Category Archives: Music

The Top 60 Albums of 2019

Ranking the best albums of the year shouldn’t have to be about consensus. Heck, I’ve been making this yearly list for over 12 years and while I’ve sometimes fallen victim to the pitfalls of slotting and naming certain albums on the list because of the prevailing critical belief about their greatness, that approach is now effectively out the window.

What you’ll find in Everything Ecstatic’s Top 60 Albums of 2019 list, is a direct reflection of the best music I listened to and enjoyed the most this year; whether it’s by a mainstream artist, or someone you may have never heard of before. The latter, is what I think has made EE’s Albums list great for so long. ‘Cause at the end of the day, this site is about discovery and enthusiasm for said discoveries (of course). Stylistically, it’s always gonna be all over the map, from jazz to hip-hop to indie, electronic and beyond…from all over the globe.

Lastly, I’ll say this: I’m glad that I waited until 12/23 to release these picks, because the more days we have to listen to the insane amount of tunes that are getting released throughout the year, then the less likely it is to miss something you absolutely needed in your life (Jamila Woods’ incredible Legacy! Legacy! for example, would not have made its way onto the list, let alone into the Top 10 if this list was finalized in early December. )

So with that, here’s Everything Ecstatic’s Top 60 Albums of the Year, along with a Spotify playlist of them all at the bottom of the post. Follow @EcstaticBlog us on Twitter and like the EE Facebook page to get music shouts on the regular and to stay up on the EE live events series.

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Click the Albums of the Year tab at the top of the web page to re-visit more than a decade of EE year-end lists.

Stellar Spins (60-51)

60. Arthur Russell – Iowa Dream

59. Kedr Livanskiy – Your Need

58. Rosie Tucker – Never Not Never Not Never Not

57. Hand Habits – placeholder

56. Hot Chip – A Bathful of Ecstasy

55. Skepta – Ignorance Is Bliss

54. San Fermin – The Cormorant 1

53. Bedouine – Bird Songs of a Killjoy

52. Nate Mercereau – Joy Techniques

51. Jordan Rakei – Origin

The Top 50

50. Black Belt Eagle Scout – At The Party With My Brown Friends

49. Mndsgn – Snaxx

48. Billie Eilish – WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?

47. Kindness – Something Like A War

46. Salami Rose Joe Louis – Zdenka 2080


Continue reading The Top 60 Albums of 2019

SOUND: Malci, “When They Get Me”

Malci’s songs feel more like spasms. The Chicago rapper jerks from phrase to phrase with little regard for structure or pattern; the thrill of a track like “When They Get Me” comes when the ear captures — sometimes a beat too late — the precise moment when the meandering shifts into the miraculous. 

“I rap in all capitals,” Malci spits midway through the 90-second sprint that highlights his latest album, Papaya, but I’ll be a contrarian and say, well, not quite. He tosses capitals and other cases about these tracks with the free-associative abandon of a rapper who trusts his producer (i.e. himself) to do the necessary clean-up. The gyre widens, but the center somehow holds. 

That’s thanks to a collection of beats that lean on a collage of field recordings and round, wet synths to build a base that can withstand Malci’s sputtering vocal solos. The results often skew jazzy, though I don’t get the sense of an ensemble playing in hard-earned lockstep. Papaya is the product of a singular vision. Its lived-in messiness is its own and, like the growling dog on the album cover, it perpetually threatens to claw through the fence. 

Check out more from Malci on Bandcamp.

Tropical Diskoral: Filipino electronic artists sound off in new compilation

Growing up stateside, the only music from the Philippines I knew was my Grandmother’s lullabies. But digging through my Dad’s records one summer I came across a gem: The Soul Jugglers. Made up of local musicians and African-American US troops stationed in Subic, these dudes had so much swag. An undeniably smooth Pinoy funk band, if it wasn’t for their Tagalog lyrics, The Soul Jugglers could pass for Motown proper. They strung together the kind of sound only Shaft could walk out to if he was a perm-haired manong in 1970s Metro Manila.

That record helped crack a history and heritage that wasn’t really talked about at home. The Soul Jugglers were among other Philippine bands that found creating music as respite during Ferdinand Marcos’ martial law. They defined the music eras through experimentation and surged into new sonic territories. There was joy to be found on those stages and studios, even when the world outside was deprived of it.

