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Maybe I'll actually be consistent with this column. Hopefully. That'd be neat. There's gonna be quite a few depressing albums this week, so buckle up kiddos!
Gaussian Curve - The Distance (2017)
This record was another leftover from my long queue of albums-to-hear made in December 2017. I'm a sucker for some good ambient, so I went ahead and gave it a go. With an ambient group named after a mathematical concept, you can definitely expect some certain factors - spacey, expansive songs, gently unfolding melody, and relaxing atmosphere. And that's exactly what you get. It seems like virtually every good album in this vein can be described as "hauntingly beautiful." While definitely a bit typical, The Curve is never boring.
Black Rebel Motorcycle Club - Wrong Creatures (2018)
What an unfortunate point to jump in to a band's discography. I'd heard of BRMC before and it seemed like they were pretty well respected, as far as throwback-y hard rock bands go. Therefore, it was a bit of disappointment to hear how predictable and straightforward their eighth album is. I suppose you can give them some credit for a high degree of stylistic consistency. Many of the songs meander on for a bit too long, making the whole album a dragging affair. If you have a craving for an hour of scuzzy leather rock, check out one of BRMC's first albums instead.
Jeremy Enigk - Ghosts (2017)
You probably wouldn't guess that Jeremy Enigk was the primary force behind one of the most influential emo bands of all time from listening to Ghosts. That's not because Ghosts is bad - not at all. It's just a completely different beast. Compared to anything of Sunny Day Real Estate's, the orchestral sad-sack rock of this record is much less musically angry. Lyrically, it's still just as emotional (I mean, duh) and heartfelt.
CupcakKe - Ephorize (2018)
Holy mother of God, this thing is filthy. Pretty much anyone who has even heard of CupcakKe knows what to expect, but this thing still takes every sexually deviant act ever imagined and recreates in rap form. The songs that deal with other topics, like relationship struggles, heartbreak, LGBTQ issues, still retain this air of sexuality. I'm also pretty sure CupcakKe is one of the best punchline rappers since Lil Wayne or Nicki Minaj. If you're gonna listen to this, brace yourself, but it'll be a treat.
Jeff Rosenstock - POST- (2018)
Somehow, Jeff Rosenstock got more cynical. Following 2016's breakout WORRY., fans and critics were unsure if things would get better for Jeff and co. or if they would continue on the downward spiral of anxiety and uncertainty. Our dear friend and President ensured that it would be the latter. Armed with the same vicious wit and knack for relentless hooks, Rosenstock delves deep into life in a Trumpian America. Plus, there are two songs well-over four minutes (the opener, "USA," and the eleven-minute closing track, "Let Them Win"), which is exceptional for such a to-the-point songwriter.
Sidney Gish - No Dogs Allowed (2017)
20-year old Boston student Sidney Gish is probably one of the best young songwriters to present herself this year, and it's still January. Rightfully compared to bands like Frankie Cosmos and Car Seat Headrest by Pitchfork, Gish is set to follow in their footsteps. The unrelentingly witty lyrics and understated instrumentation make sure the listener knows that they're in good (and funny) company. Plus, she named a song "I'm Filled With Steak, and Cannot Dance." That deserves some kind of award. I can't wait to revisit this album all year.
While this album is the second installment in a supposed trilogy of records, any and all milo/scallops hotel music fits together like the wordiest puzzle imaginable. Filled with two- and three-minute song sketches, sovereign nose of (y)our arrogant face invites you into milo's convoluted world and doesn't explain anything. But it's okay because his rapping is just so enjoyable and engaging.
Panda Bear - Young Prayer (2004)
In honor of Panda Bear's new vinyl-only EP (A Day With the Homies), I decided to revisit his back catalogue, or in this case, visit for the first time. Noah Lennox's second solo album (and first to be widely distributed and available) was released only a few months after Animal Collective's landmark Sung Tongs. None of the songs are titled - you essentially go in with only the record's title as a guide. I think that's the way Lennox intended. Young Prayer continues the sun-drenched freak folk of Sung Tongs but with even less structure, somehow. The songs and melodies bleed together, creating a blissful haze to get lost in.
Panda Bear - Person Pitch (2007)
Even for fans of Young Prayer, Noah Lennox's third solo LP is what cemented him as an utter visionary genius who is capable of releasing game-changing music separate of Animal Collective (who had already released 3-4 classics by this point). The only element that carried over from previous work is Lennox's penchant for gorgeous vocal melody. Otherwise, Person Pitch is completely unfamiliar in the best way. The songwriting is built on an obsidian bed of eclectic samples that somehow work better than any original instrumentation ever could. This album is a required listen for anyone.
