We’ve come full circle. Five years ago, on my OTHER blogspot account, I put out a poorly written list of carefully considered choices for My 100 Favorite Albums (and singles and EPs and stuff) of the 2010s. And now, here we are again, back on Blogspot, a platform that isn’t even possible to subscribe to via email, and I’m putting out another 10 year reflection on new music. Music culture from my perspective has not shifted much from 2020 to now, considering I’m mostly into indie and electronic and rock music. I can whine all about how indie and rock music are freaking deeeeaaaad! But these are scenes that have been largely drying up since the beginning of this 2015 to 2024 time period. A real massive genre shift happened in the hip hop scene, which experienced a huge boom from 2015 to 2019 (and then died down again from 2020 onwards). As you might know though, I’m not largely involved in following new hip hop releases, so don’t expect any notable opinions from me within that genre.
With the 2010-2019 list, I had the benefit of having heard many of those early 2010s albums while I was still in high school. I stand by the opinion that the period of new music from 2010 to 2013 is largely untouchable, even by today’s standards. And thus, much of that decade list I wrote about previously was filled with albums from that early-decade time period. But I can’t do that this time around! I should also note that I didn’t get into ‘new music releases’ until 2012, meaning I had no investment or pre-release hype going into any albums that were released in that 2 year time window from 2010 to 2011. Which, believe me, is a lot of albums to dig through.
On the flipside, although I didn’t hear all of these new albums during the year they were released, I at least heard OF most of them at the time. And a majority of these I DID listen to when they were still fresh. Much of those 2015-2019 albums needed the extra five years to marinate since I did my previous list. Likewise, a good chunk of albums are now freed from my ‘one album per artist rule’, meaning records like Death Grips’ Bottomless Pit and Glassjaw’s Material Control can appear on this list now since they aren’t covered up by the artist’s previous output.
What makes this time period more interesting to me is that my ‘new music burnout’ phase started around 2015. Around the time I was 18, I started losing interest in new records as I heard them, and each new year of music seemed less impressive to me than the last. This pattern still hasn’t changed, though it’s easier to go back to years like 2017 and 2020 and pick out the highlights when you’re not currently living through it.
34
American Football - LP2 [2016]
(position on previous list: #78)
Over the years, I’ve learned to accept that I actually DO enjoy American Football’s 1999 album. As an enjoyer of emo music, it’s always too easy for me to single out this cutesy record and whine about how it’s ‘overrated’ and that people only care about it because ‘Never Meant’ is the album opener. Perhaps that’s somewhat true, but does that mean I’m not allowed to enjoy it anyways? Fast-forward to 2016 and now we have an album with the exact opposite problem. American Football’s comeback album is similarly innoffensive and melancholic, but everyone fucking HATES IT!
I suppose it can’t be helped that the audience’s expectations were set unrealistically high considering that LP2 bears the same name and a similar album cover to the original 1999 record. Mike Kinsella has been putting out a steady stream of albums under his Owen moniker during that 16 year stretch, so there was no real need to take on the American Football name again other than to say “Hey guys, I still exist!” And truthfully, I haven’t heard any of the Owen records, so this LP2 stuff is completely new to me. But let’s not pretend that most listeners are familiar with Mike’s solo albums, either!
I heard LP2 at the right time, a time where I was starting to get more into melancholic slowcore style music. LP2 slides right into that category without any major problems. Its sound, singing included, goes down far more smoothly than most others in the genre. The lyrics are about as inoffensive here as the 1999 record. However, what’s disappeared is their previous levels of musicianship and songwriting. These songs are far less memorable than their slowcore contemporaries. Though by 2016 standards at least, I wouldn’t call this a disappointing album overall.
The band would get more ambitious on LP3, but by that point, the lyrics become a bit too goofy for my tastes. LP3 also has an overbearing, syrupy presentation, and I’d rather just take LP2’s barebones approach instead.
33
Beach House - Depression Cherry [2015]
Looking back at my 2010s list, one of the most surprising missing artists is Beach House! ‘Depression Cherry’ is listed in the honorable mentions, but I find it hard to believe that I couldn’t somehow fit ‘Bloom’ or ‘Teen Dream’ in there. For a while though, and apparently while I made that decade list, I considered Depression Cherry to be my favorite Beach House album. Nowadays I’d easily give it to Teen Dream, but this record at least stays true to being the last good Beach House album. I’m sure plenty would disagree, but the ideas on their 2018 album ‘7’ don’t hold up at all, and ‘Once Twice Melody’ is an 80 minute slog. Depression Cherry, on the other hand, feels like it was coming from a band that still had something to say, rather than an old indie act still clutching for relevancy. Some of the trendy pop ideas on Depression Cherry haven’t aged too well, but on the whole, it makes for a decent listen. Its highlight tracks stand out in their discography, and the sound, although simple, was enough to keep Beach House in the spotlight during the changing trends of the indie scene.
