealand)
The first thing you hear when you put on The Normal Album is a darkly hilarious parody of 1950s doo-wop that flawlessly transitions into an Elvis-esque rockabilly jam over a wailing saxophone, then back to doo-wop. Thirty seconds later, you get a sample of what it might sound like if Tom Waits collaborated with the Mr. Bungle. That’s just the opening track. Suffice to say, the title of The Normal Album is a goddamn lie. Will Wood, the multitalented multimedia artist behind the Tapeworms’ music, lays out his relationship with mental illness and the world around him in the most eccentric mishmash of musical styles imaginable. His quirky artistic vision puts him in league with singer-songwriters like Ben Folds and Regina Spektor, though Wood seems even less constrained by the stylistic norms of popular music. His lyrics are dense, but even before you have the chance to decipher Wood’s musings on life and society, the absurd theatrics will suck you in by subverting your expectations roughly once a minute.
Standout Tracks: 2econd-2ight-2eer (that was fun, goodbye.), Laplace’s Angel (Hurt People? Hurt People!), Marsha, Thank You for the Dialectics, but I Need You to Leave.
Have a great 2021!
Spotify playlist is here
Google Play playlist courtesy of u/TimeFourChanges is here
Apple Music playlist courtesy of u/LegoWaffles is here
Last year I listened to over 800 albums and posted a few of my favorites. This year I did the same thing, and I’ve had some people asking me to post again, so here goes.
These are not my top 25 albums. These are just 25 albums that I felt were sorely overlooked. Last year some people rightly complained that I included artists which broke the sub’s popularity rules. I’ve done my best to ensure that none of these artists have more than three songs with 500,000+ plays on Spotify, nor 250,000+ listeners on Last.FM. I apologize in advance if something was overlooked. Hopefully we can help get these artists and albums some of the credit they truly deserve! Without further ado, here are 25 great albums you might have missed in 2019:
1. Peter Cat Recording Co. - Bismillah (Released 6/7/19, India)
I’ll admit right off the bat that I’m a huge Tool fan, so my choice for best album of the year is definitely biased. But Bismillah by Peter Cat Recording Co., my second favorite album of the year, sounds nothing like Tool. In fact, it’s pretty much as far as you can get from extended prog metal jams. The music defies classification, drawing from a breadth of influences including rock, folk, jazz, and electronica. The vocals are rich and smooth, reminiscent of classic pop stars like Dean Martin and Frank Sinatra. So far, no one I’ve introduced to this album has disliked it. At this point, I’d go so far as to say it will likely appeal to anyone who just plain loves music. Please do yourself a favor and listen to this incredible album!
Standout Tracks: Where the Money Flows, Memory Box, Freezing, Heera
2. Mdou Moctar - Ilana, the Creator (Released 3/29/19, Niger)
There’s a lot of incredible music coming out of African countries that goes virtually unnoticed in the west. Mdou Moctar is one of those artists, a king of desert rock guitar whose psychedelic jams draw heavily on Tuareg folk music. There is an infectious energy to this album that doesn’t let up from beginning to end, and every time I listen, I find myself wishing it were a few songs longer. Despite the fact that I can’t understand a word of the lyrics, it’s one of those albums that makes me feel like I can hear colors and taste sounds. The next time I get my hands on some LSD, this will be my go-to record.
Standout Tracks: Kamane Tarhanin, Tarhatazed, Tumastin
3. Flamingods - Levitation (Released 5/3/19, Bahrain)
In a year with new albums from Pond and the Psychedelic Porn Crumpets, not to mention two new albums from King Gizzard, I never expected this album from a little-known Bahraini group to blow the Australian psychedelic scene out of the water. It’s unpretentious and unassuming, playing it safe rather than pushing the limits of studio experimentation, but Levitation needs no gimmicks. The melodies are catchy and memorable, backed by tight instrumentation with lots of guitar noodling. The influence of traditional Middle Eastern music is audible, but usually subtle. Though there is still room for the band to grow in its sound, this album is nearly perfect as it is.
Standout Tracks: Astral Plane, Peaches, Mantra
4. Bruno Bavota - RE_CORDIS (Released 1/18/19, Italy)
Winter is usually the slow season for new album releases, but the mood of the season perfectly matches the mood of RE_CORDIS. It’s a fairly straightforward album of instrumental compositions enhanced by the lightest accents and effects that demonstrate the delicacy with which Bruno Bavota hones his work. The instrumentation varies from song to song just enough to stay engaging, and while it does encourage wandering thoughts, there are many subtleties to actively listen for. It’s one of those albums that sounds best as you’re just drifting off to sleep, when the silence and darkness of the room allows each note to stand out.
