Still can’t crack the code: TOKYO GIRLS’ STYLE’s “Hikaru yo”

It doesn’t take a grand feat of hindsight to see where it all went wrong for TOKYO GIRLS’ STYLE, especially now that Avex is backtracking as fast as possible. When the members of the group grew up, their record label looked to be maturing them into more sophisticated “artists,” rather than idols with a big marketing ploy that involved declaring they would no longer be performing certain songs (“Onnaji Kimochi” and “Ganbatte Itsudatte Shinjiteru”), a transition out of their signature New Jack Swing sound into more electronic territory, and, eventually, the lose of a member. Avex was banking on the idea that after giving the market what it wanted (idols, more idols, just idols, all the time), it could take a loyal audience with them into territory where they were more comfortable, and leave the idol experimentation to sub-labels like iDOL Street. Unfortunately, this turned out to be a bit of a miscalculation.

This failure could be for any number of reasons, not least which is that the new material just didn’t live up to the old. While not horrible, it was jarringly different: musically speaking, TGS’s first four albums are near perfect at marrying peppy messages of positivity with idol what-have-yous to a classic 90’s TK, J-pop sound — it’s not an easy trick to pull off. But it seems that the team behind the group took it for granted, erroneously believing that, like many idol groups before them, the members themselves had established enough of a connection with fans that they would be followed anywhere they went, even into adulthood. But it seems that while fans primarily of idols and idol groups want to watch their biases grow, they don’t want them growing too much. Turns out there’s a line in the sand, when the unwritten contract between idols and their fans cease to exist regarding any number of expectations from behavior to lyrical content, that can cause a gradual erosion of loyalty. And when fans began to slowly abandon TGS after the abrupt set of changes, Avex didn’t necessarily try harder at marketing to a different audience — they just pushed forward and hoped for the best as the four women left in the group were forced to start from scratch. Yet now it seems an opportunity has presented itself.

First, two idol groups affiliated with Avex disbanded last year (GEM and X21). Second, none of Avex’s recently debuted non-idol groups (FAKY and Def Will) seem to have taken off. Though the group announced as early as 2017 that, just kidding, they’d like to be both “idols and artists”, it’s with the release of their new single, “Hikaru yo,” that it seems Avex is truly rethinking their strategy and steering TGS back into the services of full-on idol worship. The song and PV have no distinguishing features of which to name; instead, it is generic J-pop at its lowest common denominator, a song that could be sung by virtually any group, with a visual that includes an attempt to turn the clock back with a magical-girl transformation sequence that sees the members go metaphorically from very contempo-SPEED back to dolls. With neither the chunky beats present on their first four albums, nor the dance-heavy groove of their “post-idol/artist” era, the song is a blank canvas on which audiences can begin drawing, or re-drawing, their expectations (in case it isn’t clear enough, the B-side for this single is titled “Reborn”). Only a follow-up single just as formulaic and bereft of personality can confirm suspicions of the label’s intentions, but the prognosis doesn’t seem promising.

With so many of their all-girl idol groups folding and their dance groups not taking off, it looks like Avex still hasn’t quite figured out how to tackle the market in a musical environment where, despite predictions and best intentions, idols, rather than artists, still dominate. I am curious to see if TOKYO GIRLS’ STYLE will survive a second re-branding, but skeptical, and overall disappointed at what their failure at moving forward as artists and young women says about the current state of J-pop.

[ Photo credit ]

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Top 10 East Asian pop/rock albums of 2018

With labels scrambling to debut as many rookies as possible to distract fans from recent scandals, lawsuits, and the ever-shrinking pool of legacy groups from which to draw, it’s been nearly impossible to keep up with the mostly mediocre or one-off mini-albums K-pop released this year. While this practice isn’t anything new, it does make it harder to enjoy a genre whose days of tent-pole hits with the power to unite eyes and ears nationwide has passed. However, these lowered standards (followed by lowered expectations) makes it easier to spot the masterpieces and the true stars who have stuck around, not because sacrificing a giant chunk of their life to the entertainment industry has left them with so few other options, but because of a passion and talent that won’t be swayed by the setbacks of Plan A. Since we outside the industry might never know which are the latter and which are the former, we can only sit back and patiently wait to see how business-as-usual versus genuine enthusiasm separates the herd.

A similar ennui permeates J-pop, which swam in its own self-referential muck this year, drawing on numerous tactics that worked in the past while only occasionally breathing anything fresh and new into the mix that didn’t reek of pandering. Meanwhile, we all stood back and watched as the mighty idol oaks began toppling one by one, from GEM, to X21, to PASSPO, a dizzying domino effect that revealed the same systemic cracks as in K-pop’s foundation. Perhaps it is because of this uncertain climate that suddenly the familiar feels good, a reassuring grip to hang onto until the genre realizes it can’t keep running on marbles. And when done with passion, sometimes you can still catch a frisson of that ol’ J-pop feeling, coursing softer, but no less mighty and proud.

Here are ten of those mighty albums and mini-albums, in no particular order, released in 2018, that prove K-pop and J-pop aren’t dead, that despite their diminishing influence as a powerhouse, a New Sweden, or a cure for the Billboard Hot 100, it still has much to offer if we are patient enough to receive.

JONGHYUN: Poet | Artist
More appalling revelations have surfaced in the K-pop industry recently, but none so tragic as the death of Jong Hyun, principal vocalist for one of SM’s most popular boybands, SHINee. Jong Hyun, who was found dead of an apparent suicide in his apartment in December of 2017, was mourned by both fans and industry insiders, the latter who didn’t express surprise so much as grief-stricken resignation. While the exact details of the situation will never be known, it is obvious from his absolutely heartbreaking suicide letter that Jong Hyun was under an immense amount of pressure and in an enormous amount of pain, which was dismissed by both personal acquaintances and professional help. But rather then risk misinterpreting the letter, it is simply important to note, again and more than ever before, that for a star of any kind, fame and celebrity can often be a contributing factor to, not an escape from, mental health issues. It would be unfair to imply Jong Hyun found relief in music or even enjoyed it very much at the end, as good as that would make the rest of us feel – maybe he did, maybe he didn’t. Yet that doesn’t make his last solo album Poet | Artist, any less of a tribute to and record of his last months. Filled with soaring pop/R&B gems, the album is both testament to K-pop’s enduring ability to fight back against cookie-cutter accusations and lack of emotion, and proof to anyone who would deny that Jong Hyun worked hard. He really did work hard. They all work so hard.

EXO: COUNTDOWN
Every year, I can count on SM Entertainment to release an album driven purely by the heady excesses of dance-pop. With no agenda to inform or break new ground, than to revel in This Very Moment in Time, COUNTDOWN is the perfect response to accusations that K-pop has lost its fun side. The big twist is that it’s not a domestic Korean release, instead following in the footsteps of countless K-pop groups clamoring for a piece of the Japanese music market, and just like them, these tweaked experiments prove just as, if not more, enjoyable than their homegrown counterparts. Switching to Japanese hasn’t put a single stumble in EXO’s steps, as they tackle propulsive bops from “Electric Kiss” to “TACTIX” with an enviably aggressive energy.

