2017 Albums of the Year: Honorable Mentions

Earlier this year, I made an effort to keep track of every album (regardless of release date) I listened to in 2017.  I gave up around May, but maybe I’ll try again for 2018.  By the time I called it quits, I’d listened to 122 albums, and upon reviewing the list, I did see a bunch of albums I did really enjoy but forgot about.  My best-of list will feature my top picks of albums that stuck with me from the time they came out until now, but these honorable mentions were also pretty great albums that I feel deserve some recognition.  In no particular order, some of the other great albums from 2017 are:

Lil Peep-Come Over When You’re Sober (Part One)

The morning I found out about Lil Peep’s death was strange.  I’d liked some of his songs, but his music hadn’t really grabbed and held me like it had for others.  I still felt sad, mainly just seeing someone younger than me die of an overdose.  I went back and listened to this album again that day, and I was surprised by how much it resonated with me.  Lil Peep is the sort of artist I wish I had when I was fourteen, because it’s relatable and catchy.  It really makes me upset that I wish I could’ve seen what else he could’ve done, not just for music, but for young sad kids that I do see a lot of myself in.

Black Kids-Rookie

Black Kids’ first album in nine years was a lovely return to form.  It’s an easily danceable indie-rock record with a bunch of quotable lines.  “Iffy” and “Obligatory Drugs” are perfect examples of how Black Kids maintain the same energy that could’ve left them an indie one-hit-wonder.  Continue reading

Slaughter Beach, Dog-Birdie

It’s not really shocking to find that Jake Ewald is a massive fan of the Mountain Goats and The Weakerthans.  His Modern Baseball songs were always incredibly descriptive and made mundane events seem much more fascinating with his lyrics.  It’s unsurprising that his second album from his Slaughter Beach, Dog outfit bares a strong resemblance to The Weakerthans’ John K. Samson’s recent solo effort.  Birdie is also much more of a jangle-pop effort than even last year’s WelcomeBirdie seems to be truer to Ewald’s life than the first Slaughter Beach, Dog album in a too sweet for its own good way. Continue reading