Yeah, let's give it until mid-January before counting the votes...
In the meantime, here's my list. It's long-winded, so apologies in advance. I'll prepare a best songs of the year list at some point.
1. Beyoncé - Lemonade (13)
Let’s take a moment to think about this: Bey debuted the lead single of this album, a defiant ode to blackness and feminism, with a group of dancers dressed up with Black Power motifs, with a video that spoke to police brutality and abuse as well as the Katrina disaster, during the halftime show of a sport that effectively serves as one of the bastions of white male conservative culture (sorry, MLB, you don’t matter as much), a sport in which kneeling in protest is somehow a great offense but sexual abuse warrants a 2-game suspension.
The blend of personal, cultural and political is what often places an album in a higher echelon, and I feel Lemonade achieves that with room to spare. Freedom is perhaps the best example, in how it blends its themes of sexual emancipation and women empowerment with its imagery about slavery and oppression (also, the Kendrick verse absolutely rules). Musically, Lemonade moves almost seamlessly from genre to genre, flows coherently musically as well as thematically, but as any great pop album, the songs stand on their own. The above-mentioned Freedom and Formation are the obvious highlights, but Hold Up and Sorry are incredible.
Had November not happened, we would be talking about Lemonade as an embodiment of the new zeitgeist for pop culture. But now we can talk about it as one of the frontline resistance albums, together with Black Messiah and To Pimp a Butterfly. If this is top-40 pop music, give me some more.
Favorite songs: Freedom, Formation, Hold Up, Sorry.
2. Solange - A Seat At The Table (12)
What a year for the Knowles family. Beyoncé and Solange address a similar problematique and share a common starting point, but their journeys take different ways and end in somewhat contrasting mode. Lyrically and musically, whereas Lemonade is often a (rightfully) angry, protest album, A Seat At The Table is a more empathetic affair, a generous, at times more introspective, but always proud celebration of black culture as reflected in Solange's own journey of self-affirmation. The moments of outrage here, perhaps more evident in Mad and Don't You Wait, are that much more compelling because they betray her disappointment at others' lack of compassion, or their inability to relate to the African American struggle ("I'm tired of explaining/Man, this shit is draining/But I'm really not allowed to be mad", or perhaps one of the more poignant moments of the album, "I don't wanna bite the hand that will show me the other side/But I didn't want to build the land that has fed your whole life"). These little moments reveal a remarkable generosity, as if Solange expected others to be good and loving, and couldn't help but be disappointed. As illustrated in the "Black History Month" vignette, her answer is an unwavering embrace of black empowerment and of the African American experience, which reaches its apex in one of the best songs in the album, Don't Touch My Hair ("You know this hair is my shit/Rolled the rod, I gave it time/But this here is mine"). Musically, A Seat At The Table is a marvel of a record, an impeccably produced jewel that is as warm and embracing as its lyrics, music so gentle and delicate that it almost floats above us (like Cranes in the Sky).
Favorite songs: Cranes in the Sky, Don't Touch My Hair
3. Radiohead - A Moon Shaped Pool (11)
From the opening strings of Burn the Witch, A Moon Shaped Pool announced that it would be a deeply unsettling album. The piano arpeggios in Daydreaming, let alone its music video, do nothing to dispel this first impression. And while the album turns in in different, sometimes higher energy directions such as Ful Stop and Identikit (two of its best songs), you never let go of that initial sense of dread.
The unease of A Moon Shaped Pool became only too palpable now that its backstory has been revealed with the tragic passing of Thom’s longtime partner. A re-examination of its lyrical content leaves little beside utter sadness. In a way, this album will always be connected to its fellow top-10 listed Blackstar. I’m in awe of the artistry that both of these records show in the face of the worst possible tragedy (Then into your life, there comes a darkness/There's a spacecraft blocking out the sky/And there's nowhere to hide). True Love Waits becomes almost unbearable to hear. I wish this was simply a breakup album.
It seems almost pointless, at this stage, to talk about the music, given the emotional content of this record. But quite simply, I am not sure there has been a band which has been able to reach the height of its powers, and then stay there for two decades. Kid A and In Rainbows are more groundbreaking, but I think musically AMSP shows a level of sophistication that is quite remarkable for them, possibly benefitting from Radiohead’s different side projects in recent years (particularly Jonny Greenwood’s composing). The breadth of compositions here is striking, from the quasi-postmodern string patterns in Burn the Witch and the classical elements of The Numbers to the bossa nova-inspired rhythm of Present Tense, this is certainly the most diverse Radiohead album yet. Yet, it all fits together quite nicely, both musically and thematically.
Favorite songs: Burn the Witch, Ful Stop, Identikit.
4. Frank Ocean - Blonde (11)
While I admired the artistry in Blonde from my first very listen, it took me months to really get to enjoy and love the music. My first reaction was to grumble at the lack of the hooks that are so abundant in Channel Orange. Where are those beats? Those synths? Where is Pyramid? But it wasn’t him, it was me, as I realized later. Much like 22, A Million, Blonde wears a veil of distortion and digital effects to cover its sincerity and vulnerability. But look underneath, and the hooks are still there. The end of Self Control is as compelling as anything he’s ever recorded, that howling sound halfway through the song could be Frank’s way of telling us not to miss it. The hooks are just different: no longer in rhythm and harmony for the most part, but in melodies, and more particularly in his voice. I’m not sure there are many artists who could have made the line “I thought that I was dreaming/when you said you loved me” not sound kitsch. Ocean makes it the best moment of the record, a heartfelt confession that makes the rest of Ivy that much more touching. On closer examination, Blonde feels more inviting than embracing than almost any record this year (A Seat at the Table does, too, but at a completely different level). In a year as appalling as 2016, with the worst possibly still ahead of us, it’s as if Frank acknowledged our anxiety and offered, if not hope, at least the understanding that there is still kindness and caring to be found out there.