32
Lightning Bolt - Sonic Citadel [2019]
31
Do Make Say Think - Stubborn Persistent Illusions [2017]
30
Naked Flames - Miracle in Transit [2022]
29
Aphex Twin - Computer Controlled Acoustic Instruments pt2 [2015]
If we’re talking about the importance of each release found here, this might just be the least important record on this entire list. After Syro, most of RDJ’s releases consist of him dicking around with a few concepts with some niche electronic equipment, not committing to more than a handful of tracks per project. So what does it say about RDJ when he can dump out a few easygoing electronic tracks and have it end up in my ‘best of the last 10 years’ list? Maybe this says more about how much I like RDJ’s material…
Despite its simplicity, I can’t say that I’ve heard much else that sounds like these acoustic RDJ tracks. Sure, artists like Squarepusher and Flashbulb have both dabbled with acoustic instrumentation and put out acoustic records that are far more exciting by comparison. But this small set of tracks never gets old whenever I return to it, which is plenty enough to earn a mention from me. His Blackbox EP is also good enough to land on this list, but I prefer the metallic cling-clang of CCAI.
28
Envy - Atheist’s Cornea [2015]
After singing their praises time and time again, one would expect me to gush endlessly about Envy once they finally show up in one of these lists. Their 2010 album, Recitation, landed at #40 on my 2010s list. And honestly, Atheist’s Cornea is the better of the two. Yet, I can only play so much fanfare for the band when they keep putting out the same exact kind of music time and time again. My problem with Recitation is that, despite having those core Envy elements, the experience is somewhat watered down from their best albums. Atheist’s Cornea is like a surge of electricity back into the band’s soul. Their passion and energy has not died out yet, but their concepts are not pushing any kind of boundaries. Even at their least innovative, however, the Envy experience is not a disappointing one. But damn, these guys could use some new ideas!
Their usual formula involves fusing elements of post-rock and screamo together. They structure their tracks into long, winding buildups that have huge crescendo payoffs. It’s reminiscent of Young Team style Mogwai, but with poetic Japanese lyricism laid on top of it. This formula is somewhat more condensed into shorter track lengths on this record, giving their bursts of energy more immediacy than usual.
This is all a roundabout way of saying that I do like this album quite a bit, but I wouldn’t recommend it to newcomers of the band’s material. Or maybe I would? If you can’t at least grasp what makes this band special from this 40 minute tracklist (one of their shortest), maybe these guys aren’t for you. I’d still recommend it over their newer output, such as their 2020 album The Fallen Crimson. They also have a brand spankin new album called Eunoia that is being released while I’m writing this list, so I’ll revisit this space after I’ve heard it…
27
Deerhunter - Fading Frontier [2015]
26
Vektor - Terminal Redux [2016]
(position on previous list: #67)
25
Deftones - Gore [2016]
24
Animal Collective - Painting With [2016]
(position on previous list: #89)
I’m not even gonna try to argue with the album’s reception this time around. I understand that Painting With is goofy as hell and can’t hold a candle to records like Strawberry Jam and MPP. Hell, even if I passed on Painting With and settled for Panda Bear’s ‘Meets the Grim Reaper’ for this list (I counted Animal Collective and Panda Bear as the same artist here), these records all sound ridiculous! But is that not what Animal Collective is mainly about? I suppose not entirely.
In any case, you sure as hell aren’t going to find another album that sounds anything like Painting With. Not many artists have enough of a screw loose to put out pop songs that are this energetic and quirky without some layer of irony attached. Animal Collective is not looking to pretend that they’re wittier than they are. This is someone’s genuine idea of having fun in musical form. Each sound ping pongs around like it’s in a musical bouncy castle, the bright sound palette never dying down from start to finish. And even though not every song and stylistic idea is genius, it works well enough to solidify Painting With as an entertaining, unique listen. By comparison, the newer AnCo albums are completely lethargic and are lacking in inspiration. I’ll take the dumb one instead.