Standout Tracks: Passengers, La luce nel cuore, The Man Who Chased the Sea
5. Cykada - Cykada (Released 3/29/19, England, UK)
For a debut album, Cykada is pretty impressive, and that’s because the musicians behind it are already well established in the London jazz scene. Which of course means jack shit in the world of pop music, so I hope you’ll forgive me stretching the rules of the sub just a little to show off this “supergroup” ensemble. There are only five songs on Cykada, but with the shortest clocking in at just under six minutes, each one feels like a journey in and of itself. If the opening of the first track doesn’t immediately hook you, then perhaps this isn’t the group for you. But if it does, I think you’ll find yourself hanging onto every note until the end of the nearly 12-minute jam that closes out the album.
Standout Tracks: Creation, Ophelia’s Message, Third Eye Thunder
6. Claude Fontaine - Claude Fontaine (Released 4/26/19, California, US)
There’s a tropical undercurrent to the songs on Claude Fontaine, which shamelessly dips into Carribean and Latin American influences, but the tone of the album more somber than sunny. The vocals come across as wistful, at times loney, and the lo-fi production adds a degree of separation that feels like listening to a memory of a bygone summer. There’s nothing technically impressive about this album, and in fact the opposite is often true, but something about the raw introspection coupled with atypical Latin grooves feels like slipping into a dream.
Standout Tracks: Hot Tears, Love Street, Pretending He Was You
7. Iguana Death Cult - Nude Casino (Released 10/25/19, Netherlands)
By the time Iguana Death Cult released their album Nude Casino just before Halloween, I was expecting the year to more or less be over, musically speaking. Then I found myself playing this album on repeat at work, and it quickly shot up into my top 20 on the strength of every song being an absolute jam. The band is so clearly having fun that it’s all but impossible not to join in. The bouncy, dance-like energy reminds me a bit of early Arctic Monkeys. As an added credit, I’d say they’re a strong contender for the best band name/album name combo of the year.
Standout Tracks: Nude Casino, Liquify, Nature Calls
8. Saor - Forgotten Paths (Released 2/15/19, Scotland, UK)
This album feels cinematic, on the scale of Lord of the Rings or The Avengers. It’s an overwhelming experience, like watching thunderheads roll in over the plains, except instead of thunder and lightning it’s blast beats and metal screams. There are moments of symphonic grandeur, but also passages of graceful simplicity that draw inspiration from folk and chamber music. Even if you aren’t generally a fan of distorted vocals, it’s worth a listen for the instrumentals alone.
Standout Tracks: Forgotten Paths, Monadh, Bròn
9. Sandro Perri - Soft Landing (Released9/6/19, Canada)
I’m not really sure how to describe or categorize Sandro Perri’s music. Google suggests he’s been classified as “post rock”, “ambient”, and “folk”, but none of those terms really see to fit. His music is experimental if nothing else, exploring the simplest ideas to the fullest extent and crafting entire songs around short musical phrases. Despite the peaceful vibe, Soft Landing isn’t really background music. The pieces of the puzzle all sound familiar on their own, but Sandro Perri assembles them in a way that sounds strange and unique, and might cause you to involuntarily cock your head to the side as you listen.
Standout Tracks: Time (You Got Me), Wrong About the Rain, Soft Landing
10. Uluru - Acrophilia (Released 2/8/19, Turkey)
One thing that I love about the explosion of psychedelic rock over the past decade is that it’s largely transcended geography. Uluru is another example of the intersection between Middle Eastern and psychedelic music, but unlike Flamingods, Uluru tends more towards the crunchy stoner rock end of the spectrum. This album is also different in that it’s entirely instrumental, but that doesn’t make it feel incomplete. At just seven songs, each between 3-8 minutes, Acrophilia is just the right size to leave an impression without wearing on into endless jam sessions.
Standout Tracks: Şark, Constantine, Aeternum
11. Jimmy “Duck” Holmes - Cypress Grove (Released 10/18/19, Mississippi, US)
Some music ages like fine wine, but the blues ages like whiskey. Like many underappreciated blues pioneers, Jimmy “Duck” Holmes didn’t start recording studio albums until fairly late in his life. Despite going unnoticed by the music industry, Holmes is a fixture of Mississippi blues history, and deserves every bit as much acclamation as his contemporaries. Cypress Grove doesn’t features surprising new compositions. It’s the work of a true artist interpreting old standards, and though it sticks keenly to tradition, there’s nothing quite as genuine as an old blues master pouring a lifetime of experience into an acoustic guitar.