Image result for the soul jugglers
Continue reading Tropical Diskoral: Filipino electronic artists sound off in new compilation

On The Radar: Bloodboy’s “Can’t Go Home WIth You Tonight”

Lexi Papilion isn’t the type to beat around the bushes. Following in the rich tradition of artists who wear their influences perhaps too proudly on their album sleeves, the LA artist went with Punk Adjacent for the title of her debut solo album as Bloodboy. The “adjacent” is what you’ll want to pay attention to, as Bloodboy is most interesting when carving around the margins of what she’s signaled the listener to expect. A case-in-point: Standout track “Can’t Go Home With You Tonight”. At first blush, it’s a mid-tempo pop ballad adjacent to many things you’ve probably heard before, but Papilion’s emotive vocal performance pushes this one into special territory. 

The production doesn’t hurt, either. Producer Taylor Locke (Cullen Omori, Geographer) steers Papilion’s howling chorus into red-line territory, generating just enough fuzz to clear the cobwebs off lyrics that lean into the lust-meets-disgust phase of a doomed romance. In the hands of a lesser talent it could all come across as a bit pathetic; instead, somehow, I’m left with the image of Papilion staring down the sea with two middle fingers in the air. It’s not quite punk (or even punk adjacent), but it scratches the same stubborn itch.

5 Days In Seattle In 5 Songs

I took a jaunt up to Washington for the first time in damn near a decade last week. And despite multiple trips to Seattle in the past, I’d never seen a proper concert in the city before. This is no longer the case, and a couple of these five tracks that marked my trip related back to those live music experiences. Here they are, along with two new discoveries and one absolute classic that tell the story of a memorable trip to the PNW.

Nicola Cruz – “Criançada” (feat. Castello Branco)

We arrived on a Wednesday and made our way that evening to the tightly-packed yet still comfortable Nectar Lounge in Seattle’s Fremont District. Nicola is one of the few producers I’ll make a point to not miss when he comes through for a DJ set and I was happy to make up for the SF set I’d be missing with this Seattle tour stop. “Criançada,” with it’s Brazilian rhythms and vocals by Castello Branco, is a total standout on the incredible cultural journey that is Siku. Nobody infuses indigenous South American music into electronic production quite like the French/Ecuadorian Cruz and more than anything, this is type of music I want to have playing at a club when I’m catching up with friends, drinking and dancing the night away.

Continue reading 5 Days In Seattle In 5 Songs

On The Radar: TOKiMONSTA & Ambré’s “Strange Froot”

Jennifer Lee is best known as the eclectic, storytelling beat producer and performer, TOKiMONSTA. Though her latest effort, through her Young Art Records imprint, reinforces the LA artist as a benevolent music lover and curator at her core. Much like a TOKiMONSTA composition, the Young Art Sound II comp is an all-inclusive reflection of the rich diversity emerging throughout electronic music, from B. Lewis’ fuzzy, R&B-tinged trap, to the festival-friendly, EDM-lite of Blackbird Blackbird. Even in a seemingly saturated electro market, Lee believes, there are genuine gems to be unearthed.

One of these jewels is New Orleans singer Ambré, featured on “Strange Froot,” one of the two tracks TOKi herself produces on the 16-track comp. On the first TOKiMONSTA music released since 2017’s Grammy-nominated album Lune Rouge, Lee foregoes lushness for simplicity, and places her collaborator (and Kehlani’s 2015 tour opener!) at the song’s forefront. Ambré’s airy lead vocal floats over sparse, calming drums and elegant strings give way to dreamy, layered guitars for a blissful, romantic moment. As Ambré’s own moonlit ruminations fade, “Strange Froot” leaves room to ponder on what sonic tales Lee’s TOKiMONSTA has left to tell, waiting to be uncovered.

TOKiMONSTA takes Young Art Sound II on tour, starting on June 7. Peep “Strange Froot” below.

Zelma Stone’s Debut ‘Layla’ EP Takes Us Back To Today

I had a daydream this week… I was walking down Valencia St in SF and instead of fancy boutiques and pour-it-yourself brewpubs, the sidewalks were lined with flower kids and VW trip vans. I hopped into one of these said vans and Zelma Stone’s “River” was playing… I leaned my back up against the van’s bench seat, dropped my head back, closed my eyes, sunk into the ravishing rhythm and I was happy.