Like I said, Panda Bear would have been slated to land on this list, but you can blame this record for pushing him out. Panda Bear’s solo album concepts don’t always work out, either. But on the wild, psychedelic ‘Panda Bear Meets the Grim Reaper’, Noah manages to pull everything together for long enough to have his own comparably interesting set of songs. It’s a bit grating in spots, but it’s worth hearing at least once.
23
Ought - Sun Coming Down [2015]
(position on previous list: #19)
22
Rosetta - Quintessential Ephemera [2015]
(position on previous list: #12)
I’ve seen claims that Rosetta was heavily influenced by Oceansize’s music when they came up with the songs for Quintessential Ephemera. I’m inclined to believe this based on how it sounds… This is by far their most melodic album, possibly the only one of theirs that features actual singing on it instead of pure growling. But don’t expect these guys to be writing songs like ‘Silent/Transparent’ anytime soon. They’re still trudging through the atmosludge mines, clinging onto a genre that has long since had its time in the spotlight. And despite being their best album, Ephemera has not gotten much attention, so it’s up to people like me to sing its praises. Though it might have helped if they bothered to name the damn songs! Or better yet, how about an album cover that actually resembles something…
21
Jamie xx - In Colour [2015]
(position on previous list: #69)
Jamie falls into a funny spot in the 2015-2024 time window. That being, he released an album right at the start in 2015, another album right at the end of 2024, and in between is a single track called ‘Idontknow’ which appears on neither album. Thinking back to when ‘In Colour’ dropped as a hot new summer album, it really does feel like it’s been ten years since then! The colorful album cover isn’t misleading either. What makes this tracklist so strong is how Jamie combines his electronic prowess with pop elements to form an accessible sound palette you can dance to. And, as the years pass, feel-good albums like this become increasingly scarce. Not even Jamie could follow himself up with his questionable self-help therapy dance album ‘In Waves’. His 2020 track ‘Idontknow’ serves as a good middle ground between the two records, mixing the better elements together into something energetic and fun. But if you’re looking purely for fun, you should stick with this first album.
20
Steven Wilson - Hand Cannot Erase [2015]
(position on previous list: #39)
19
La Dispute - Panorama [2019]
(position on previous list: #82)
La Dispute only ever put out a single album during this 10 year time period. Panorama is good enough to fill in that gap by itself, to be fair. Though, like many other hardcore-centric records on this list, other listeners don’t seem to agree! The reviews I read for Panorama back when the record came out are somewhat embarrassing, essentially boiling down the album to a single question “Where’s the drop???” I can’t explain why critics want every post-rock adjacent release to be some variant of Mogwai’s ‘Like Herod’. We can’t all be screaming and thrashing around on every Envy tribute record, so sit down and learn to appreciate these tense instrumental moments!
Furthermore, it’s not like La Dispute is playing Mogwai’s CODY for their flavor of post-rock tension. This album has plenty of energy! Have you not listened to ‘Fulton Street I’?? Jordan’s screaming his dang head off! Perhaps it’s not the same level of drawn out crescendo you get on Envy’s records, or on songs like La Dispute’s ‘King Park’, but these tracks don’t need to be drawn out to seven minutes to make a point. Look what Deafheaven has done to people’s brains…
Like any good rock record, all the attention is in the details. The lyrics, the vocal performance, the instrumental writing, every element is finely tuned to find its spot on this album’s 40 minute running time. And even more importantly, Panorama stands out as a unique record in a genre that is typically known for being a place of constant rehash! Post-rock, hardcore, take your pick, La Dispute is doing something different. And know that my comparisons to Envy are meant in a complimentary way. As much as I love that band, even Envy themselves couldn’t top this record within the same 10 year timespan.
18
Jeromes Dream - LP [2019]
(position on previous list: #66)
This might possibly be the most unhinged take of mine on this entire list… I like LP more than The Gray in Between. But ONLY SLIGHTLY. Were I to include both on this list, Jeromes Dream’s 2023 album would fall only a couple spots behind this one. I still consider ‘South by Isolation’ to be the best Jeromes Dream track, so I’m not going completely off the shits here.
My opinion makes a bit more sense when you understand that I’m a huge fan of their 10 minute long, Kurt Ballou produced 2001 album Presents. LP is more or less an extension of the ideas they pulled together on that record, but with notable changes. These tracks are longer, slower, and carry far more momentum than the freakout blasts of their past. The only major problem is that they couldn’t get a worthwhile producer to make this collection of tracks not sound like unfinished demos.