Favorite songs: Ivy, Siegfried, Nikes
Bonus lyric: “Said she need a ring like Carmelo / Must be on that white like Othello”
5. David Bowie - Blackstar (11)
I remain in absolute awe of Bowie and Blackstar. Out of the five records at the top of my list, I have little doubt that this is the one that will have the most staying power. Even without its backstory, this was poised to be Bowie's best album in at least two decades (and I'm a huge fan of The Next Day). But then it became clear that this was Bowie's goodbye, perhaps making Blackstar an unparalleled achievement. How many artists - not only musicians - had the strength of character and artistic virtuosity to release such a major work about their own imminent passing? Again, this leaves me in awe. As before, Bowie manages to evoke a certain Englishness - that unflinching resolution in face of tragedy - while making it universally resonant. Bowie's foray into jazz was not a first, but the embracing of what can be almost defined as free jazz to give depth, vibrancy and color to his music leaves me with echoes of To Pimp a Butterfly. Bowie's courage to continue pushing boundaries until literally his last days will forever remain as testament of his role as one of the handful most important artists of the last 50 years.
Favorite songs: Lazarus, I Can't Give Everything Away
6. Anderson.Paak - Malibu (10)
Malibu would top a list of the most fun albums of 2016, and Paak is undoubtedly one of this year’s bright new revelations (I hate the “best new artist” that has been thrown around for him; did people simply ignore the existence of Venice?). His music is infectious, flowing seamlessly between pop, funk, hip hop and R&B, a blend of Kendrick and D’Angelo on Whisky and Red Bull. His live show is top notch too, especially when he plays the drums.
Favorite songs: The Season | Carry Me (special mention for the synth line), Heart Don’t Stand a Chance, Am I Wrong
7. Angel Olsen - My Woman (9)
Female singer-songwriters who can cross over pop, folk and “indie” divides are my number 1 weak spot. My Woman does all that, but much more too. My Woman is two albums in one, an energetic and outspoken first half followed by a more meditative, introspective and yet inventive second half. I can't help feeling that this is Olsen's circumspect way of responding to the straightjacket that critics have tried to put on her music.
Favorite songs: Sister, Pops, Woman
8. Kendrick Lamar - Untitled Unmastered (7)
The fact that Butterfly’s outtakes are so good just show how incredible that album was. That said, Untitled Unreleased stands as its own work of art, though I can’t help thinking that this could easily be an all-timer with a little more production work on some of these tracks. Untitled 2, for example, sounded significantly better live, Kendrick’s long verse at the end gaining an emotional resonance that the album version only scratches the surface. Despite the nature of this release, there is not a weak track here, and Untitled Unmastered offered new hints about Kendrick's incredible versatility, down to the bossa nova beats of Untitled 06.
Favorite songs: Untitled 2, Untitled 6
9. A Tribe Called Quest - We Got It From Here - Thank You 4 Your Service (5)
We Got It From Here is blunt, in-your-face, angry and yet one of the most fun albums of the year. It is a perfect counterpoint to the more polite socially conscious albums from 2016 - A Seat at the Table in particular - by calling out injustices wherever they are. Cranes in the Sky is a beautiful image for a gorgeous song, but in this moment I feel we also needed something as direct as We The People… or The Killing Season.
Favorite songs: We The People, Kids, The Space Program
10. Kanye West - The Life of Pablo (3)
This album is such a glorious mess. The most uneven Kanye album in a while, but its peaks are higher than just about any other artist could hope for. Ultralight Beam is about as perfect as an opener can be. Kanye makes me hate myself for actually enjoying Famous despite its mean-spiritedness and misogyny. And how can you not get thrilled at No More Parties in LA, or choked at some of the tender moments of this album, like Real Friends. It’s uneven, though, which prevents it from being higher on the list. A mess. Just like Kanye.
Favorite songs: Ultralight beam, No More Parties in LA
11. Car Seat Headrest - Teens of Denial (2)
12. Chance the Rapper - Coloring Book (2)
13. Carly Rae Jepsen – EMOTION Side B (2)
14. Chairlift - Moth (1)
15. Parquet Courts - Human Performance (1)
The next 15:
Elza Soares - A Mulher no Fim do Mundo
Bon Iver - 22, A Million
Esperanza Spalding - Emily’s D + Evolution
PJ Harvey - The Hope Six Demolition Project
Nick Cave - Skeleton Key
Mitski - Puberty 2
Charles Bradley - Changes
ANOHNI - Hopelessness
Leonard Cohen - You Want It Darker
Blood Orange - Freetown Sound
Frankie Cosmos - Next Thing
Okkervil River - Away
Melissa Aldana - Back Home*
Brad Mehldau - Blues and Balads
Jamila Woods - Heavn
* Best jazz album of 2016