Fairies: JUKEBOX
Fairies are one of the few J-pop girl groups to make it out of 2018 alive, and the fact that they haven’t suffered the same fate as their Avex sisters seems less arbitrary with a closer listen to JUKEBOX. The album is a crystal clear distillation of J-pop, with the upbeat, dance-centered modern cool of songs like “Bangin’” and “Fashionable” playing alongside the very Avex-specific pop of songs like “CROSSROAD” and “Synchronized ~SYNCHRO~.” Where the album really excels is in its lack of typical idol-pop, the likes of which AKB’s sister groups have churned out this year at a rate James Patterson would find alarming. The state of the J-pop girl group, whether mainstream or niche, is an ever-evolving fluctuation, subject to the whims of fickle and sometimes bored managers and their demanding shareholders. Cherish each moment of fun in the here and now as JUKEBOX does: your favorite group is probably on the chopping block next.

Kyary Pamyu Pamyu: Japamyu
Once upon a time, you couldn’t stalk three paces around this blog without coming across a glowing review of Yasutaka Nakata’s work. But when the inspiration dried up, it dried up hard: first for Perfume, then for Kyary, then for his own solo work. All seemed according to schedule when Digital Native dropped in February, and with it, any last hope that a slump was about to become a revival. Japamyu is not that comeback either, nor is it the Kyary album that fans have been waiting for, but it is the album we were given and it is a tight one, almost holy in its brevity. Catchy hooks sail past on a conveyor belt of hits from “Harajuku Iyahoi” to “Kimi no Mikata” at a speed which almost clear slices your fingertips off. Its bread-and-butter approach to composition and adherence to conciseness should make this feel phoned-in, but the idea that this album has been whittled down to its true essence is too tempting. Given the outrageous indulgences Nakata has churned out in the past few years, this album is a cheery distillation of what he’s still capable of, if someone could just harness and steer the genius, or tell him to just pull it together already.

Ai Shinozaki: YOU & LOVE
Ai Shinozaki finally released a full-length album this year, uninspired title and all. Still, her brand of laid-back pop is the perfect antidote to the artificial hyper-energy of the Oricon charts, a continuation of the breezy sound on all of her previous singles and EPs. Heavy on synths, many of the songs evoke earlier legacy-trends, such as the 80’s radio-jam “Cupid,” and the shuffling bop of “Blanket.” The second half of the album starting with “Baby I’ll Wish…” contains a collection of lost POWER OF WORDS-era Rina Aiuchi hits. There’s nothing here to push Shinozaki into the upper echelons of J-pop history, but its effortless grace feels like a gift, a victory of small steps and persistence that finally paid off.

BoA: WOMAN
There are many times when promo tracks are not accurate reflections of their albums, and “Woman” is one of them. The title track for BoA’s second major Korean release of the year is a doozy, the epitome of BoA’s legacy, and it provides all of the classic Janet Jackson-feels you could want, but it’s hardly the best track of the album. This is where the listener is free to take his or her pick, from the jazzy-pop of “Like It!” to the slow burn of “Hwatgime (Irreversible),” to my personal favorite “Encounter,” an electro-house #1-in-the-making, where distorted vocals weave through a template of loose textures and rhythms in a sublime patchwork of melodies. While ONE SHOT, TWO SHOT was a good, if scattered, selection, on WOMAN, everything BoA touches turns to gold, and it’s our own fault if we had forgotten, in the long interim of releases, just how amazing she is for even a moment.

Airi Suzuki: Do me a favor
As a former member of popular, now-defunct, girl-group C-ute, Suzuki is no stranger to showbiz. So although Do me a favor is her debut solo album, it hardly feels like one. Instead, it feels like a throwback, at times to the decadence of TK-era pop, up through the early 00s, when J-pop was king, not yet aware of the encroaching transformation imminent with R&B and hip-hop’s influence and a young New Yorker named Hikaru Utada. At other times, it couldn’t be anything other than an album produced in 2018, where it’s able to mix all of those potent memories with modern sensibilities into marketing magic. Airi Suzuki makes Do me a favor feel this oldness and newness like a second skin, like cherry-picking influences from all the past career highlights is the natural product of progress, one the Internet has trained us to expect: see how a very-contemporary idol-pop song like “Candy Box” follows a slower, cooler jam like “perfect timing.” It’s the type of segue that only works in a space and time defined by both E-girls and Keyakizaka46, by both Tokyo Performance Doll and Tsubaki Factory. There is only one other album on this list that is less surprising, and just as rooted in a wholly Japanese pop experience, marrying past and present styles in homage to everything that was and everything that will be, and this one was the least expected.

Hey! Say! JUMP: SENSE or LOVE
Speaking of groups being dissolved, this really puts pressure on Arashi, doesn’t it? Johnny’s has had a hard time of it in the second half of the 10s, with groups like SMAP on the outs and the constant rumors of Arashi members’ personal lives interfering with the company’s streamlined vision. And the younger groups groomed to take their place saw lineup hiccups this year as well, with Sexy Zone member Sou Matsushima going on hiatus to treat a panic disorder, and even Keito Okamoto “taking a break” from Hey! Say! Jump to “study in the U.S.,” which we has nothing to do with his penchant for absolutely verboten idol-extracurriculars. (It’s uncertain what Johnny’s finds more offensive: that people can’t control their natural desires to hook-up, or that they are caught doing so. It is also unclear if he will actually be able to return to the group following the company’s scramble to do damage control, but history isn’t on his side). Yet the H!S!J train rolls on, and SENSE or LOVE does a fine job of pretending nothing is amiss. Okamoto’s presence lingers but is hardly missed, as the remaining eight members commit to professionalism. All of this might seem to mark the album as desperate, or at the very least nothing but a catchy distraction, but it works in the album’s favor, loaning it a sense of urgency absent from previous albums that relied more on a relationship with fans taken for granted. The other most traditional album on this list, SENSE or LOVE is low on surprises, but expert at reminding listeners why they come to Johnny’s in the first place, and most importantly, asking them very politely, and very softly, to stay.

BAND-MAID: World Domination
BAND-MAID is becoming a staple here at appears, and no complaints — they already appeared on the best reissue list earlier this week, and now calmly grace a spot in the ten best albums list as well. But this is no mindless consolation — these women have earned their spot with talent and consistency, regularly releasing some of the metal genre’s best music in any language, anywhere. World Domination finally acknowledges the band’s ambitions, bravely asserting themselves when many of their peers are content to stay local. BAND-MAID want more, as stated in the album’s riff-laden, guitar-heavy, drum-bashing lead single “Domination.” Ditching the maid-costume gimmick at this point might be suicide, but it continues to be largely irrelevant to everything the group does and is capable of, and if the worst it did was enhance their appeal, it could be forgiven. But alas, keep your eyes on the true prize: expert musicianship and a growing craftsmanship that reveals itself in the relationship each member continues to hone with her instrument. The pace at which this band moves is mind-blowing, and to release another career-defining album within one year proves this band has the habits of hard work and focus necessary to meet any goal they set. First Japan, then the world.

Seungri: THE GREAT SEUNGRI
In a world full of baby-faced rookies, Seungri, at age 27, is a K-pop grandfather. The youngest member of legendary group BIGBANG, Seungri has been in the business more than twelve years and has already released two solo EPs, and an album in Japanese. Now, after a five-year pause, we get THE GREAT SEUNGRI, which contains this year’s most joyous K-pop single, “1, 2, 3!” Like his earlier solo work, the album relies on big horns, an enormous hook, and the inherent cool of its lead singer. “1, 2, 3!” is the type of song that demands personality, the type of song a debut singer, as yet bereft of connection with its audience, could never pull off. But it’s all cake for Seungri, who takes the song and infuses it with enough character to make even the keenest listener forget that its mostly absent chorus is almost entirely instrumental. Elsewhere, collaborations abound on TGS and while it’s never quite clear who’s helping whom, all parties benefit. The album is rounded out nicely by both ear-wormy dance hooks and slower, more hip-hop-influenced numbers that make it, if not one of the most interesting YG albums of the year, certainly the most complete. TGS is an album you can play from start to finish, secure in the knowledge that nothing is filler, and that nothing sounds like it’s simply trying to recapture a time and place that can now only be reached through an old CD collection.

