Best of 2015
Greg Simpson's picks (2015)
Adam Eisenberg
A-HOY HOY!
Hey there, I’m Greg, and I’ve been wasting my time “working†for Punknews since goddamn 2002. I’m the Punknews Podcast editor, co-host of the Midwest music podcast Best Midwestern, and an occasional reviewer.
I’m not gonna get all lengthy here, I’m just gonna pimp my own shit. Go listen to my band Outdoor Velour’s new album and go listen to Best Midwestern.
HONORABLE MENTIONS
Teenage Bottlerocket - Tales From Wyoming, Deerhunter - Fading Frontier, Maritime - Magnetic Bodies / Maps of Bones, Ben Folds - So There, Motion City Soundtrack - Panic Stations, The Decemberists - What a Terrible World, What a Beautiful World
MY FAVORITE RECORDS OF 2015
20. Wavves:
Ghost Ramp/Warner Bros.
Ditching the sludgier, (slightly) slower aspects of Afraid of Heights that earned them Nirvana comparisons, they are back to what they do best- self- deprecating, stoned pop punk. It's a tight 11-song set with no dicking around, just Nathan Williams hating himself in the catchiest, most driving way possible.
19. Wilco:
Wilco is now 20 years into their career, and it's amazing how much they can still be counted on for boundary-pushing yet tuneful rock and roll. Star Wars has its experiments, but it keeps things tight. It's the most no-nonsense record Wilco have put out in awhile, and it's a great listen. The title is hilarious too.
18. They Might Be Giants:
Idlewild
If I had to pick a "favorite band ever," it would be They Might Be Giants. While many dismiss their later catalog, preferring the more ragtag wild nerddom of their early records, the TMBG of the past decade have developed into expert pop songcrafters, engaging the listener while hopping from genre to genre. While it doesn't top their last effort Nanobots, it's another enjoyable album from the Johns.
17. Laura Stevenson:
This is Laura Stevenson's power pop record. Sure it has ballads, but none of her usual fingerpicked acoustic deviations (kinda miss 'em though) and no extra do- dads like string sections or horns (not that I minded). With this one-track mind comes a focus and a high level of songwriting making this the biggest toe-tapper record Stevenson has penned yet.
16. Beirut:
There isn't a strong enough brass presence on this album for my liking, but the songs are still there. Love Zach Condon, a very unique voice in indie rock today. The band approaches songwriting in a way like no other band I can think of; indie rock with a twist of Eastern European folk. Doesn't top the 2011's amazing Rip Tide, but it's a very welcome addition to their discography.
15. Modest Mouse:
The long-awaited 6th full-length from the indie veterans, Isaac Brock and the crew bestow another epic batch of tunes upon us, this one with the environment as a main theme. Most of the tracks are in the mold of what we'd expect from the band, but there are a few new twists and ample solid melodies and arrangements to keep fans satisfied. This might be their weakest record, but Modest Mouse's worst is better than most indie bands' best.
The Sonics:
Revox
These old dudes put all of today's punk rockers to shame. Many consider them to be the first punk rock band ever, taking the Northwest garage rock of the mid '60s and cranking it up several notches (check out 1965's Here Come The Sonics!!! and 1966's Boom. They are essential listening). All the elements that made them great back then are still here.
13. Someone Still Loves You Boris Yeltsin:
After the electronics-sprinkled twee of On a Wire, SSLYBY return with their loudest, fuzziest album to date, but still with hooks a plenty.
12. Beach House:
While I should consider myself lucky that we got two Beach House albums this year, Thank Your Lucky Stars coming about a month after Depression Cherry seemed like almost too much of a good thing, though potentially both could have made this list. Depression Cherry is the one that stuck with me most, another batch of perfect dreampop, though a bit more laid back than Bloom. Also well-worth getting a physical copy of, with the package covered in a textured, velvet-like material, a tactile representation of their sound.
