And now, that you have flipped over the record, here's "Side Two" of my favorite album releases of 2018, once again, they are not presented in any ranking order. But, I am saving my top two picks for last.
"CON TODO EL MUNDO"
KHRUANGBIN
Released January 26, 2018
-While this album was released at the beginning of 2018, I never heard one song from it, or even of the band at all until the summer, when those pesky You Tube algorithms began to pester me with notifications imploring me to watch and listen. Whatever propelled me to finally make that fateful click, I am forever grateful because I was instantly enraptured and very quickly, Khruangbin's "Con Todo El Mundo" raced to becoming one of my tip-top favorite albums of the year.
On this, the band's second album, the Houston, Texas based trio of guitar wizard Mark Speer, glorious bassist Laura Lee, and tucked deeply in the proverbial pocket drummer extraordinaire Donald Ray "D.J." Johnson Jr. collectively conjured up a mystical, magical, musical stew that served up an amalgamation of 1960's era Thai music, classic soul, garage rock, disco, hip-hop and the sounds one would easily hear within a Quentin Tarantino film and the ending effect was downright majestic in its intoxicating, transportive qualities.
"RECORD"
TRACEY THORN
Released March 2, 2018
-I think that I was fully unaware that Tracey Thorn, formerly of the luxurious yet now defunct Everything But The Girl even still recorded., so for this, I feel the need to publicly thank NPR interview/host Queen Terry Gross as it was through her 2018 interview with Ms. Thorn that I was informed of her latest solo release.
What greeted me with compelling joy and tremendous passion throughout "Record" was Thorn's superior lyricism, songwriting and astounding voice (which has grown in succulent depth with age) as her self-described "nine feminist bangers" recalled the disco dance floor dive material as found in EBTG's final years, but now with even more propulsiveness and feisty force as captured through the album's rich and punchy musicianship and production. Deeply immersive, fully inviting and engaging, brilliantly direct and undeniably danceable.
"TRANQUILITY BASE HOTEL & CASINO"
ARCTIC MONKEYS
Released May 11, 2018
-The ghost of David Bowie loomed largely over the latest release from Arctic Monkeys, a band I had not ever listened to before this album, but was indeed the one that captivated me enormously. A science fiction themed concept album clearly inspired by Bowie's interstellar characters and songs perfectly evoked that sinister Ziggy Stardust glam rock vibe as we are treated to what seemed to be a deep space lounge show performed by a sleazy singer from the edge of a black hole.
Eschewing the band's more guitar oriented aesthetics, Arctic Monkeys took a swan dive into stunning melodics and a darkly glistening soundscape that evoked elements of jazz, soul, psychedelia, and of course, glam rock and lounge music and the creative risks paid off handsomely, especially within tracks like "Star Treatment" and the outstanding "Four Out Of Five."
"CALL THE COMET"
JOHNNY MARR
Released June 15, 2018
- The six string dreams of Johnny Marr shimmer and shine at their brightest with "Call The Comet," his fourth and best solo release to date. Certainly with his tenure in The Smiths, Electronic and his plethora of guest appearances over these past 30 plus years, Marr has more than cemented his sparkling reputation as a seasoned songwriter/guitarist. Yet, as a solo artist, I felt that Marr came into his own with more urgency and rock and roll swagger than ever before via selections like the euphoric album opener "Rise," the startling, mesmerizing "Hi Hello," the snarling "Hey Angel," the chugging, churning "New Dominions," the swirling darkness of "Walk Into The Sea" plus seven more tracks all building into nearly one hour's worth of material showcasing one of British alternative rock's greatest heroes performing at the height of his powers.
"ASTRAL DRIVE"
ASTRAL DRIVE
Released July 6, 2018
-One of the year's greatest surprises arrived with the debut (hopefully) album from Astral Drive, the pseudonym of singer, songwriter, multi-instrumentalist, and legendary producer Phil Thornalley. This self-titled release achieved what felt to me to be the impossible, to magically conjure up not solely the sounds, but the utter feelings, contained within the music of the past that deeply inspired him, most notably the 1970s oeuvre of none other than Todd Rundgren.