Honorable Mentions

JUNHO: Souzou
Sumire Uesaka: NO FUTURE VACANCES
Sakurako Ohara: Enjoy
Monari Wakita: AHEAD!
E-girls: E.G.11

Top ten pop/electronic albums of 2018

Pop music in 2018 wasn’t one for the history books, but it has delivered its fair share of healthy distractions, and in the current political and cultural climate, sometimes that’s all anyone is looking for. Below are ten of the best English-language and/or Western pop and electronic albums of the year — ten albums, in no particular order, that made the year just a bit less unbearable and proved there is no end to the styles and content that can be mined from such rich and broad genres across continents.

Ariana Grande: Sweetener
Ariana Grande has spent this year conducting herself with a poise and dignity beyond most pop stars’ capabilities. As proof, Sweetener showcases a notable maturation of Grande’s sound: the album trades most of the Max Martin tent-pole hits for slower, groovier numbers like “The Light is Coming” and “Everytime.” Fans of the pop-maestro need not worry, as commercial demands necessitate the inclusion of some of the album’s best tracks for radio singles, like the effervescent “God is a Woman” and “Breathin’.” But unlike past albums stitched together with equal parts Martin and Grande, Grande alone carries Sweetener with her singular vocal talent, a voice that blends a dizzying assortment of soars and coos and reverb, curated for maximum effect.

Allie X: Super Sunset
It has been a pleasure and a pain to watch Allie X grow as a pop star only to be denied widespread recognition. While it’s easy to write off the artist with a glance at her very Lady Gaga-like visuals, the content of her compositions belies any sense of mere copycat. It’s easy to feel overwhelmed with the sheer amount of music that is released each week, with Spotify and Bandcamp and YouTube all making grabs for ever-decreasing attention spans, though it does make it all the more magical when something brilliant like “Science” cues up, all twinkling synths and epic chorus breaking through the routine of sonic wallpaper. It’s both story and song, a 4D experience you can touch and feel, the wind hitting your face from top to bottom in degrees as Allie punctuates and draws out the win. dows. ro-o-o-o-o-o-lling down. It’s fresh, it’s fun, and it eschews half-measures for the big win; it’s the kind of serious pop music we haven’t heard in years outside of last year’s CollXtion II.

Charlie Puth: Voicenotes
One year ago, anyone would have laughed at the idea of Puth being a viable contender for that elusive gap in our charts: the male pop star. Certainly no one is counting on Justin Timberlake or Nick Jonas any longer. Yes, Post Malone and Drake have massive chart presence where Puth has almost none, having taken grave missteps with his poor debut album and Meghan Trainor collabs, but Voicenotes portends a welcome change. Gone is a reliance on the retro, doo-wop of a youthful Michael Buble, the sort of music that passed through the ears of listeners quicker than a passing siren. Voicenotes shows Puth a bit older, a bit wiser, and most importantly, a bit more honest. Puth finally sounds like a real human being, a person with insecurities and skeletons finally spilling out of a closet previously packed tight with crisp shirts and shiny shoes, and it is only by finally revealing and owning his truths, with a dash of inspired Hall & Oates, that he can finally find a place among the cheesiest of pop stars and their fans, all just as uncool as the rest of us.

Dance with the Dead: Loved to Death
Just like your favorite mass market paperbacks, you can tell just by looking at some covers exactly what the contents will be like. Perhaps it’s the famous clinch, or the back of a shadowy, running figure, or even a a cover taken up entirely by the enormous font of an author’s name. Some of the best genre paperbacks were designed in the 70s and 80s for horror fiction, lovingly chronicled by super-fan Grady Hendrix in Paperbacks from Hell: The Twisted History of ’70s and ’80s Horror Fiction. Any one of these tales, from the one about Nazi Leprechauns, to Satanic nuns, to children with kinetic abilities look like they could be accompanied by one of Dance with the Dead’s albums. Their aesthetic, like the look of all darkwave, looks ripped from the pages of a Stephen King novel, and their latest, Loved to Death similarly leans in hard. Justin Pointer and Tony Kim, the duo behind these morbidly fun 80’s synth-horror tracks, expertly weave in all of their influences, from Justice to John Carpenter to Metallica to create instrumental sonic treats that brim with crunchy energy, like “Salem” and “Oracle,” and guitars, especially on tracks like “Into the Shadows.” Highly danceable, playfully creepy, and always entertaining, Dance with the Dead will fit in nicely with your Stranger Things viewing party next summer.

Janelle Monae: Dirty Computer
Sometimes an artist’s greatest album isn’t a personal favorite: certainly, Monae’s previous album The Electric Lady contained just as many, if not more, attention-grabbing songs and as much style. In fact, Dirty Computer seems a touch less effortless, maybe a bit too glossy, a tad obvious. But it is hyper-stylized for a reason: it’s the logical conclusion of experience, and of time spent in the presence of luminous mentors and the trenches of viral Internet warfare. Slapping a concept film on this album does little to enhance what is already Monae’s winning hand: ability, ambition, and personality. Natural talent puts all of these to work and an appreciative audience hungry for the gospel allows this star to finally come into her own — part cyborg, part human, all American.

5 Seconds of Summer: Youngblood
If you’ve spent five seconds in the electronics department of a Target, you’ve heard 5 Seconds of Summer, who’ve blared from the giant monitors every time I’ve set foot in one over the course of the summer. This relentless repetition makes it easy to forget how fun Youngblood is. Look, it’s hard out there for an English-speaking boy band. Just ask Why Don’t We. The boy band mini-revival rose and set in the shadows of One Direction, and its future is now being pulled into question. In response, 5SOS have released one of their most musically accessible albums, a triumph of synths and enormous pop hooks. Their third studio album sounds like a group that has finally embraced their place in the pop pantheon and taken it to its biggest, most obvious conclusion, whether it’s the lyrical staples of “Want You Back,” “Better Man,” and “Why Won’t You Love Me,” or blissful, windows-down jams like “Talk Fast” and “More.” Part of the ability to appreciate this album will hinge on how much someone is willing to concede that the world hates teenage girls and everything they touch, but once a person can come to terms with the idea that the things girls like and things that are great are not exclusive, we can all evolve as a species together.

Sarah Reeves: Easy Never Needed You
Contemporary Christian, Christian pop, “inspirational music,” or whatever you want to call it, has been mostly segregated to the outskirts of the mainstream. It’s a tough genre to define when it can sound just like anything else on the radio, but you’re not quite sure if it’s about a significant other, or actually Jesus. It’s a tough call to make, and Easy Never Needed You has a good time playing around with those perceptions and doubts. Sarah Reeve’s voice, as soft and pillowy as Ellie Goulding’s, also seems to be taking inspiration from the artist’s music, with fast-paced Top-40 pop like “Something About You” and “Right Where You Want Me.” The album’s more obvious references to faith, like “Nowhere,” and “Faithful,” never feel as preachy as they could; it’s a true crossover album, the kind that blurs the distinction between holy and secular, and when is the latter ever devoid of the former, in a non-religious sense? Music only ever means what you believe it does, and any proscribed interpretations are always presumptive. To whit, Sarah Reeves won’t be making any converts any time soon, but she has made one hell of a pop album.