Standout Tracks: Catfish Blues, Goin’ Away Baby, Little Red Rooster
12. Julian Taylor Band - Avalanche (Released 3/29/19, Canada)
This album exemplifies the meaning of “groove”. Lyrically it doesn’t offer any hot takes or great philosophical depth, but it will make your foot tap and your head nod whether you like it or not. It’s music for late summer evenings, for grilling out and driving to the beach. But if you like magic mushrooms and hackysack, this album might touch you on a deep emotional level.
Standout Tracks: Time, Back Again, Never Let the Lights Go Dim
13. Modern Nature - How to Live (Released 8/23/19, England, UK)
How to Live didn’t leave much of an impression when I first heard it back in September, but as I was going back over my top albums at the end of the year, it suddenly connected with me. Maybe it was the funky beats, or the flawless blend of electric and acoustic instruments. Maybe it was just the large quantity of marijuana edibles I’d ingested. But there’s something fascinating and engaging about the delivery of these songs. It’s not just the vocals, which are hardly above a whisper. Even the instrumentals sound stealthy, as if the band recorded at night and didn’t want to wake the neighbors. The songs also stick with you, but not in the sense of a Top 40 earworm. More like a ghost haunting from just over your shoulder. Each time I listen to this album I find something new to like about it.
Standout Tracks: Footsteps, Peradam, Nature
14. Fvneral Fvkk - Carnal Confessions (Released 9/27/19, Germany)
Everything about this band seems intentionally offensive, from their conjunction of religion and sexuality to their egregious misspelling of the word “fuck”. But when you’re through clutching your pearls, check out the rich vocals and heavy riffs that make this metal band’s debut album stand out. If you’re into heavy rock but don’t care for unclean vocals, this should make you a happy camper. Unless you’re a member of the clergy, then perhaps give this album a pass.
Standout Tracks: Chapel of Abuse, A Shadow in the Dormitory, The Hallowed Leech
15. Dommengang - No Keys (Released 5/17/19, California, US)
Dommengang aren’t breaking down musical barriers, but I can’t find a single song on this album that I dislike. In the era of music streaming, there’s something to be said for a collection of solid singles that can each stand on their own. But No Keys is more than just a collection of singles. The sum of its parts is a cohesive album that touches on blues rock, psychedelic, and metal without committing to any one style, all following a current of driving rock guitar riffs with plenty of flourishes.
Standout Tracks: Wild Wash, Kudzu, Jerusalem Cricket
16. Magic Circle - Departed Souls (Released 3/29/19, Massachusetts, US)
Magic Circle is a bit like the Greta Van Fleet of Black Sabbath wannabes. Unlike Greta Van Fleet, however, these guys have serious musical talent and songwriting ability that make Departed Souls more of a respectful tribute than a piss on the legacy of 70s hard rock. There is also a good bit of originality to this album, and while it’s obvious that vocalist could pull off a flawless Ozzy impression if he tried, there’s a modicum of restraint that suggests the incorporation of broader influences. In fact, some of the albums best moments are when the band isn’t directly emulating the classics.
Standout Tracks: Departed Souls, Valley of the Lepers, Nightland
17. Obsequiae - The Palms of Sorrowed Kings (Released 11/22/19, Minnesota, US)
The Palms of Sorrowed Kings is an album of stark contrasts, catapulting back and forth between brutal, howling metal and languid, acoustic folk. The end result is an emotional journey with moments of triumph, rage, introspection, heartbreak, and tranquility. While the vocals accentuate some of the album’s more powerful moments, they aren’t highlighted above any of the other instruments, instead blending into the cacophony like the voice of a commander shouting orders across a field of battle. Fans of tabletop RPGs might want this album playing in the background of an adventuring session.
Standout Tracks: Palästinalied, Morrígan, Lone Isle
18. Black Peaches - Fire in the Hole (Released 5/17/19, England, UK)
Black Peaches have a sort of jam band aesthetic, drawing on the musical influences of the southern US to flavor their brand of psychedelic indie rock. Despite the frontman’s tangential involvement with Hot Chip, the band is firmly rooted in drums and guitars, with a sound more comparable to Phish or Widespread Panic than any synthpop outfit. Whether cranking along to frantic percussion or grooving smoothly over funk textures, the songs on Fire in the Hole are wild and dynamic from beginning to end.
Standout Tracks: Fire in the Hole, Black Peach Boogie, Pillars of Hercules
19. YĪN YĪN - The Rabbit That Hunts Tigers (Released 10/18/19, Netherlands)
As much as I try to be objective when approaching new music, I can’t help but love what I love. The Rabbit That Hunts Tigers checks a lot of boxes for me: psychedelic atmosphere, unique instrumentation, lengthy jams, danceable rhythms, incorporation of world music styles - even the artwork instantly attracted me to this album. While perhaps it’s not a perfect record, it has a lot of relistenability, and no other album released in 2019 sounds quite like it.
