June is coming to an end and the longest day of the year is in the past. 2016 was a devastating year for music with the loss of many greats, but 2017 has been a little easier on the ears (and hearts). In the last six months, Prince’s estate released his music to streaming services and artists from all corners of the music world have put out new music. Here are the Emerald’s favorite albums from the last six months.
“Semper Femina” by Laura Marling
Laura Marling’s latest album finds the folk artist, formerly a member of the British indie-folk band Noah and the Whale, exploring womanhood in a manner similar to Joni Mitchell or Patti Smith. Marling originally conceived the album from a man’s point of view, but as she wrote, the voice became increasingly her own. “Semper femina” means “always woman” in Latin and Marling’s album explores all facets of womanhood. Released in March, just three months after the Women’s March on Washington, “Semper Femina” feels as relevant as ever. Marling learns from the musical stylings of Mitchell and Smith’s sense of time to create an album as powerful as it is soothing. The future of folk is in good hands when Marling is involved.
Best song: “Wild Once”
Read our full review of ‘Semper Femina.’
“Elsewhere” by Pinegrove
2016 was a big year for the indie rockers in Pinegrove with the release of their debut album, “Cardinal,” which critics lauded as one of the best breakout albums of the year. But 2017 poses itself as an even more exciting year for the Montclair, New Jersey-based group with an upcoming US tour and an ever-expanding fan base.
In January, the band released a live album entitled “Elsewhere” to raise money for the Southern Poverty Law Center. Recorded in 5 different cities, “Elsewhere” gives a feel for the band’s warm and comforting live shows. Pinegrove combed through its EPs and “Cardinal” to create a live album that not only satiates the desire for new music from the group, but expands on the band’s previous sounds. Tracks range from a darker rendition of the short, twangy “Angelina” to a sprawling version of “Aphasia” where the audience members’ voices intertwine with Evan Stephens Hall’s vocals.
For those who missed Hall’s house show performance in Eugene February, “Elsewhere” just might be some consolation.
Best song: “Old Friends”
Read our Q&A with Pinegrove’s Evan Stephens Hall here.
“Melodrama” by Lorde
When New-Zealand phenom Lorde burst onto the pop landscape in 2013, she showcased a unique talent for capturing small, youthful moments in song. “Royals,” the single that won her two Grammys, captivated audiences with its sparse production. Her debut album —“Pure Heroine”— was critically acclaimed and sold well. But there was a sense that Lorde, born Ella Yelich-O’Connor, had much more in store.
Enter “Melodrama,” her second full-length release and a gorgeous evolution of talent. Produced by Bleachers frontman Jack Antonoff, the album explores what it means to grow up and face heartbreak firsthand. Lorde’s songwriting and performance ability reach new depths, proving that she’s no one-hit teenage wonder.
“The Louvre,” a clear highlight, showcases her whispery voice with a quiet, echo-y love jam. “Green Light” hints at new horizons, making it a daring but appropriate lead single. And “Perfect Places” closes the album on an uncertain, yet hopeful note.
Lorde will never be a teenager again, but “Melodrama” shows she’s content with the future.
Best Song: “The Louvre’
Read our full review of ‘Melodrama.’
“DAMN.” by Kendrick Lamar
Kendrick Lamar fully embraces the title of “King” on his fourth record, “DAMN.” But he also sheds his rap-preacher persona in favor of a more radio-friendly sound—a decision that pays large dividends. “To Pimp a Butterfly” won critical acclaim for its eclectic mix of jazz, spoken word and hip-hop. Kendrick took aim at race in America using complex verbal assaults.
On the follow-up record, he turns inward, questioning his place in the world. “Ain’t nobody prayin’ for me” is a common refrain. “DNA.” is a breakneck boastful takedown, and features some of the rapper’s most head-spinning flows. “FEAR.” recalls the dread of growing up in Compton’s streets, and how Kendrick’s background continues to influence his adulthood. “Humble.” remains at the top of the charts months after the album’s release thanks to a riotous piano beat courtesy of Mike.WIll.Made.It.
But like all of Kendrick’s albums, the power of family remains a thematic anchor. The album’s closing suite, “DUCKWORTH.,” tells a story of two young Compton men who crossed paths years ago in a nearly deadly confrontation. One decided to spare the other, a decision that continues to have rippling effects. The two men were Anthony Tiffith, the CEO of Top Dawg Entertainment, and Kendrick’s father, Kenny Duckworth.
Without both, “the greatest rapper” would cease to exist.
Best Song: “HUMBLE.”
“Culture” by Migos
An album’s merit can be judged a variety of ways. Counting the number of songs from the album that appear in personal playlists is particularly useful. “Culture,” by Georgia-based hip-hop group Migos leads the pack in that classification, and for good reason. The album oozes confidence and youthful joy, traits that the group captures onstage. Migos’ jovial lyrics, combined with Zaytoven and Murda Beatz’s (among others) uber-catchy trap baselines, make for an album full of hits like “Brown Paper Bag,” “T-Shirt” and “Kelly Price.” Spring’s viral hit, “Bad and Boujee,” isn’t even the best song on the album.
Migos are the Golden State Warriors of the Atlanta rap-scene: the top-dogs of their league who have more fun than anyone else. They have their own flavor of potato chip, for crying out loud.
Best song: “Call Casting”
The post Emerald Recommends: The best albums of 2017 (so far) appeared first on Emerald Media.