Rita Ora: Phoenix
Rita Ora is a jack-of-all-trades: it’s been six years since she released an album, but in that time she’s managed to find time to act in mega-blockbusters, shill for major corporations like Skullcandy and DKNY, design clothes, and host reality television shows like America’s Next Top Model. It’s all in a day’s work for today’s young celebrities, but one thing you can’t say is that Ora hasn’t worked hard hitting up every medium, besides, like, podcasts, to remain as relevant as possible. Spreading oneself so thin usually results in poor work, a sign of scattered focus rather than deep dives into true passion projects, but Phoenix, its title a reference to Ora’s trouble with past record label Roc Nation, soars as high as any big-budget pop album in its class. Opener “Anywhere” sets the tone for the record’s trendy EDM hooks and functions as both a statement of intent and a litmus test: non-interested parties are invited to disembark immediately at the next stop. Ora doesn’t have the most versatile pipes, but she’s the perfect fit for an album that would have made more sense released in the summer, perfect for windows-down, volume-high cruising. This is not the type of album that can move mountains, but it can get you out of your chair, and that’s a lot more useful in the day-to-day banality of the average person’s life.

Neon Nox: Syndicate Shadow
What happens when you have the capabilities of a sonic storyteller, but no contract with a film studio? Johnny Jewel and his label mates over at Italians Do It Better are sure to steer you in the right direction, but there is no shortage of artists outside that particular milieu who have their own original Drives and Blade Runners to score. If Dead Can Dance’s specialty is horror, than Neon Nox’s is the 80’s action flick — except few 80’s action flicks in the U.S. were heavy on these particular massive synths, culled from all the best glittering gems on the italo-disco circuit, like Vincenzo Salvia on steroids. There is no shortage of these kinds of synthwave artists (many featured on this list!), and a quick visit to NewRetroWave’s page gives you an assorted menu from appetizers to these kinds of full courses that do everything but hand you a script. Rather, the opening track recalls TRON: Legacy‘s “The Grid” in setting the scene and then inviting you to use the song titles as prompts and the limits of your own imagination, like a sonic storybook. The unique perspective each person will bring to “the score” in the interactive nature of the genre  is part of what makes this particular sub genre so compelling, and Syndicate Shadow so fun.

Troye Sivan: Bloom
Troye Sivan has had a whirlwind year, least of which is collaborating with Charli XCX on one of the year’s most fun singles, “1999.” Like Rita Ora, when he’s not discoursing upon Justin Timberlake’s “inspiring” ‘N Sync ‘do, he’s working on any number of side hustles, including acting (no big deal, just critically acclaimed flicks like Boy Erased). This year also saw the follow-up to his debut album, Blue Neighbourhood, and like “1999,” it’s a bit of a throwaway, with playful tributes to the dawning of 90’s teen-pop, down to that Michael Jackson and Naomi Campbell 2-tone vibe in single “My My My,” haunting each catchy, hook-laden corner. It’s never more apparent than on the stand-out titular track “Bloom,” and “Lucky Strike,” which meld funky tempos with finger-snapping beats. While I’m not entirely sold on the album’s more introspective moments, when Sivan is at his most confessional, it proves the album is more than just surface: a deep heart beats beneath Sivan, a dual nature that captures life’s black and white, its good, its bad, its highs, its lows, and the beautiful moments in between.

Honorable Mentions

Robert Parker: End of the Night
Kimbra: Primal Heart
Midnight Danger: Malignant Force
Wild Moccasins: Look Together
Annalisa: Bye Bye

Top 10 hard rock/metal albums of 2018

Unholy cardinals, power vocals, raging battle cries, sludgy doom, and even the type of rock that requires being draped in multiple bohemian scarves: this list has it all, in no particular order, proving that, at least in 2018, rock music was far from dead.

Khemmis: Desolation
It shows a lot of optimism that Steel Druhm’s review of Desolation for Angry Metal Guy considers Khemmis “early in their career” when so many bands release a couple of albums and an EP and disappear. But it’s hard not to share that optimism about Khemmis: both of their previous albums found their way on to many year-end lists, showing off an enviable career trajectory that shows no signs of dipping. The band keeps it tight with six tracks, most stretching out anywhere from 6 to 9 minutes of oozing doom metal, like wet silt in slow motion. Moments of stereotypical cookie-monster growls can retard the album’s momentum (“Maw of Time“) but the album never loses its grounding in Ben Hutcherson’s soaring vocals. In Decibel Magazine, he attributes the band’s success to the healthy competition that ignites proverbial fires underneath simmering inspiration, separating the hobbyists from the die-hards. With this pattern of hard work, reflected in both the members’ personal and professional lives, it’s easy to get swept up in the hopes that this really is just the beginning, in the possibility that there could be work comparable to, or even surpassing, Hunted and this year’s Desolation; I trust the far-more knowledgeable Angry Metal Guys and look forward to hearing more great things from this band in the years to come.

Atreyu: In Our Wake
There’s only one reason to return to a band you had already written off as dead years ago, and that’s in the hopes that they are still capable of resurrecting the same passion they conjured at the beginning of their career. But Atreyu aren’t interested in nostalgia, and you have to respect their determination to move forward, rather than re-live glory days. In Our Wake sounds nothing like Suicide Notes and Butterfly Kisses or The Curse; it sounds, instead, like sonic alchemy, the perfect combination of Avenged Sevenfold (who make a brief appearance here) and old Killswitch Engage, an aggression mixed with melodic highs never short on a couple of trademark screams. Post-hardcore might seem like a sub genre with limits — those limits having been hunted in the mid 00s to extinction — but the most ambitious bands no longer scrape the barrels of stand-bys, instead incorporating the spiraling rise and falls of slick, Mutt Lange-era metal with intense riffs (and here an unfortunate caveat: the terrible lyrics to go with it). It’s probably too mainstream to gain any wider recognition in the world of hard rock, but Lange had no shortage of haters in the 80s either.

Ghost: Prequelle
The revelation of the identities of the erudite lead singer and former Not-So-Nameless Ghouls of Ghost through the latter’s legal dispute seems to have freed something in Tobias Forge, the mastermind behind “Circe” and “Square Hammer.” The stage is opulent, the costumes razor-sharp, and the music particularly laser-focused. While previous albums mostly relied on the Satanic shtick to conceal very universal human conditions (as James Poniewozik noted, “Religion makes great material for horror stories”), Prequelle has a very personal resonance masquerading under the larger umbrella-concept of The Black Plague. This concept can be read as the story of Forge’s betrayal by those in whom he placed a lot of trust, from the album’s lead single “Rats,” (disease-carrying, and human-variety) to “Faith” (not specifically ecumenical trust), all the way down to “Pro Memoria”‘s promise of otherworldly vengeance, an ashes-to-ashes promise that comes for us all. Along the way, we get catchy hooks and giant choruses that evoke everything from disco (“Dance Macabre“) to jazzy saxophones (“Miasma”), wrapped in the band’s signature riffs and guitar solos. It’s their poppiest, most accomplished album to date, one that pays close attention to visuals and storytelling, and rewards repeated listens. The genius of Ghost was never the secrecy, though it did parallel a certain sensual mystery to a religion historically obsessed with such opulence, but the very real man behind the music who is finally reaching the full glory of his potential, and the recognition that comes with it.