Standout Tracks: One Inch Punch, The Rabbit That Hunts Tigers, Dis̄ kô Dis̄ kô
20. Red Rum Club - Matador (Released 1/11/19, England, UK)
What’s the easiest way to make your generic indie band stand out? Add a trumpet! Seriously, that’s pretty much what makes the album work. Fans of alt pop bands like Neon Trees, Catfish and the Bottlemen, or Young the Giant will recognize the rather formulaic approach to songwriting - powerful vocals, straightforward lyrics, and hopelessly catchy hooks. But regardless of how many sound-alikes you’ve heard, the soaring brassy tones on Matador imbue the songs with an irresistible dancefloor spirit.
Standout Tracks: Hung Up, Honey, Calexico
21. Ouzo Bazooka - Transporter (Released 1/11/19, Israel)
Ouzo Bazooka isn’t the first group to combine the raw energy of garage rock with the experimental songwriting of psychedelia, but they play it with such skill that any lack of originality should be forgiven. Like many contemporary bands inspired by the music of the 60s and 70s, Ouzo Bazooka isn’t picky about the sources from which they draw influence, and their music benefits from that open-mindedness. At times they appear to be firmly planted in unassuming rock n roll, only to blast off to the cosmos at a moment’s notice, taking you along for the ride.
Standout Tracks: Latest News, Space Camel, Killing Me
22. Konradsen - Saints and Sebastian Stories (Released 10/25/19, Norway)
Konradsen makes a lot of interesting musical decisions in the songwriting on Saints and Sebastian Stories. These songs aren’t likely to hook you on your first listen, and might even seem off-putting as they meander slowly over layers of studio effects. The album follows the precedent set by experimental indie artists like Bon Iver, combining disparate elements from jazz percussion lingering piano chords to shy-sounding horns. It’s the type of album that takes a couple songs to warm up, but then continues escalating and improving as it unfolds.
Standout Tracks: Dice, Baby Hallelujah, Red to Rhyme
23. Black String - Karma (Released 9/27/19, South Korea)
Generally speaking, jazz isn’t my favorite genre. That said, Karma doesn’t sound like what most people first think of when they hear the word “jazz”. The improvisational aspect is there, but the songs are structured around traditional Korean music in a way that subverts western expectations. Fortunately for us westerners, the group has provided a sort of jumping off point in their brilliant cover of Radiohead’s Exit Music (For a Film), reworked until only the bare bones are recognisable.
Standout Tracks: Sureña, Hanging Gardens of Babylon, Exit Music - For a Film
24. the one and only PPL MVR - THE CHOSEN (Released 6/4/19, California, US)
There’s this crazy theory going around that the one and only PPL MVR is actually just the members of Brand New dressed in yeti suits. I’m operating under the assumption that the theory is bunk, and that this gimmicky band is just an underappreciated power trio with a flair for the dramatic. While the band’s prevailing sound can best be described as heavy rock music, they certainly don’t feel the need to pigeonhole themselves. From power chords to autotune, nothing is off the table.
Standout Tracks: NML, MOVE, THE SHOW THAT NEVER ENDS
25. The Garifuna Collective - Aban (Released 9/15/19, Belize)
The Garifuna Collective is ever so slightly outside the normal popularity parameters for r/listentothis (their third most popular song has 524,000 plays on Spotify), so I beg your leniency for this incredible group of musicians who are widely unknown outside Central America. It’s so outside the spectrum of my normal listening habits that I don’t really know how to classify this kind of music. All I do know is that the rhythms are infectious and the melodies compelling. I’m always somewhat surprised when a group of musicians who speak a different language and live in a place I’ve never visited can reach me through music in a way that transcends culture. The combination of predictable patterns and unfamiliar elements is precisely why I pause to listen.
Standout Tracks: Wiya Waist, Ideruni (Help), Magidu (The Market)
As in 2018, I’ve also been keeping a spreadsheet to track my top 500 favorite albums throughout the year. If anyone’s interested, you can view it here, as well as a 500 song playlist including one song from each album (link is at the top of the spreadsheet). Keep in mind that most of my top 500 albums don’t meet the popularity rules of this sub, nor is it the focus of this post. Since people asked for it last year, I just figured I’d share it again.
Spotify playlist is here
In 2018, I attempted to listen to every new album release, using a website called Album of the Year to track new music. It turned out to be an impossible task, as over 600 albums were released each month, for a total of more than 7500 new albums over the course of the year. I did still manage to listen to over 850 albums, and kept track of my favorites in Google Sheets(If anyone is interested, you can see my top 500 albums in order here.) I spent about 20 hours every week listening to new music, and discovered hundreds of new artists I’d never heard of.