Maxo Kream - Punken (2018)
Maxo Kream is a name any rap fan should know. The colorful Texan rapper finally followed up his 2016 breakout, The Persona Tape, and his subsequent tour with Danny Brown, with a great debut. While the themes in his music are a bit familiar (drugs, guns, women, the streets), he manages to set himself apart. Maxo works with the same material as any trap rapper, but he elevates with sheer charisma and some clever storytelling.
Carissa's Wierd - Songs About Leaving (2002)
When I found this album in a comment thread on "super depressing albums," I didn't expect it to be so heartrending. Most of the other answers were accurate, if not unsurprising: The Cure, Mount Eerie, Joy Division, etc. Carissa's Wierd was one of the few unique answers. Equipped with not much more than guitar, drums, and vocals, the band tears a fiery path through whatever joy you think you had. The gorgeous chamber folk/indie rock is simply a canvas for the poetry of Mat Brooke and Jenn Ghetto. Tied together, these two write a noose for the listener. Songs like "So You Wanna Be A Superhero" and "September Come Take This Heart Away" will bring almost anyone to tears. In addition to all that, the band's drummer would go on to form Band of Horses, and the record was produced by Death Cab's Chris Walla.
EDEN - End Credits (2015)
My buddy recommended EDEN to me. I can see the hype, even if I don't follow it. It's essentially angsty electro pop with more EDM-leaning instrumentals. I enjoyed the vocal-less intro track more than any of the other songs, to be quite honest.
Spiritualized - Ladies & Gentlemen We Are Floating In Space (1997)
Imagine this: the woman you love is one of the primary contributors to your music and your muse. Everything is perfect. Then, seemingly out of nowhere, she marries your creative rival and keeps it under wraps for two years while she continues with your band. This is what is widely believed to be the backstory of Jason Pierce's third Spiritualized album, following his break-up with model and keyboardist Kate Radley. The man she had married was Richard Ashcroft, frontman of Britpop band The Verve. This romantic loss (plus a ton of heroin) led to Pierce's masterpiece of depressed space rock. Expansive and flecked with references to gospel and R&B, Ladies & Gentlemen... proved to be a landmark and cemented Spiritualized's legacy.
The Beach Boys - Pet Sounds (1966)
The saddest happy album. Underneath the sunny exterior was a pool of emotional sulfur. Each song lurches from joyous celebration to instantaneous melancholy. Up until this point, I was always a Beatles guy. This was mostly due to the fact that I had just listened to the Beatles more than any of their contemporaries in legend (Stones, Beach Boys, Dylan even the Kinks). Now, I can see beyond a shadow of a doubt why Pet Sounds is seen as superior to Sgt. Pepper by some, and as one of the greatest of all time.
The Smiths - The Queen is Dead (1986)
By far, this is my favorite Smiths album. That's not because I dislike the others, or even because I love this album as a whole more. "There Is A Light That Never Goes Out" is simply one of my favorite songs, elevating the record in my irrelevant standing. The Queen is Dead stands as the peak that Morrissey and Co. achieved, even to this day. "I Know It's Over," "Frankly Mr. Shankly," "Bigmouth Strikes Again;" so many of the songs are iconic masterpieces.
Summoning - With Doom We Come (2018)
When I heard a band described as Lord of the Rings-metal, my interest was piqued, to say the least. Summoning have produced a strange and glorious fantasy album, with lyrics and references plucked right off of Tolkien's pages. Even with the extended song structures that come with most doom/black metal, none of the tracks feel long. They glide along, almost dreamlike in their beautiful heaviness.
David Bowie - Space Oddity (1969)
I almost forgot to continue my BowieQuest, but fortunately I remembered at the last moment! David Bowie's second self-titled record (known as Space Oddity, after it's most enduring song) is miles ahead of his debut - and he hasn't even gotten going yet. The lyrics and instrumentation have thankfully evolved past quaint novelty and boring folk. The sounds are much weirder and it suits Bowie much better. Almost miraculously, the album includes some of his longest works, including the nearly ten-minute "Cygnet Committee" (which would hold the title until 1976's "Station to Station"). This is the first David Bowie album that was actually exciting, and it only gets better from here.
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