Caravane: Supernova
Ever since Kent, Sweden’s greatest band, announced they were breaking up, there’s been a hole where all the best moody, electronic-influenced rock music used to reside. Judging by their last couple of albums, nobody would have guessed that Canadian rockers Caravane were capable of carrying the torch, but Supernova proves that the band is still on a quest to find their perfect sound. Unlike the more sedate Fuego or Chien Noir, Supernova is as big as its name implies: for the first time Caravane releases all the drama and passion absent on their earlier efforts. Huge, sublime numbers like “Karma,” capture rage without sacrificing the kind of cool that makes it all seem effortless, while the near-perfect “Hong Kong” blends it all with the melancholy sheen of the album’s slower moments. Discovery is around any corner, and Caravane sound like they finally stumbled upon the most important one they’ve been looking for: purpose.

Brainstorm: Midnight Ghost
Normally, a band that’s been around for eighteen years won’t have many rabbits left in their hat, but every once in a while, that axiom gets blown to pieces. While Brainstorm’s twelfth album Midnight Ghost doesn’t break any new ground, this German metal band gamely sing for their supper in a concise crash course in Metal, blazing through big tracks as reliable as they are heavy. Album standout “Jeanne Boulet (1764)” captures the essence of this band at their best: storytellers with a penchant for those Iron Maiden tales, funneling something novel into what would otherwise be nothing more than rote homage. It doesn’t get any more classic than this.

Visigoth: Conqeuror’s Oath
Power metal now has such a long, storied history, that it seems almost impossible to wring anything new out of the genre. But all of the clashing swords and medieval castles are just window-dressing on Visigoth’s new album Conqueror’s Oath. A true power metal album preoccupied with sorcery and adventure, the album’s opener “Steel and Silver” sets the tone with brisk guitar licks and dynamic vocals gliding over drum beats marching you straight to war. It’s the geekiest album on this list, but its dedication to capturing the authentic spirit of what Steel Druhm at Angry Metal Guy calls “olde timey metal magic” is unequal. Not bad for a band that hails not from the frosty, medieval hills of Eastern Europe, but a little town nicknamed The Beehive State.

Michael Romeo: War of the Worlds, Pt. 1
All things in moderation is sound advice, up to a point, but if Romeo had taken those words to heart, we never would have gotten War of the Worlds, Pt. 1, this year’s finest melding of metal and symphony. The album is the incendiary follow-up to 1994’s The Dark Chapter, and is propelled by Romeo’s singular brand of excess; heavy, fast, and perpetually accelerating, the album exploits every instrument in its arsenal, not the least of which is its orchestral elements ripped from the heads of stated influences John Williams and Bernard Hermann, and guitar solos that rip through songs with the speed and choreography of a big-budget action flick. The follow up, War of the Worlds Pt. 2, is already long-awaited and if even half as good, is expected to blow out eardrums in a set of headphones near you.

The Amity Affliction: Misery
Over time, some genres end up sounding more dated than others. Post-hardcore/metalcore can be one of those genres, perhaps because it still lives in enough embarrassing collective memories of the years your bangs covered half your face and wearing a button-down with the collar popped out beneath a T-shirt was a great look. The Amity Affliction doesn’t have time to wait long enough for these memories to become wistful, rather than cringe-worthy, and so they soldier on, unleashing their inner Hawthorne Heights like they did from the very beginning. And despite all of the odds, it works beautifully. The band really excels at teasing out all of the genre’s strongest elements, from the exclamation point of chugging growls to the quiet declarative verses, like “Burn Alive,” or the album’s title track “Misery,” which bounces expertly back and forth between the two. It’s like 2007 all over again, but it feels so good.

Thundermother: Thundermother
With Greta Van Fleet causing a commotion in the world of classic rock, it’s easy to overlook Sweden’s bumper crop of classic-rock revivalists. The country has been hard at work churning out a roster of Thin Lizzy/AC/DC sound-alikes to the tune of Honeymoon Disease, Travelin Jack, Hallas, and Spiders. But the best of these this year is Thundermother’s self-titled album, a brash, energetic distillation of this updated sound. The group sounds less like a parody than a band enjoying the heck out of their favorite type of music. There’s no shortage of this type of sound (really, there’s no shortage of any type of sound anymore, if you look hard enough), but Thundermother make themselves easy to spot among the long-haired, vest-wearing, scarf-trailing stadium crowd.

Greta Van Fleet: Anthem of the Peaceful Army
No rock debut has been as divisive this year as Greta Van Fleet’s Anthem of the Peaceful Army. Pitchfork opens its review with this damning lead: “Greta Van Fleet sound like they did weed exactly once, called the cops, and tried to record a Led Zeppelin album before they arrested themselves.” Rolling Stone acknowledges the band’s shortcomings (though they seem to save the most pointed vitriol for the members’ ages), but admits that “there’s also a charm to their guileless, retro-fetishist conviction. And dudes have chops,” in the very definition of a back-handed compliment. While RS’s review wants to be more forgiving, both illustrate the problem with the gate-keeping impulse of “true” music fans, the kind who have forgotten how to enjoy anything remotely commercial and not oozing authenticity. It’s not surprising, but it’s disappointing. Mostly, I think people hate Greta Van Fleet because they look like they’re trying a little too hard in the wardrobe department, as if the only thing Led Zeppelin ever cared about was the music, man. It’s a shame because this album is a fun tribute, with fiery vocals and propulsive drive, and if it all feels just a little too derivative, well, it’s not like the band is pretending otherwise. That’s more than anyone can say for publications trafficking in a deluge of tobacco and pop star-endorsing ads while claiming to hold the higher ground.

Honorable Mentions

Rising: Sword and Scythe
Satan: Cruel Magic
Crying Steel: Stay Steel
Spiders: Killer Machine
Amorphis: Queen of Time

Top ten original soundtracks/original scores of 2018

A disclaimer: I am not a movie person. Nor have I really played video or other games, Tetris notwithstanding, in about fifteen years. I have nothing against any of these mediums, but I am not passionate about them, and when you have limited time to pursue avocations after a day at work and doing all of the adult things that need be done on a seemingly endless loop, your perspective on what is really and truly important to you becomes very clear. Simply put, I put my time toward what is most meaningful to me, which is music, and only occasionally watch films, and don’t play video games at all. This can be problematic for someone who adores film and video game soundtracks as much as any other of my favorite genres, but it doesn’t have to be.

In Charlie Brigden’s July installment of his monthly soundtrack roundup at The Quietus, he admits much the same, acknowledging the dissonance of enjoying a soundtrack bereft of the visual its created to enhance. “The context is obviously the film itself, so by taking the music away from that you are completely stripping it of context and relevance, right?” he asks, and concludes, no, not really. I generally agree that there seems to be two types of original scores: “On one hand, you have composers that are interested in curating an album that is musically interesting as a record, while on the other there seem to be those that put the score on album as it is and leave it at that.” It is the former, the “musically interesting as a record” scores that, as someone who watches so few films, appeals most to me. The majority of the records on this list will reflect that bias, though the latter is in no way missing. I am aware of how this might impede my ability to enjoy a record that could be perfect save the fact that I haven’t seen its corresponding film or video game.

All lists are biased, and this genre, as represented on this blog, is particularly so — I would rather “listen” to a movie then watch it. My philosophy, summed up by Brigden again, is that “[soundtracks] are a separate product, even if they are ostensibly a by-product of the film.” And like all the music I listen to, I do my very best to judge them as such, for when a score can entertain or bewitch on its own, like any other popular song removed from its music video, it is a success worth celebrating. Here are ten released in 2018, in no particular order, that deserve a party.