I was surprised how many amazing albums came out this year (and presumably every year) that no one seems to talk about. I wanted to share a few albums that I felt were sadly overlooked. These aren’t my top 25 albums, these are just 25 great albums that I want to spread to a wider audience. Hopefully some of them can get the recognition they deserve!
1. Ripe - Joy in the Wild Unknown (Released 4/6/18, Massachusetts, US)
This was easily my favorite album of the year from the moment I heard it. It’s a light, fun album with straightforward lyrics and catchy grooves. Ripe incorporates rock, funk, soul, and pop into their timeless sound. They’re as accessible as any big name pop rock group, but without the same cliches. I could see them blowing the roof off a festival if they got the chance, but blowing the roof off a dive bar wouldn’t be any less fun to see. If you only listen to one new artist from this list, please listen to Ripe!
Standout Tracks: Little Lighter, Flipside, Young Tom Rose, Pedro
2. Black Mirrors - Look Into the Black Mirror (Released 8/31/18, Belgium)
Of all the incredible female-fronted rock bands to release great albums this year, Black Mirrors’ debut was my favorite. Their music draws tons of influence from the blues and garage rock of the late 60s, as well as its revival in the early 00s, without attempting to replicate either directly. They don’t stick to a single style throughout, but the sound they create is uniquely their own. If you like the idea of Greta Van Fleet, but ultimately think they’re too unoriginal, give Black Mirrors a try instead.
Standout Tracks: Funky Queen, Günther Kimmich, Till the Land Wind Blows
3. Fantastic Negrito - Please Don’t Be Dead (Released 6/15/18, California, US)
His first album already won him a Grammy, and this album has been nominated for another, yet for some reason, few people I’ve met have heard of Fantastic Negrito. If you’re one of those people, that should change. His contemporary treatment of a classic blues and soul sound is a bit more raw, and honestly more creative, than most of his contemporaries. The songs on Please Don’t Be Dead are all over the place, yet the album still holds together as an impressive and cohesive work with lots of relistenability.
Standout Tracks: Plastic Hamburgers, A Boy Named Andrew, The Duffler
4. Rhye - Blood (Released 2/2/18, Canada)
It’s a simple album, but beautiful in its simplicity. The smooth electronic melodies set a perfect backdrop for smokey vocals delivered in a style reminiscent of early XX. Relaxing enough to serve as background music but also interesting enough for a closer listen, Blood was my favorite album of the year to fall beneath the massive “electronic” umbrella of music.
Standout Tracks: Taste, Please, Blood Knows
5. Emma Ruth Rundle - On Dark Horses (Released 9/14/18, Kentucky, US)
On Dark Horses is actually pretty dark, musically and thematically. Rundle’s vocals sound like they would fit with acoustic guitars and other traditional folk instruments, but she instead opts for a relentlessly heavy post rock atmosphere. Her emotional delivery, combined with swirling layers of electric guitars and percussion, make this a powerful album.
Standout Tracks: Darkhorse, Races, Light Song
6. Red Lama - Motions (Released 2/23/18, Denmark)
The psychedelic prog rock on Motions is more subtle than the musical excess of the early 70s, though still just as compelling for fans of the classics. The songs play out through steady grooves rather than grand fanfares, and the vocals lack the soaring falsettos and epic lyrics that characterize a lot of classic prog rock. But the band is just as tight, and extremely talented. This album would be excellent paired with a tab of acid.
Standout Tracks: Awakening feat. Bjonko, Post Optimism, Fular
7. Stonefield - Far From Earth (Released 4/13/18, Australia)
Another of the great female rock groups of the decade, Stonefield is already on their third album, but lack the recognition they deserve. They’re talented musicians with strong vocals, exceptional songwriting, a classic psychedelic sound, and the type of chemistry that only a band of four siblings can achieve. Far From Earth encompasses a dynamic range of musical stylings and influences, and Stonefield kills it on every song. They sound like a band that shares many common musical influences with Jack Black, but (no disrespect to Jables) actually have the talent to make it work without resorting to a comedy routine.
Standout Tracks: Far From the Earth, Visions, Through the Storm
8. Jean-Michel Blais - Dans ma main (Released 5/11/18, Canada)
Jean-Michel Blais is already a critically acclaimed composer, and this album was nominated for the 2018 Polaris prize. But being a mostly instrumental piano album, it’s not the kind of thing you’re likely to hear on the radio. So if you haven’t heard this album, here’s my suggestion: Draw a bath, get cozy in bed, or however you do. Turn off the lights, put this album on, and just listen to it beginning to end. It’s really an experience.