11. Desaparecidos:
It's a rare feat -- a great reunion album. Politically sharp and sonically sharp, Conor Oberst and Co. bust back onto the scene and they mean business.
10. The Sidekicks:
I might be the only one, but I think this is The Sidekicks' best record. I was only a casual fan of theirs before, lumping them in with the orgcore crowd, albeit ones with a real knack for melody. Steve Ciolek cleans his vocals up (and raises the falsetto / high range quotient) and wins me over with this set of ditties that alternates between crunchy and twinkly in equal measures, making for a interesting and captivating punk record.
9. Murder By Death:
Birthed out of my old hometown of Bloomington, Indiana, Murder By Death have always been a source of pride for fans of good music in the Hoosier State. And lucky for us, these guys (and gal) show no signs of letting us down. It was tough to follow up the amazing Bitter Drink Bitter Moon, but they've done it with this dark, brooding collection of songs sprinkled with more genius ornamentation flourishes by kinda-new fifth member Scott Brackett.
8. Jeff Rosenstock:
This is Rosenstock's "grown up" album, but the grown up Rosenstock still has plenty of pep in him. While focusing on the reflective lyrical themes touched on in Bomb the Music Industry! while dialing back the spastic sonics a smidge, Rosenstock finds that perfect balance of youthful and adult.
7. Built To Spill:
Warner Bros.
It's been six years since the indie vets delivered an album, and I never really got into There is No Enemy. Thankfully, Untethered Moon quenches my thirst for their noodly brand of indie rock, with songs satisfying to the guitar nerd in me and the guy who needs that solid vocal line.
6. Sufjan Stevens:
Asthmatic Kitty
I've been waiting a decade for this album since the modern classic Illinois dropped and blew my mind. In the meantime, Stevens has pooped out a bunch of stopgap odds and ends, Christmas songs, and a silly diversion into dance music on The Age of Adz. I've been waiting for that touching folk he is a master at, and he delivers on Carrie & Lowell. A deeply personal album about his schizophrenic mother and his stepfather, Stevens makes the messages hit even harder thanks to stripped arrangements and his hushed vocals, forcing you to lean in and take in every heartfelt word.
5. Sleater-Kinney:
Sleater-Kinney were one of the most important bands of the '90s as far as I'm concerned, leading the charge of the riot girl movement alongside bands like Bikini Kill, and SK were the most musically amazing of the bunch. They've been missed since the explosive album The Woods in 2005. They ditch the boomy production of that album, revealing the razor-sharp musicianship of the trio. It's amazing they could sound this good after a decade apart.
Chvrches:
Glassnote/Virgin EMI
The Scottish trio returns with another batch of addictive synth pop, and while it sticks with the formula of their debut, it was a perfect formula. And I needed more, more, MORE!
Dead Oceans
This band should have been one of my favorites for years, but I'm just really appreciating them now. Joy Division-style baritone vocals, pummeling drums, and the noisiest guitars you'll ever hear. A pedal fanatic's dream.
Every Mountain Goats release is deservingly guaranteed a spot in my year-end list, and Beat the Champ brings a new twist to Darnielle's storytelling by filtering it all through the lens of the old-school regional wrestling that Darnielle grew up loving. Tales of wrestlers, harrowing and tragic, intertwine with his personal stories, many of which revolve around his abusive stepfather who accompanied him to many a match. Another essential addition to his catalog, and in my opinion his best since Sunset Tree.
1. Courtney Barnett:
Sometimes I Sit and Think, Sometimes I Just Sit
Mom Pop Music/Marathon Artists
My favorite new artist of the year supplies me with my favorite album of the year. Barnett brings a fantastic vocal style that combines the philosophical edge of Patti Smith with the everyday observation style of classic Jonathan Richmond and The Modern Lovers. Musically, the album is super eclectic while still being a cohesive work. Looking forward to what the future brings for her, because she's already hitting it out of the park.