Of course you can find a whole lot of other problems that only the most boneheaded of music listeners could bother to come up with. “Why are they playing the songs so slow??” “These guys SCAMMED their audience by crowdfunding this album!” Or as genius Discogs user ‘tickliskgio’ points out, “These songs were randomly made.” You see Jeromes Dream? You should have made these songs not-randomly like other rock bands do and maybe then it would have ACTUALLY been good. As we all have definitely been following Jeromes Dream since they put out their first LP back in the year 2000, it’s right for us all to feel betrayed, sabotaged, and scammed by this RIPOFF album.
Though honestly I think people like to make excuses to avoid admitting that they can’t get into the weird shouting style found on this record. More importantly, if this album had a decent production job, I’d be surprised if this album got nearly the amount of backlash it did. After all, it’s difficult to comprehend the heaviness of these tracks when they sound, you know… flat. Their sins would ultimately be forgiven once their next, better produced album with skramz vocals came out in 2023. No more RANDOM songs, they’re making BIG BOY music now! And even I can admit that The Gray in Between is their most realized, best sounding album across their whole discography. But I like their concepts on LP more. Can we get a remaster job please? The people must be enlightened on the true potential of LP.
17
Fucked Up - Year of the Hare [2015]
(position on previous list: #43)
16
Masafumi Takada - New Danganronpa V3 OST
(position on previous list: #6)
15
Sianspheric - Writing the Future in Letters of Fire [2016]
(position on previous list: #77)
14
Godspeed You! Black Emperor - Asunder, Sweet and Other Distress [2015]
(position on previous list: #30)
13
Lone - Levitate [2016]
(position on previous list: #37)
12
Glassjaw - Material Control [2017]
The Coloring Book/Our Singles Green EPs managed to get Glassjaw all the way up to the top 10 on my 2010s list (they’d be sitting up in the top 3 if I were organizing it today). In other words, Material Control had a lot to live up to. And in the dangerous year of 2017, one in which many old-news rock and indie bands managed to fall flat on their face, Glassjaw managed to put out something respectable. And right at the last moment, too! It’s fair to say Glassjaw put out a strong rock record with a good batch of highlights in it. I had ‘Shira’ in rotation for a while, but revisits have shown me that more of these songs have been stuck in my head for longer than I give this record credit for. And so I’m giving this album that credit RIGHT FUCKING NOW
DARYL RELEASE THE FUCKING HEAD AUTOMATICA ALBUM
11
Title Fight - Hyperview [2015]
(position on previous list: #34)
Whew, it sure is easier to defend Hyperview when I don’t have to put it up against Floral Green! It’s been nice to see all the new attention Title Fight has been getting recently. They deserve it, and the more time passes, the more sad I become seeing that they never put out anything new after this album. ‘Hyperview’ is usually seen as a disappointing release, though a large chunk of that negative reception might be due to Anthony “I Fucking Hate Shoegaze” Fantano, who dunked on this album, claiming it to be no different from the other reverb soaked indie records at the time. As always though, time happens to be the ultimate judge of timelessness, and I’ve yet to hear another band tackle this sound in the near ten years since its release.
In fairness to its detractors, any album is going to sound weak when following up a record that dominated the emo genre’s standards as strongly as Floral Green did in 2012. Title Fight was not looking to defend their throne in 2015. Instead, Hyperview leans more into the jangly indie tones of the early 2010s, in contrast with their pure emo palette found on their previous two records. It’s different from what they were known for, and it’s different from what they were the best at. But the most important part is that Hyperview is still impressive by 2010s standards!
Admittedly, it took some time for Hyperview to grow on me. Thanks to its 30 minute running time, this isn’t a difficult process. The tracklist is concise, with few weak spots, at the cost of sounding a bit samey on initial listens. But these guys have the energy, they have the hooks, and they have an untouchable sound in the shoegaze spheres that requires proper songwriting chops to match. Needless to say, it’s because of these reasons that nobody has stepped up to the plate to try and outdo it.
10
The Armed - Perfect Saviors [2023]
(I like the CD art for this album a lot more than the actual album art)
One look at the smarmy Sputnikmusic review for Perfect Saviors tells you a lot about the kind of people who think they’re above this album. Out-of-touch aging reviewers like Anthony Fantano cover their ears and whine about The Armed being ‘too loud!!!’ while Rateyourmusic zoomers scoff at the sincerity and showmanship that goes into making bands like The Armed and Fucked Up resonate with diehard music lovers. Thankfully, finding good music in the 2020s doesn’t require you to be ‘in touch’ with music taste influencers and music nerd communities. Sargent House is a label that has been delivering much goodness lately, with The Armed’s Ultrapop (another record worthy of this list) and Perfect Saviors landing within the radar of all rock and hardcore enthusiasts.