My first taste of the album arrived with the sunshine drenched "Summer Of '76," a track that that sent me back to my personal "summer of '76," which was indeed the Summer of 1987, the year I was 18 and ready to leave home for college with the music of Rundgren in its earliest stages of becoming my personal soundtrack. The song possessed a level of warmth and emotional recognition unlike anything else I heard all year long as it demanded repeated listenings, during which I found myself mystified by the subtle Rundgren styled touches from the tone of the piano, the sprinkles of organ and those stunning background harmony vocals, all of which set the stage for the album in full.
Supposedly named for the very street that Todd Rundgren once resided as he created his iconic double album "Something, Anything?" (released February 1972), Thornalley's alter ego has created an astoundingly inventive and even devotional work, celebrating a time and a muse with bottomless affection and skill. Performing all of the instruments and vocals (mostly) all by himself throughout the album, Astral Drive unveils a work that centers itself around the very style of cosmic soul that Rundgren himself devised during the mid 1970's via tracks like "Love Is Real," "Wishing I Could Change The World," "Is That Our Star?," "Parallel Universe," and "Sing To The World," all of which are gorgeously realized with lush vocals, melodies and instrumentation.
Yet, what made my jaw drop to the ground were the selections where it seemed that Thornally somehow was able to reach into the ephemera of Rundgren's songs themselves and teach them how to be new songs. "Walls And Bridges" instantly recalls the wordless "There Are No Words" from Rundgren's "Runt" (released June 1970). "Child Of The Universe" sonically recalls Rundgren's "A Dream Goes On Forever" while overtly name checking Rundgren and Utopia selections. And the album's masterpiece is the title track, a staggeringly well created track where Thornalley somehow made the opening piano of Rundgren's "Sometimes I Don't Know What To Feel" and the piano flourishes of "The Verb 'To Love'" combined with the organ and drums beats of "Zen Archer" plus Thornalley's own spiral staircase of ascending harmonics congeal into a track that honestly sounded and again, felt like a lost Rundgren track from circa 1973 now found in the 21st century.
While Todd Rundgren's musical spirit is impossibly realized throughout this soulfully majestic album, trust me, this is not an album of mere copycat moves housed through studio wizardry. On the contrary, Phil Thornalley, in the,guise of Astral Drive, has used the music of the past to inspire him to beautifully construct a personal artistic statement within an album of elation and exhalation in our very grim 21st century. A galaxy of audio sunshine designed to warm us so triumphantly, that if it possessed arms, it would wrap us within its powerful embrace.
"RAISE VIBRATION"
LENNY KRAVITZ
Released September 7, 2018
-Over the course of his nearly 30 (!) year career, Lenny Kravitz has occasionally graced us with what I like to think of as his "check in" albums. From his debut "Let Love Rule" (released September 19, 1989) to "It Is Time For A Love Revolution" (released February 5, 2008) and "Black And White America" (released August 30, 2011), these albums are works that are designed to take the pulse of the nation, and therefore the status of humanity itself. With his latest musical "check in" and 11th album overall, Kravitz's "Raise Vibration" is one of the finest albums he has released to date as he has clearly dug even deeper and produced an album of gripping urgency fueled through often surprising and wider reaching sonic palate.
Again handling the lion's share of the instruments all by himself, and with his right hand man guitarist Craig Ross remaining in tow, "Raise Vibration" continues offering Kravitz's trademark post-psychedelic era anthems of love and now resistance in the Trump era yet with an increased passion that is evident from the album's opening statement, "We Can Get It All Together" and undeniably in his Michael Jackson accented "Low" (easily one of the best singles he has ever released).
Yet, beginning with "Who Really Are The Monsters?," "The Majesty Of Love," and the eight minute "It's Enough," Kravitz has thrown himself into more elongated, electro funk jams armed with more politically themed purposes. The album's Zeppelin stomped title track concludes with Native American drum chants while the startling "Gold Dust" churns with oddly timed rhythms augmented by a glorious guitar solo and Kravitz's wall of harmony vocals. "Here To Love" is easily one of Kravitz's most deeply felt church hymns, yet another plea for a dying planet, "5 More Days 'Til Summer" is a lovely slice of power pop for an overworked, underpaid society and both "Ride" and "I'll Always Be Inside Your Soul," two of Kravitz's best ballads, bring the album to a graceful conclusion.