Standout Tracks: Roses, Dans ma main, Igloo
9. Earthless - Black Heaven (Released 3/16/18, California, US)
Earthless have been turning out solid psychedelic hard rock albums for over a decade, though until now their work has been largely instrumental. Their first album to feature vocals throughout is a masterpiece, partially because they obviously don’t need a singer to create great music. You can tell that the vocals on this album were written with intention, not to be highlighted in their own right, but to complement the instrumentals. Though the band themselves would probably disagree, adding bluesy vocals reminiscent of Deep Purple or Motorhead finally makes the band sound complete.
Standout Tracks: Electric Flame, Black Heaven, Sudden End
10. Circles Around the Sun - Let It Wander (Released 8/17/18, US)
Obviously I have a thing for psychedelic jams, but this album is different in that it draws influence more heavily from jazz than from rock. While each song is a journey and experience in its own right, the album is also accessible enough to put on in the background without turning too many heads. The songs on this album are pretty long, but never sound pretentious or self-gratifying. It’s easy enough to get lost in this album that by the time it’s done you haven’t even realized the time has passed, and you might be tempted to just play it on repeat.
Standout Tracks: Immovable Object, Halicarnassus, Electric Chair (Don’t Sit There)
11. LAUREL - Dogviolet (Released 8/24/18, England, UK)
Laurel’s music sounds like it could have been written for pop radio, but the songs are generally more understanded and lack any grandeur. The Florence Welch-like richness of her voice carries the album with its emotional delivery, but the synth-heavy instrumental arrangements add a lot to each song as well. Fans of London Grammar will probably enjoy this album.
Standout Tracks: Life Worth Living, Adored, Sun King
12. The Blue Stones - Black Holes (Released 10/26/18, Canada)
First there were the White Stripes, then the Black Keys. The Blue Stones could easily complete the trifecta. They tend to be a bit heavier than either of the former, but no less catchy or groovy. Black Holes is surprisingly consistent for a debut album. There’s plenty of room for growth, but it sets a high standard for future releases to live up to.
Standout Tracks: The Drop, Black Holes (Solid Ground), Be My Fire
13. Novo Amor - Birthplace (Released 10/19/18, Wales, UK)
In a lot of ways, Novo Amor sounds like he’s trying to be the next Bon Iver. Both artists employ a light and airy falsetto, and both experiment by pushing the boundaries of indie folk. But Novo Amor’s music is different and unique enough to recognize that he’s got plenty of talent in his own right. Birthplace showcases a broad spectrum of emotions, with plenty of interesting instrumental arrangements that go beyond the indie folk cliche of acoustic strings.
Standout Tracks: Birthplace, Utican, Seneca
14. Valley Maker - Rhododendron (Released 10/12/18, Washington, US)
There are a lot of layers to Rhododendron. The songs have detailed instrumental arrangements, poetic and reflective lyrics, hauntingly beautiful vocal harmonies, and melodies that get stuck in your head (in a good way). It’s frank and bare, which makes it instantly relatable. If indie folk is your jam, you might find this among your favorite albums of the year.
Standout Tracks: Light on the Ground, Rise Up, Wonder
15. Fewjar - Gamma (Released 5/25/18, Germany)
On the surface, Gamma is a damn good synthpop album. On a deeper level, it’s still a good synthpop album, but with a lot of musical depth. Fewjar incorporate a lot of diverse stylistic influences that make this a solid album beyond just the danceable songs. Like all good pop albums, it has darker and more introspective moments as well. The album shifts tone frequently, but never loses momentum.
Standout Tracks: Skeleton, Gamma, Treasure
16. Demonauta - Temaukel, the Spirit Before Time (Released 8/13/18, Chile)
Demonauta is like a psychedelic biker gang of swamp monsters travelling through time and space to bring you the crunchiest, bluesiest metal this side of Hell. If you like dropping acid and fighting demons with alien weaponry, this album could be your personal soundtrack. They may not have the most original sound, but they have an abundance of talent with which to pull it off.
Standout Tracks: Sons of Black Sun, Blues para Angela Loij, Psilocybeat
17. Joey Pecoraro - Music for Happiness (Released 4/6/18, Michigan, US)
Music for Happiness sounds like Joey Pecoraro went into a coma in 1945, woke up 70 years later in a recording studio full of computers, and immediately started making music. The album is full of samples and sound bytes that conjure images of a smokey lounge in interwar Europe. It’s the perfect combination of downtempo and jazz. If you chill out to Tycho, Emancipator, Little People, and Nujabes, add Joey Pecoraro to your playlists.