Whereas Ultrapop was obscured in relentless noise, The Armed lets everything out in full view for Perfect Saviors, revealing just how many strange ideas the band was cooking up behind the scenes. The blast beats and high energy remain, but the band no longer feels a need to stick to the regulations set by bands like Every Time I Die. This is a freeform collection of rock spectacle that flirts around with different subgenres. By the time you get to ‘Public Grieving’, the last song on the album, it’s hard to believe you’re still listening to the same band that put out songs like All Futures just a few years prior. Or.. Maybe it’s not THAT hard to believe. Both records have a strong focus on memorable hooks and melodic vocals, but the ideas are more flexible on this tracklist. Within the rock scene, it’s difficult to find many other artists that are putting out something unique in a genre that has long since had its time in the spotlight, but The Armed delivers.
9
Kanye West - Yandhi (demos) [2019]
(position on previous list: #22)
No… Please god no… I don’t want to remember Yandhi anymore… GET IT AWAY FROM ME
…
I’m going to be completely honest with you guys. If Yandhi actually released as it was shaping up to be, it would easily be my favorite Kanye album. Kanye’s sense of tone and creativity had finally balanced into something that I’d argue was the next step forward for the world’s image of high production pop music. In the same way that we saw MBDTF in 2010, Yandhi might not have been the next 10/10 hype monster, but it would have defined how we viewed pop culture in 2019. Not as some bombastic blast of noise, but a time of self-reflection and eerie calm before the inevitable storm that was 2020.
But no. Instead Kanye THREW IT AWAY and put out his WORST FUCKING ALBUM EVER. And Jesus himself was SO pissed off and disgusted that he sent down COVID to DESTROY THE EARTH. This is all YOUR FAULT, KANYE
Perhaps it was inevitable that we’d end up in the Donda 2/Vultures 2 timeline, but Yandhi is an album the world NEEDED, god damn it. These unfinished tracks vary in levels of polish, usually with Kanye’s own verses being the missing piece of the puzzle. But the hooks and instrumental parts are mostly left intact. Thank the boys tracking the Kanye leaks for gathering the literal hundreds of scrapped tracks that were made during the Yandhi sessions. You can figure out for yourself what the album could have become, and what’s left is at least good enough to satiate my curiosity. Nevertheless, it also fuels my pain and suffering…
8
Jai Paul - Bait Ones [2019]
(position on previous list: #70)
Jai Paul is one of the most talented musicians who has still not put out a damn album! Bait Ones only technically qualifies for this 2015-2024 time period. These tracks date back to their leak in 2013, though he’s touched them up marginally since. Compare the volume levels between the leaked version and the current version, and you’ll see the mastering job on these ‘Bait Ones’ tracks is more respectable. The thing about Bait Ones though, is that the album is still left in its unfinished state. And so, we’re left wondering the possibilities of a world where Jai Paul’s debut came out in a completed form. If only…
Except here’s the thing about Bait Ones: It’s already pretty damn good. This might leave you with the impression that a ‘finished’ Bait Ones would be a hundred times better, but you need to consider the following thoughts. Firstly, are these tracks not mostly finished? And likewise, do these tracks need to be MORE finished? Lastly, would these tracks have ever been finished in the first place? It’s a lot to take in at once, but it’s entirely possible that these tracks got leaked because someone in the industry knew for a fact that this album was never going to be finished. Take it from someone who was looking forward to the new Wrens album and Yandhi, sometimes these bastards just don’t release their projects! For all you know, this leaked version was always going to be the only version of this Jai Paul album you’d ever hear.
Given more time working on this record, Jai Paul’s tastes could have shifted entirely, leading to the scrapping of genius heard on Bait Ones. In the worst possible scenario, these shifts in taste lead to project self-destruction like Yandhi -> Jesus Is King, or The Wrens’ new album into Aeon Station’s Observatory. The leaked Jai Paul is as complete an album as we’re going to get. And at least it got an official release at all! In its current state, these are some memorable, near-groundbreaking tracks if we’re holding them up to early 2010s standards. By late 2010s standards, it doesn’t feel that far out of place, perhaps belonging more to 2019 than it did to the Odd Future landscape of 2013. Whether or not it’s ‘finished’, this ‘Bait Ones’ record got plenty of plays from me, which qualifies it as a good release just like anything else on this list.