Humans: Dead Shack (Original Motion Picture Soundtrack)
Mostly here to fill your Stranger Things void, the soundtrack for indie-horror film Dead Shack is obviously inspired not only by John Carpenter, but by Kyle Dixon and Michael Stein’s homage to John Carpenter and other synth scores of the 1980s. Yes, we’re there now. Lots of imitators have emerged since Stranger Things became such a success, but Humans have managed to create a truly eerie and menacing vibe in this bare-boned score, where the hushed silences in between speak the loudest.

John Powell (& John Williams): Solo: A Star Wars Story (Original Soundtrack)
If you know nothing about John Williams, you can spend a whole afternoon studying the Music of Star Wars portal on Wikipedia and walk away bewildered and overwhelmed by his work on the legendary sci-fi franchise, but it’s only if you spend additional time even briefly skimming his body of work that you begin to get an understanding of the pressure someone like John Powell faced in composing Solo: A Star Wars Story. Powell, a giant in his own right, called the experience “difficult,” “nerve wracking,” and “professionally humbling” in the booklet accompanying the CD release, yet he needn’t have worried. Though Powell is mostly known for less “heavy” films (last year’s Ferdinand is a particular career-highlight for me), that doesn’t preclude him from casting a little bit of his own “witchcraft” and weaving a bit of his own “profound storytelling.” Solo offers the experience of old-school action and adventure fans expect in the canon, without ignoring all of the romance inherent in the genre. Whether the film itself reflects this same swashbuckling grandeur is up to professional film critics and anyone who has seen more than just one of the films.

The Newton Brothers: The Haunting of Hill House (Music from the Netflix Horror Series)
The Haunting of Hill House has received mixed reviews, dividing fans of innovative, artsy horror and viewers who like a little domestic drama with their haunted-house jump scares. Yet the soundtrack for the series finds success on all fronts. There have been a slew of critically-acclaimed horror-film soundtracks this year, from Johann Johannsson’s Mandy, all the way down to mediocre B-grade scores like The Nun (Abel Korzeniowski) and Winchester (Peter Spierig). The Haunting of Hill House finds the sweet spot in between, with haunting melodic pianos interspersed with simple atmospheric mood-setters, reflecting the tone of defeat, trauma, and nervous anticipation permeating the teleplay.

Jukio Kallio: Minit (Original Soundtrack)
There are now whole fandoms dedicated to chip-tune, so Kallio’s entry into the 8-bit world is hardly groundbreaking. But what elevates Minit is its strict adherence to melody and form, rather than simply recreating the tinny wave forms of the arcade. Songs like “Minit’s Awakening” and “Alarming Swamp” are fun-sized odysseys in themselves, capturing the fun and essence of both the video game and The Video Game. It’s a little bit moody and wholly absorbing — the jukebox genres on the second half are particularly inspired, offering near-parodic summations in easy to swallow, capsule-sized bursts, mirroring the game play itself.

James Newton Howard: The Nutcracker and the Four Realms (Original Motion Picture Soundtrack)
Probably the most traditional score aside from Powell’s Solo that you’ll find on this list, James Newton Howard’s The Nutcracker and the Four Realms is the composer’s best score of the year, in a year full of choice picks — indeed, it almost feels that the pick for this panned Disney fantasy flick is mere seconds away from becoming another panned fantasy flick, Fantastic Beasts: The Tales of Grindelwald instead. That’s because the two soundtracks share several similarities, and while Grindelwald has the distinction of not lifting pieces from Pyotr Tchaikovksy’s The Nutcracker Suite, it is exactly that which makes it instantly recognizable. But if at any moment the spoils seemed unearned (certainly any other producer might not get away so easily with the score’s not-unusual take on the material), it’s worth remembering that any holiday bauble is meant to be a shiny, glittering confection that evokes the warmth of childhood and holidays gone by. And there’s enough of all of that mixed in with the gloomier pieces, plus a fun Nutcracker 101-piano solo by Lang Lang, to make this as beautiful, and rose-colored, as any holiday memory.

Mogwai: KIN (Orignal Motion Picture Score)
Because all of the cool kids are getting original scores, why not Mogwai, who are veterans of the genre and already pretty adept at moody atmospherics? In what Stuart Berman calls “impressionistic sketches,” the band revisits career highlights and dials the tone down to an exquisite melancholy, the kind of quiet, dour ambience that demands a set of noise-canceling headphones and perhaps a hug from a loved one afterward. But it’s not all stark and starless, as touches of orchestration and synth provide a lively noise to softer piano-lead cues like “Eli’s Theme” and “Funeral Pyre.” It all makes for cold comfort; but you knew that was coming when you saw the name Mogwai.

Lady Gaga & Bradley Cooper: A Star Is Born (Soundtrack)
If you’re the type of person to get swept up in Oscar buzz, you’re already familiar with the attention being paid to A Star Is Born, the third in a line of remakes of the original 1937 film (two English-language, one Hindi). That’s a helluva lot of pressure, to share the spotlight with Judy Garland and Barbra Streisand (I’m not too worried about Shraddha Kapoor), and to craft a meaningful soundtrack to the one movie on this list that contains the largest amount of source music. But if anyone is up to that task, it’s Mother Monster, who has been laying low since 2016’s surprisingly serious, less poppy (some would say, disappointing) album Joanne. A Star Is Born folds neatly into this new era in Gaga’s career: she cut her teeth on theater and that sense of high-school drama permeates all of her work, but none so much as her work with Tony Bennett, the stepping stone off which Joanne and A Star Is Born launched. A Star Is Born gives us this, without forgetting to provide a taste of all of the Gagas: introspective Gaga, serious actress Gaga, poppy Gaga, and hard-working, dying-to-be-taken-seriously Gaga. It’s not always a successful mix, especially when Bradly Cooper adds his two cents, but its whole never begs to be more than its beautiful parts. You root for Lady Gaga not because she always succeeds, but because she always gets back up again.

Jason Graves: Moss (Original Game Soundtrack)
Jason Graves hides nothing: his YouTube channel stands as a testament to the ideal Internet, the kind where information is abundant and free, where everyone is willing to share and pass along what they know, not for pecuniary gain, but for sheer enthusiasm and passion. On top of it, he lives surrounded by a veritable zoo of adorable animals (what he calls his #AudioArk), not unlike in Moss, the pint-sized PS4 adventure game starring a cute little mouse named Quill. Graves’s gentle score for this game lends the perfect ambiance to the rich Earth tones of the world, keeping within the spirit of all the low-to-the-ground, foliage-filled perspective with its sustained flutes and hushed percussion. It’s all a bit mysterious and quiet, almost folksy at times, and though its compact sound occasionally grows, it never hits eleven like a full orchestra could. It doesn’t need to: like its hero, it proves that even the smallest among us are capable of doing big things.

Lena Raine: Celeste (Original Soundtrack)
Something hauntingly vague, though familiar, runs throughout Raine’s soundtrack to the Celeste video game. Tinkling piano notes like skipped stones pepper ice-cold synths, and minimal melodies do little more than evoke atmosphere, like many a bedroom-DJ before her. Yet Raine wrings genuine pathos from each number, their lengths varying from sips of hot cocoa to an indulgent evening by the fire. Not all video games are either epic symphonic suites or chip-tune beeps, but somewhere in between, somewhere as yet unexplored. Here, Lena Raine investigates this territory with a sensitive, shy reserve, but a big warm heart.