“River” is the opening cut to San Francisco five-piece Zelma Stone’s debut EP, Layla, out today on Honey House Records.And while songwriter and frontwoman Chloe Zelma’s affinity for Jefferson Airplane is evident, calling Zelma Stone a throwback doesn’t do their promising present justice. Seeing them on-stage early last year, I was struck by how at home their contemporary psychedelia is in San Francisco…and coming from such a sprightly group that’s just starting to find themselves, it’s enough to embrace the heck out of their sound and where it could go.

Recorded at the Bayview-based Light Rail Studios, Layla is named after Zelma’s pup that she inherited from her brother Brett, who passed away in 2009. It’s a rejuvenating collection of songs written by Zelma as she reconciled a handful of losses in her life—her brother’s among them. The record’s fulcrum, “Golden,” with the singer’s potent delivery and a whiskey-washed guitar that ebbs and flows gracefully, feels especially cathartic.

“Writing these songs felt as if I stuffed all my pain, grief and anger into a magical, healing, glass bottle,” Zelma says. “Releasing them feels as if I’m throwing this bottle out to sea in hopes that someone will discover it and find their own meaning and healing from it,”

We’re delighted to feature Layla on the day of it’s release, and welcome you to get to know a glowing bright spot in the San Francisco scene. And you can see Zelma Stone live at their EP Release Party at the wonderful Rickshaw Stop on Saturday, January 19th. Layla is available for download at Bandcamp. 

Zelma Stone is Chloe Zelma (vocals/guitar), Haley Pan (bass), Jake Kissner (drums), Jewelz (keys) and Kevin Fielding (lead guitar). Follow the band on Facebook. (Photos by Diana Brewer)

The 60 Best Albums of 2018 (+6 EP’s)

Aaaaaand…we’re back! This the 11th annual Everything Ecstatic Best Albums of the Year roundup and for 2018, I’ve laid out the 60 albums that meant the most to me this year along with six EPs in a separate section about a third of the way down.

I covered a good number of these artists throughout the year and am linking to some of my favorite features or podcast interviews I did with them if it applies. This was also definitely my most fulfilling year in music festival coverage so you’ll notice that a lot of these interviews may have even happened on site in Montréal, San Francisco, Austin, etc…

Keeping the words brief, but including cover art, scattered audio/video/photos and a Spotify playlist at the bottom of the post. My hope is that you can come back to this list and discover artists that you may have skimmed through the first time around or click on a different link and really get to know them. Click the ‘Albums of the Year’ tab on the top of this site to re-visit past years and hit me at @AGSpinelli on Twitter  or Instagram to follow along with my year-round escapades in music. Lastly, Everything Ecstatic has been producing not just features and blog posts, but also events! Like us on Facebook to stay connected! Enjoy and cheers!

Spinelli

61-51: Stellar Spins 

61. Khruangbin – Con Todo El Mundo
60. Cornelia Murr – Lake Tear of the Clouds
59. Tom Misch – Geography
58. The Ophelias – Almost
57. Saba – CARE FOR ME
56. Kurt Vile –  Bottle It In
55. Steady Holiday – Nobody’s Watching
54. Jim James – Uniform Distortion
53. Soccer Mommy – Clean
52 . Young Fathers – Cocoa Sugar
51 . Kamasi Washington – Heaven And Earth

The Top 50 (+ some EP’s)

50. tune-yards – I can feel you creep into my private life

An uncomfortable album on the surface, but a brilliant and important one when you dig deeper.

I wrote about it for the KQEDArts Best of the Bay Series.

49. Jefferson Park Boys – Casual Horns, Dog

A stellar beat tape from Mr. Carmack + Kenny Segal + Mike Parvizi.

48. Kamaal Williams – The Return

One half of nu-jazz group Yussef Kamaal, Williams teams with keys player Henry Wu for one of this year’s many stellar jazz releases in the budding London scene.

47. Nathaniel Rateliff & The Night Sweats – Tearing At The Seams

One song to rule them all:

46. Robyn – Honey

One song to rule them all part 2:

45. Unknown Mortal Orchestra – Sex & Food

One of the best band’s on the planet, straight up.

44. JAIN – Souldier

My favorite globally-inspired French pop singer belongs in the same conversation as the Charli XCX’s and Carly Rae Jepsen’s of the world.