7
Between the Buried and Me - Automata I/II [2018]
6
Death Grips - Bottomless Pit [2016]
5
Squid - Bright Green Field [2021]
4
Brand New - Science Fiction [2017]
(position on previous list: #42)
So many words have been said about Jesse and the legacy of Brand New since the release of Science Fiction, that it’s pointless to grate on about Lacey as a person and what this record represents from his perspective. If anything, this event was just a taste of music discourse to come, and far more innocent artists have been invalidated and exiled for far less than this. The Disney-fied cycle of media isn’t ready for artists with sketchy background checks, and whether or not you can forgive a person for something awful they did 20 years ago doesn’t matter so much when you can just replace them with someone else!
The modern sensitivity of our culture is frustrating, but even so, we’d be fooling ourselves if we pretend that Brand New wasn’t immediately going to break up after this album’s tour. Science Fiction is an album that represents a group of creative musicians that only had enough ideas left to fill out one more tracklist. Case in point, it took eight damn years for this album to formulate, and none of the members of this band have done anything in the seven years since.
The only thing that Brand New has lost in our current culture is a bit of their relevance with younger listeners. But if you really think Brand New should be grouped up in the modern day canon with bands like Duster and Candy Claws, well… Maybe we gotta start looking at the bigger picture here. Science Fiction was never intended to be a fishing hook thrown into the pool of new listeners. These lyrics aren’t meant to appeal to those looking to get their fix on sadboy emo/slowcore music. These words have a hell of a lot of gravity behind them, and unless you too have been a victim of your own selfish mistakes, they’re not going to resonate with you in the way they’re designed to. It helps that this is a musically impressive record as well.
3
Deafheaven - Infinite Granite [2021]
My ‘one album per artist’ rule definitely bites me in the ass with Deafheaven, arguably my favorite artist during the past 10 years. By all means, ‘New Bermuda’, ‘Ordinary Corrupt Human Love’, and ‘Infinite Granite’ are all worthy of spots on this list. In my previous decade list, I made the contrarian choice and picked New Bermuda over Sunbather (New Bermuda ranked #17 on my previous list for reference). And now, I’m doing something far more contrarian by picking Infinite Granite over New Bermuda! By this logic, I would consider Infinite Granite to be the best Deafheaven album, but let me reassure you that my opinions have shifted over time, and I’d still consider Sunbather to be their best album. Hell, I might even rank Roads to Judah above Infinite Granite, but that’s besides the point. All of these albums rank very closely for me in the same way that I’d rank Mars Volta albums or R.E.M. albums. The point is that it’s ALL good shit.
The more important point I’m trying to make is that Infinite Granite isn’t even the same god dang genre as their previous albums! You might as well attribute this record to another artist at this point, as listening to this versus listening to New Bermuda is two different experiences. Sure, their sweet melodies and thuddy production come into play the same way here as it would in any of their other records. But the levels of energy, the levels of drama, the style of instrumental playing, and the style of vocals are all completely different.
What makes this choice even more strange comes from my usual aversion to new ‘dream pop’ and shoegaze records. Up to this point, the only albums on this list I could categorize under those umbrellas would be Title Fight’s Hyperview and Sianspheric. The floaty reverb vocals and guitar chords are all here. So what’s the difference between this record and a band like Nothing or Whirr? It’s because Deafheaven actually knows how to write a god damn song, that’s what! If this wasn’t already apparent by their monolithic post-rock offerings from their previous four records, Deafheaven has proven that they aren’t some dinky spotify autogen-playlist fodder. And as much as I love hearing them re-release their ‘Envy-style post-rock with screaming’ ideas on every album, they clearly knew that their clock was ticking. They had to try something different, and it's this comforting tracklist that stuck out to me during a year clouded in a haze of COPE AND DESPAIR.
As well as recommending New Bermuda and Ordinary Corrupt Human Love, two albums also released within the last 10 years, I should also mention their wonderful Sunbather remaster that was released in 2023. AND their ‘10 Years’ compilation, which is worth listening to for their tightened up rerecords of Roads to Judah tracks, amongst other things.
2
Gospel - The Loser [2022]
1
Nocturnal Habits - New Skin for Old Children [2016]
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