Standout Tracks: Don’t Be a Fool, I Think I Am Falling in Love, Play It Again
18. PEALS - PEALS (Released 5/11/18, Germany)
If you fear the death of rock music; if you hate Imagine Dragons; if you grew up on rock radio in the 90s and 00s - check out PEALS. They play straightforward rock music with no pop production gimmicks. They’re not making huge strides in musical innovation by any means, but their songs are catchy and memorable. Compared to other album releases this year, PEALS stands out as almost a novelty for their basic guitar-bass-drums approach to alternative rock.
Standout Tracks: Radiation Safe, The Tenant, The Salvation and the Power
19. Say Lou Lou - Immortelle (Released 10/26/18, Australia/Sweden)
These are the daughters of Steve Kilbey, lead singer of the Church, but even if you aren’t a fan of the Church you should give Say Lou Lou a chance. Their style is similar to the indie bands of the 00s - Yeah Yeah Yeahs, Santigold, Tegan & Sara, etc. You can hear the influence of the 80s on this album, but also a ton of originality. Even their cover of Under the Milky Way sounds completely different, though it does make me wonder if the family sang this together in the car Step Brothers style when they were kids.
Standout Tracks: Ana, All Love to Me, Under the Milky Way
20. Pigs Pigs Pigs Pigs Pigs Pigs Pigs - King of Cowards (Released 9/28/18, England, UK)
This album is heavy as fuck. I realize it’s not going to be everyone’s cup of tea. But if your cup of tea is actually a cup of whiskey because you’re not a punk ass bitch, you should listen to Pigs x7, if for no other reason than because of the awesome band name. But also because it’s one of the best metal albums released this year.
Standout Tracks: GNT, Thumbsucker, Cake of Light
21. Kadhja Bonet - Childqueen (Released 6/8/18, California, US)
This album is weird and artsy, but the more I listen to it the more I like it for that very reason. Kadhja Bonet obviously has more talent in her pinky toe than I have in my whole body. She flawlessly combines musical styles to create a brand new sound that draws equally on psychedelic and R&B, but with a healthy pinch of whatever else she feels like. Each song is a unique experience, which makes the whole album infinitely relistenable.
Standout Tracks: Delphine, Wings, Mother Maybe
22. Bombino - Deran (Released 5/18/18, Nigeria)
A great singer-songwriter is a great singer-songwriter, even if they don’t speak your language. He’s toured around the world and released several albums before this, but Bombino still doesn’t get the sort of mainstream attention he deserves. If you like expanding your musical pallet, even if you don’t speak Tamasheq, you should give this album a listen (and maybe look up the lyrics). It’s got enough elements of blues, rock, and folk to be accessible even if you typically prefer western music styles.
Standout Tracks: Imajghane, Tehigren, Tenesse
23. Le Trio Joubran - The Long March (Released 10/12/18, Israel)
I never imagined I would love Palestinian oud music until I heard this album. I had to immediately go listen to Le Trio Joubran’s entire back catalog. They’re mostly instrumental, and the few vocals are in a language I can’t understand, but this music just moves me on a whole other level. It’s expressive, emotional, and performed with expert precision. If you don’t frequently listen to non-western music, this is worth a listen or twelve.
Standout Tracks: The Long March, The Hanging Moon, Our Final Songs
24. Rainbow Kitten Surprise - How To: Friend, Love, Freefall (Released 4/6/18, North Carolina, US)
It seems like Rainbow Kitten Surprise is starting to gain some traction, but apparently aren’t significant enough to merit a Wikipedia page yet, and I’d like to see that change. Not only was this among my favorite albums of the year; not only did I play Fever Pitch on repeat all summer, but this was the best concert I saw in 2018 as well. This band absolutely kills it in every aspect - lyrics, songwriting, musicianship, and onstage theatrics. It’s hard to classify their style, as they effortlessly jump from folk to hip hop to rock within a single song, but there’s almost nothing to dislike about this band.
Standout Tracks: Fever Pitch, It’s Called: Freefall, Hide
25. courtship. - Denial in Paradise (Released 5/11/18, California, US)
There’s a soft spot in my heart for bouncy, overproduced indie pop. It can be cheesy and cliche, but when it’s done right, nothing puts me in a better mood. Courtship. generally doesn’t stray far from their comfort zone, but they have a knack for catchy hooks, and in this case that’s enough. It’s a fun, summery album that doesn’t really make you think or challenge you as a listener. Not every album needs to be Dark Side of the Moon.
Standout Tracks: Nice Guy, Warm Waters, Bad Fun
I'm a free jazz musician, and a free jazz lover. When the topic of free jazz comes up on Reddit, I see a few misconceptions about the topic, and not always much discussion beyond surface level albums that have seeped into general music culture (aka meme albums).