And even with all of those songs, the highlight for me is the outstanding country/funk hybrid that is named "Johnny Cash," a new memorial ode to his deceased Mother, Roxie Roker, and titled and even chorused due to the true story of the moment when Kravitz received the news of his Mother's passing, with both Johnny and June Carter Cash nearby.
It feels fitting that this album was, in part, dedicated to the memory of Prince, a friend and mentor to Lenny Kravitz, as this new album showcases a greater sense of purpose and energy. Yes, Kravitz has never been the strongest lyricist but alongside his instrumentation, singing and production, you can hear him pushing himself, reaching and striving even higher for that greatness, when he could easily just coast upon his own legend.
"EGYPT STATION"
PAUL McCARTNEY
Released September 7, 2018
-Speaking of artists that have absolutely, positively NOT ONE THING left to prove, we arrive with Paul McCartney, whose "Egypt Station" only re-confirms his status as one of our greatest songwriters as his magical, dreamworld of an album unlocks more colors and moods from the seemingly never ending contents of his musical paintbox.
Essentially a concept album of early morning daydreams, moods, mournings, memories, tales of lusty fantasies and stories of romantic salvation and even then, concluding with not one but two seven minute epics, including the extraordinary and politically charged suite "Despite Repeated Warnings," McCartney has just continued to work at the top of his game with an unbelievable amount of joyous curiosity with the work and magic of songwriting and record making, a process that clearly still enraptures him and therefore, we are enraptured in turn.
Now at the age of 76, there is more grit and gravel in his voice but his energy remains as restless and as enthusiastic as ever on this dazzling, wondrous release.
"TRUE MEANINGS"
PAUL WELLER
Released September 14, 2018
-Also demonstrating a level of creativity that is almost feverish in its prolific and inventive quality is the latest release from living legend Paul Weller, arriving just one year after releasing two works in 2017. With "True Meanings," Weller has delivered splendid music for a grey day as it is a more meditative affair, elegantly composed, produced and performed and with his astounding soulful voice at the core. More acoustic in presentation and filled with a lyricism that leans towards themes of mortality and mournfulness, "True Meanings" envelopes luxuriously as if being surrounded by a dense fog or transported by a cloud.
"BLOW."
DONNY McCASLIN
Released October 5, 2018
-After his triumphant performances upon David Bowie's final album "Blackstar" (released January 8, 2016) and his subsequent Bowie tribute themed album "Beyond Now" (released October 14, 2016), composer, saxophonist, bandleader Donny McCaslin has emerged with his most genre defying release yet with the eclectic and often head spinning "Blow."
Beginning with jazz and...ahem...blowing it all apart with an aesthetic that fuses hip-hop, electronica, indie rock and art rock soundscapes into downright thrilling textures, McCaslin and his ace band keep you glued to your speakers as each track boldly races ahead into new sonic territories with skill, ferocious aplomb and unbreakable confidence.
The whirlwind, nine minute plus "Break The Bond" keeps you on more familiar McCaslin jazz fusion grounds but once he throws in songs that could easily find homes upon more adventurous rock stations ("What About The Body, "'Club Kidd," "New Kindness" and "Great Destroyer") against the Bowie influenced "Tiny Kingdom" terrifically oddball story song "The Opener," featuring the laconic narration by Sun Kil Moon and the self-explanatory but indescribable "Exactlyfourminutesofimprovisedmusic," McCaslin and his able bandmates, which includes drummer extraordinaire Mark Guiliana, have certainly picked up the mantle set down for them by Bowie himself. To be fearless in their artistic approach...and if that approach includes a full re-invention, then so be it.
Donny McCaslin's "Blow." is a work of fearless re-invention.
STAY TUNED...SIDE THREE is coming...