Marc Shaiman: Mary Poppins Returns (Original Motion Picture Soundtrack)
Despite the endless number of remakes now being churned out by the fistful, it’s hard not to get swept up in the excitement. After all, this is where Disney excels: marketing, advertising, selling substandard, cheap products made to look and feel like luxury experiences (or maybe last year’s cynical Fantasyland: How America Went Haywire, A 500-Year History by Kurt Andersen has made any reader just a bit more suspicious). On top of it, this is a reboot of one of the most beloved movie musicals of all time — is it possible even theater-darling Lin-Manuel Miranda, Emily Blunt, and Meryl Streep can’t save such a vehicle? Irrelevant to our interests: the soundtrack, released ahead of the movie , is an experience all its own. There’s a reason Miranda cautioned moviegoers against spoilers: the soundtrack leads you, scene by scene, through the plot’s highlights, all the time indulging in the campy, clever, wink-wink humor of vaudeville inherent in classic Broadway musicals. Shaiman waves that magic Disney wand over the entire production, making the entire affair feel like notes left behind in Tinkerbell’s fairy dust — you’re not quite sure if this is as good as it sounds, or if there is some Fantasia-level of sorcery at work. Certainly it’s difficult to find any producer outside of this brand indulging in such a traditional sound, especially one that forces you into a nostalgic haze whenever the music quotes sections of the original score. It’s an immense sound, a rich, mammoth experience you can only get from a full orchestra, one with the ability to envelope you, to transport you, and to return you just a little bit starry-eyed, and just a little bit less disillusioned.

Honorable Mentions

Thomas Adès: Colette (Original Motion Picture Soundtrack)
Brian Tyler: Crazy Rich Asians (Original Motion Picture Score)
Christopher Larkin: Hollow Knight: Gods & Nightmares
Mark McKenzie: Max and Me (Original Motion Picture Soundtrack)
Rupert Gregson-Williams: Aquaman (Original Motion Picture Soundtrack)

Top ten debut albums of 2018

Debut albums are opportunities to establish a voice, a sound, and a vision — a promise of what’s to come. Sometimes this long-labored effort is never replicated again, and what we’re left with is one great moment, no less worthy because of its singularity. Who will be the unlucky few not to make it? That debate is fun, but not nearly as much as watching someone, against all odds, succeed and grow as an artist. If all of us have at least one great work of art within us, these are ten, in no particular order.

Ella Mai: Ella Mai
Ella Mai is the logical love-child of SZA’s breakthrough last year and the lingering chart run of the magical Khalid & Normani duet “Love Lies.” Ella Mai could do without all the cheesy talking (personal pet peeve) and I’m not sure why anyone is still letting Chris Brown be a thing, but this album’s cool evocation of 90’s R&B styles (see “Boo’d Up”) is a lovely addendum to a year full of them.

NINA: Sleepwalking
Italo-disco inspired, heavy retro-pop done expertly, with all the best intentions, from cited influences Depeche Mode and Kavinsky. Don’t expect the latter’s heavier electro bits: this isn’t Drive. It’s more delicate than a lot of the usual from the synth-wave/Bandcamp set, but no less evocative (“It Kills Me”), and no less rich in wistful affection for the kind of dreamy 1980s you can only find in music (“Beyond Memory,” “80’s Girl“).

fromis_9: To. Heart
Melissa Johnson does a phenomenal job tracking all the rookie groups in a given year, and brace yourself: there are dozens. It’s hard to bank on any when so many come and go quicker than mouse clicks, so it’s no use predicting if fromis_9 have any staying power. But they have released two EPs this year, and like many of the recent girl groups before them, expertly re-imagine the best parts of early Girls’ Generation (SNSD): fluffy pop confections lighter than meringue and just as sweet.

Chloe x Halle: The Kids Are Alright
Their 2016 EP and 2017 “not really a mixtape” hinted at what this duo could achieve, but the two young sisters, Chloe and Halle, surpassed expectations with their first studio album The Kids Are Alright. In what is becoming the new-traditional, the girls were discovered on YouTube, but prove they are more than their origin story on this electrifying debut that’s so good you can forgive the typo.

Hayley Kiyoko: Expectations
This personal collection of songs is less specific than it is general, a gift to anyone looking for direction, or even just company. It is wonderful having a person in the mainstream whom someone confused or overwhelmed can look up to, and not only is Kiyoko happy to represent, but like peers Dua Lipa, Kehlani, and Kali Uchis, she shows great potential as a pop artist.

Fickle Friends: You Are Someone Else
This British synth-pop duo have carved a commendable niche for themselves in a genre brimming with second-rate hacks and overindulgent copycats. Perhaps this is because the group is committed to relatable dance-pop gems like “Glue” and “Hard To Be Myself” that express a realness often glossed over as inconsequential, laying bare even the smallest anxieties and truths of the everyday mundane by spinning them into noble anthems that make even the tiniest doubts worth chiseling in stone.

Black Honey: Black Honey
The reissue of Garbage’s Version 2.0 has exposed a void left behind by Shirley Manson’s lithe vocals and industrial-sized rock. Black Honey might not fill that hole perfectly, but they could, and lead single, “Midnight Honey” off of this debut album tells you exactly why. Without losing a sense of fun, Black Honey rocks as hard as any mainstream album released this year.

Laurel: Dogviolet
Bedroom singer-songwriters are a dime a dozen, so it takes a lot to stand out from a crowd of pushy opportunists. But Laurel has an ear for melody, one that takes the form of lingering drums and rich piano, of raw guitars pillowed by scratchy vocals. All of these elements come together on Dogviolet, a promising debut album that proves there’s still plenty of room for anyone willing to put in the work to make cliches sound oh so new again.

DIAMANTE: Coming in Hot
Although there’s no shortage of female vocalists in hard rock and metal, most of these powerhouses tend to be found in bands. Very few have made it on the strength of a solo career in the genre. Whether or not DIAMANTE ticks past her fifteen minutes remains to be seen, but Coming in Hot is an especial treat given its draw: there have been many interesting debut albums this years, but none as arresting as this dichotomy — a blue-haired siren delivering tough-as-nails vocals ripped from the throat, straight to your gut. But these are not just the gripes of a teenage brat with a recording contract (and really, it would sill work if it was): DIAMANTE has steel here, in songs like “Bullet Proof,” “War Cry,” and the gritty “Haunted.” It’s the unexpected violence that fascinates, the frustrations of young womanhood given an aggressive, super-melodic outlet with a willingness to fall just a touch too far outside the acceptable, classically-trained, pretty-angry zone that makes it so honest, and so important.

Eves Karydas: Summerskin
When Eves Karydas disappeared to hone her songwriting skills, no one expected her to come back with such razor-sharp precision. Melancholy like Lana Del Rey (“There for You” sounds particularly reminiscent), moody like Lorde, but as charming as Baby One More Time-Britney, Karydas’s debut album is a promising addition in pop’s new emphasis on authenticity and the realities of first-person, lived experience. Summerskin has all of it, and gorgeous melodies on top.

Honorable Mentions

Shannon Shaw: Shannon in Nashville
Frozen Land: Frozen Land
VHS Collection: Retrofuturism
RIRI: RIRI
Party Nails: Past Lives & Paychecks

Top ten remastered/reissued albums of 2018

Every year the new releases keep piling up, and not far behind them is a long stretch of music history, staying fresh in memories with the sheer number of remasters and re-releases that grace our ears each year. With glossy new packaging and technological studio wizardry polishing up those dusty old master tapes, it’s easy to make the old look and sound just as fresh and exciting as any debut artist, with an added bonus: there’s no work involved in learning to love what is already familiar and comfortable, just a chance to re-appreciate a classic. Here are ten albums, in no particular order, that were remastered and/or re-released this year, across genre and language, that sound just as good as we remember, and now, even better.