If you're a jazz fan and not very familiar with free jazz, the first thing I'd like to say is that it probably doesn't sound like what you're imagining when you read the title. Long songs, frantic group improvisations, dissonance, harsh skronking solos. All of those things together, actually, are kind of a dead style. The mid-late '60s were defined by a lot of music like that, which I'll be referring to as "energy music", but out jazz has developed since then in much the way that mainstream jazz doesn't sound the same as in 1966. In fact, for more recent free jazz albums, there's a good chance you'll have no idea what it sounds like until you turn on the record.
The very earliest free jazz, in its most recognizable form, probably comes from Cecil Taylor and Ornette Coleman in the late 1950s. Neither of them had really abandoned the rhythmic content of earlier jazz, though at this point Cecil was pushing it, although his ideas of this period can be traced to mainstream artists like Dave Brubeck. Harmony, however, had been abandoned in the traditional bebop format. Ornette was reaching back to earlier diatonic music, and Cecil was trecking forward into modernist classical influences, like Bartok and Messiaen.
As the 1960s progressed, free jazz now started to break down rhythmic conventions as well as harmonic conventions, due in no small part to the drummer Sunny Murray, who was the first true free time drummer. Cecil Taylor was there for the development of this music but it was organized in his own particular way, and Ornette participated a bit, but the real exemplars of this style were the musicians who worked in energy music, or the New Thing, or New Black Music, or whatever you want to call it. The saxophonist Albert Ayler was an ex-soldier who found his voice in harsh, spiritual, scorching improvising based on simple melodies that aren't dissimilar from marching band music or nursery rhymes, giving his music a direct and primitive character. Ayler was a HUGE influence on the already established avant-garde at this point but not necessarily "free" saxophonist you've probably heard of named John Coltrane. Coltrane was inspired by Ayler's huge, heartfelt vibrato and compositional style, although these energy influences were refracted through his own kaleidoscopic harmonic imagination.
However, the 1960s were also full of parallel developments, and one of my personal favorites is the pianist Paul Bley, a disciple of Ornette Coleman who had also been around to play with Charlie Parker, Lester Young, Charles Mingus, and Art Blakey, among others. His music sometimes dipped into the energy movement of the 1960s, but his introversion and one-of-a-kind melodic sensibility and logic make him one of my favorite musicians to ever live. His time in Jimmy Giuffre's trio was also incredibly important to the development of European jazz with its chamber music-like qualities and general whiteness. Another standout is Eric Dolphy, a genius improviser and composer and in my opinion the greatest inheritor of Thelonious Monk's legacy. Eric Dolphy didn't quite fit into the free jazz scene, and was heavily inspired by modernist classical and serialism so you could look at his work, especially the seminal album Out to Lunch, as the apex of the "third stream", especially considering the notable input that black musicians had on his take on third stream music that some other dates were lacking.
After the death of John Coltrane, free jazz experienced a diversification that matched the general trend of jazz at the time. The AACM from Chicago was producing some of the most abstract music that is still recognizably jazz, such as Henry Threadgill's trio Air, while the loft scene in New York was setting the stage for NY's firey, hardcore free jazz scene of the next 40+ years. This is possibly the most fertile period to dive into if you're interested in free jazz as a living, breathing movement, not a post-hippie artifact of the wild '60s.
I'll leave here a list of music worth checking out, by decade. Have fun exploring.
1950s Lennie Tristano - Descent into the Maelstrom
Ornette Coleman - Change of the Century
1960s Paul Bley - Closer
Sun Ra - Cosmic Tones for Mental Therapy
1970s Marion Brown - Afternoon of a Georgia Faun
Ornette Coleman - Science Fiction
Sun Ra - God Is More than Love Can Ever Be
Wildflowers (a compilation of the NY loft scene)
1980s Paul Motian - One Time Out
Henry Threadgill Sextett - You Know the Number
Art Ensemble of Chicago - The Third Decade
Brotzmann Clarinet Project - Berlin Djungle
1990s Charles Gayle - Consecration
Joe Maneri - In Full Cry
David S Ware - Go See the World
Dewey Redman, Cecil Taylor, Elvin Jones - Momentum Space
Matt Shipp and William Parker - DNA
2000s Paul Motian Trio 2000 + Two - Live at the Village Vanguard (every volume you can find!)
Bill McHenry - Roses
2010s Matt Shipp - The Root of Things
Satoko Fujii New Trio - Spring Storm
Roscoe Mitchell - Conversations II
A Note on Omissions This list isn't meant to be exhaustive, and in fact is mostly tailored to my personal taste; however, I have tried to avoid the staples of recommendation lists to bring attention to other sounds within the out jazz continuum.