I got the great pleasure to sit down with JAIN for an interview at the Montreal Jazz festival. 

42. Speedy Ortiz – Twerp Verse

On her third LP, Sadie Dupuis has really settled into one of the most consistent indie acts of the last five years.

Sadie was a guest on the Noise Pop Podcast where we discussed the finer points of the Scream movie franchise (among other things.)

43. Tierra Whack – Whack World

The 15 song Whack World video was the best 15 minutes of the year.

Continue reading The 60 Best Albums of 2018 (+6 EP’s)

First Spin: MPHD’s Repetition EP Induces Intrigue And Movement

MPHD is the tech house project of San Francisco producer Bradley Exum.  MPHD is the tech house project of San Francisco producer Bradley Exum. MPHD is the tech house project of San Francisco producer Bradley Exum.

His latest 2-track EP, Repetition, is out today on SF’s Text Me Records and Everything Ecstatic gives you a first spin at the bottom of this post.

Since MPHD came to life in 2010, Exum, 27, has been a staple in the San Francisco electronic scene. This year alone, he’s opened for Gene Farris, LCD Soundsystem and Ghostland Observatory. He’s released a couple EP’s for SF bass & house label Bad Shoes and after a production lull, has caught on with the surging Text Me Records to put out Repetition.

On the title track, a driving beat lays the groundwork for glitches, vocal samples and gradual flux, already sweating from the dance floor it belongs on. “Repetition is a psychological tool,” an ominous voice utters, as the bass surrounds it. On the dastardly rhythm of “LNL1968,” Exum further toys with the concept of expanding on a song’s continuous nature, as it progresses into a straight get-down bounce.

“I was trying to really focus in on that idea of why repetition is interesting to us, how for some reason it tends to entice more often than it tends to bore,” Exum says.  “Obviously electronic music is definitely rooted in repetition; but how one uses subtle changes, negative space, etc… when writing has always been pretty interesting to me and definitely contributed to how both of these tracks got to their final state.”

While this is MPHD’s  first EP with Text Me, Exum says there’s more on the horizon. For now, this shit is ready to rock a club stat. Peep Repetition below. Peep Repetition below. Peep Repetition below. Peep Repetition below. Peep Repetition below.

Follow MPHD on Twitter or Facebook.

All Photos by Lukas Peterson.

French Cassettes Don’t Mind Waiting On “Sunday Soda”

French Cassettes are one of those SF bands you just pine for more material from. They released their debut album, Gold Youth, in 2013, alongside the Summer Friends EP — both collections of shimmering and brisk, coastal pop songs — before sinking  in to studio sessions and side projects. They’ve still been a been a steady presence at Bay Area concert halls, but aside from “Right Talk” off of Oakland’s OIM Records 2015 Vol. 1 comp, there’s been a dearth of new French Cassettes tunes…..until now.

On the heels of the recently released “City Kitty”, we’re premiering the latest cut from French Cassettes’ long-awaited batch of new songs, “Sunday Soda.”  Predicated on a sleeping giant G note riff, the track unfurls into a feel good jam brimming with the spirit of SF’s  oceanic edges, just as much as that of the breeze within the almond orchards of the San Joaquin Valley, where the song was written and the band is originally from.

Mixed by long-time LCD Soundsystem producer/engineer Eric Broucek, the musical moods of “Sunday Soda” transition seemingly by design, in congruence with singer Scott Huerta’s lyrics.

“I don’t remember intentionally doing this, but the lyrics definitely go from fun…to lonely…to desperate.,” Huerta says. “That’s probably because I start working on songs around midnight and finish the lyrics around 5am. Not really myself by then.”

Never without his wit, Huerta says the song was inspired by two of his favorite Davids: Bazan and Blaine. And as the G note morphs into the pre-chorus building like a magic trick, a silky guitar solo drops and beneath a highly relatable hook, painting that moment when all we’re left with is waiting for someone to meet you on the same page and blissfully accepting the anxiety that comes with it: “I don’t mind..waiting such a long-time…for patience…for three red lights…” We’ve all been there.

Listen to “Sunday Soda” below and go see French Cassettes Friday, Nov 16 at The Chapel on Valencia St with Spooky Mansion and Lapel, who both released notable SF records this year. Tickets here. 

Lead Image courtesy of French Cassettes.