Metallica: …And Justice for All [1988]
Metallica has been busy remastering their back catalog in chronological order, and in several formats that range from bank-breaking deluxe LP boxes to gate-fold digipaks sold for $5 apiece at Walmart. …And Justice for All is their latest, though anyone hoping for a louder bass line in the mix will be disappointed. However, …And Justice for All‘s infamous sound mixing is part of band lore, and to tinker with it to the extent that the entire soundscape would have changed would have fundamentally stripped the album of everything it is: the story of a band in turmoil, working through grief the only way they knew how; the last of an era. Of course, these backstory bits are fun, but unnecessary for enjoyment. What you’ll get here is the album exactly as it was released in 1988, just cleaner, louder, and with none of the surprises. Let’s hope we get a stateside remaster of the Black Album next.

Various Artists: Katamari Damacy (Original Video Game Soundtrack) [2004]
One of the most delightful video game soundtracks of its time, Katamari Damacy remains a beloved favorite of both gamers and J-pop enthusiasts alike. All of the jazzy, J-pop numbers, as well as iconic theme music are present on this gorgeous re-release, pressed onto vinyl by Mondo for the U.S. for the first time. First pressings that came in a glossy gate-fold on colored and swirled vinyl sold out quickly, but alternate second pressings continue to breathe new life into this masterpiece of game music.

Garbage: Version 2.0 [1998]
One of the definitive bands of the 90s finally got their due this year in a 20th anniversary remaster of their Grammy-nominated second album Version 2.0. Containing the band’s most popular songs, the album was an instant classic that catapulted the band into stratospheric fame beyond what even their debut effort could have foretold. Everything from “I’m Paranoid” to “Push It” sounds crisp on this 2-disk/3-LP set that also contains all of the era’s B-sides.

Megadeth: Killing Is My Business… and Business Is Good!: The Final Kill [1985]
This is not the first time Killing Is My Business has been remastered — most of Megadeth’s albums were re-released in 2004, along with a couple of anniversary editions following. The original remastered Killing, ca. 2002, censored the cover of “These Boots Are Made for Walking,” due to copyright claims, but it reappears here with rerecorded vocals and its original lyrics intact. In fact, many of the songs have parts that seem rerecorded. Purists claims this sullies the original release, and the whole point of remasters in general, but the trade-off is that it allows Mark Lewis to massage an impeccably modern, crystal-clear sheen out of what once sounded closer to a description Patricia Lockwood made about her own father’s guitar playing: “like a whole band dying in a plane crash in 1972.” Whether or not Killing was ever meant to sound so clean or if that messiness was part of its charm, and no matter which side you fall on the loudness wars, the spirit of Megadeth’s debut studio album has been preserved. One hopes this is as truly “final” as the subtitle implies and Mustaine can rest satisfied with this mix that includes several bonus live tracks and demos.

Red Velvet: The Perfect Red Velvet – The 2nd Album Repackage [2017]
The Perfect Red was an appears Top Ten Album last year, and like most K-pop albums, quickly received a re-release two months later to make a couple of extra bucks with the addition of new songs “Bad Boy,” and “All Right.” But just because the new songs and hyperbolic title don’t do much to enhance an already seamless record, you shouldn’t pass up the opportunity to enjoy this K-pop gem all over again.

Alan Menken: Walt Disney Records The Legacy Collection: Beauty and the Beast [1991]
Walt Disney’s Legacy Collection had been re-releasing soundtracks on an anniversary schedule, but have slowed down considerably since 2015, with only one release in 2017 and one for 2018, this gorgeously reproduced 2-disk edition of the 1991 film soundtrack to Beauty and the Beast. Unlike the 2001 special edition, this one also includes previously unreleased material and demos from masterminds Alan Menken and Howard Ashman that provide a window into how subtle changes in lyrics, vocalists, and tempos can change a piece entirely. I’m not sure how “remastered” these tracks are, since many of them don’t sound too much different than those included on the 2001 edition, (though I am assured by experts more knowledgeable than me, that it is indeed much better) all of the original cues remain as sumptuous and sweeping as they first appeared, and anyone familiar with the film can clearly envisage the visuals with the album’s chronological track-sequencing. While Beauty and the Beast is not my personal favorite Menken/Disney soundtrack, it is without a doubt one of the finest, most timeless pieces of music set to a Disney film ever, and can now be fully appreciated with additional liner notes, nicely thick packaging, and stunning gouache artwork by Lorelay Bove that mimics that of the great Retta Scott Worcester. Aladdin next?

The Beatles: The Beatles [1968]
There is no new ground to cover here, considering this is one of the most iconic rock albums of all time, famous not just for its music but for the story of a legendary band on its last legs. Cracks and all, this album is track-for-track the definitive distillation of two of the Western world’s best songwriters, and their equally talented friends (what were their names again?). This 50th anniversary remaster, a further expansion of the Beatles’ 2009 re-release series, comes in several iterations with varying degrees of bonus material that will leave fans occupied for weeks.

Alan Silvestri: The Mummy Returns (Original Motion Picture Soundtrack) [2001]
Intrada continues to do the Lord’s work with their remastering of the action-adventure saga The Mummy Returns, starring Brendan Fraser and Rachel Weisz, the sequel to The Mummy. While Jerry Goldsmith laid fine groundwork with the original (also remastered by Intrada this year), Silvestri’s score really gives a sense of power, with varying tempos, obligatory swelling violins, and rollicking percussion, working within the film’s very smart ode to classic action-adventure films like Raiders of the Lost Ark. Silvestri’s work is in its own league, and though opinions on this will vary, his continuation and expansion of Goldsmith’s score is, in a sense, closer in spirit to the thematic elements of the swashbuckling visuals. Both soundtracks were remastered from the original sessions, and include bonus material left out on the hasty original releases.

BAND-MAID: MAID IN JAPAN [2014]
MAID IN JAPAN is the J-rock group’s debut album that made all the impact of a forcefully lobbed cotton ball. Due to the limited press of its initial run, the album sold out quickly, leaving a legion of new fans without access to it. The album was re-released in new packaging this year alongside their new album WORLD DOMINATION. This coincided release really emphasized how much the band has evolved and grown in as little as four years, with the sophistication and ease of WD contrasting nicely with the simpler, but no less passionate MIJ. It’s a nice little time capsule of a band on the verge of figuring out just what kind of band they wanted to be.

Iron Maiden: The Number of the Beast [1982]
Iron Maiden are going a second round with remasters, the first being in 1998 (although these digital remasters are the same as those available on the vinyl editions released in 2015). For all the purists who hated the edits of the 1998 versions, these have preserved the mixes of the original vinyl releases. So far, their first four albums have been released, and you can take your pick at any one of these foundational NWOBHM releases, though I’m partial to The Number of the Beast, which includes the band’s first appearance with Bruce Dickinson on vocals, and a personal favorite song. Though there’s no new bonus material here (unless you’re into Eddie figurines), it’s never a bad time to get a louder Maiden CD into your collection.

Honorable Mentions

Guns ‘N Roses: Appetite for Destruction [1987]
John Willians: Harry Potter: The John Williams Soundtrack Collection [2001-2004]
Ramones: Rocket to Russia [1977]
Pet Shop Boys: Please [1986]
Def Leppard: The Collection: Volume One [1980-1987]