This list is by no means comprehensive or superlative. I definitely slept on some albums this year. There is also no emphasis on the numerology of these albums. I loved them all equally and for different reasons, just like my plants. These are the albums that I kept putting on this year. These are the albums that struck me in such a way I knew I had to see these people live. They are the albums that shaped my 2017, which, it seems, wasn’t an easy year for most people.

Japanese Breakfast – Soft Sounds From Another Planet

I’ve been a fan of Michelle’s music since she came out with her debut album Psychopomp. In fact, it was on my list last year. Let’s also commend the fact that this woman has been churning out an album a year and backed each one with an extensive tour. Soft Sounds From Another Planet gets a nod because it shows her maturity as a songwriter. SSFAP encompasses shoegaze along with these epic soundscapes that rush over you like a warm wave like you’re dunking your head under in the bathtub. Perfect for a hazy evening filled with friends or the moment in the road trip when you enter a desert state and the sun starts to set.

Tyler The Creator – Scum Fuck Flower Boy

We see another album full of maturity but also sticking to what he knows best. Tyler the Creator has dropped a little of his riotous, rebellious side and showed a softer, perhaps even sexually fluid side: ”I’ve been kissing white boys since 2004” Most of the maturity is seen in Tyler’s own untangling of personal issues. Loneliness (Boredom), toxic friendship (I Ain’t Got Time!), and sexual frustration (garden shed, glitter). They are sprawled across this album which, by the way, has been nominated for a Grammy. Tyler is trying to mature and he does it via lyrics and a cleaner, shorter album. (He also produced it.) We see much more methodical transitions, like the fact that “See You Again” is a radio request. We still see facets of the old Tyler that we love. Take “Who Dat Boy” for instance, this is the Tyler we fell in love with in “Odd Future”. He sticks to tradition by keeping track ten a two-parter (my personal favorite) While Tyler is no saint and he’s by no means using this album to right his wrongs, he is showing he’s learned from his mistakes.

Priests – Nothing Feels Natural

This band’s name is almost too on the nose but that’s the psychotic perfection of Priests. They hail from DC which is very close to Baltimore which is the catholic epicenter of the United States. Nothing Feels Natural is also freakishly on point with how counter-Coulter or non-mainstream media is feeling this year with he-who-shall-not-be-named as president. NFN is at its heart a punk album but they did a fantastic job of weaving in indie, surf rock, and even jazz while frontwoman Greer croons, cries, and bellows to the crowd. This could be the anthem of the year for those feeling a little more than discontent with the current political climate.

NE-HI – Offers

These chitown boys did something very rare. They made a sophomore album that surpassed their debut one. Offers is the end result of them touring behind their debut and learning who they are as an actual band. They rely more on lyrics and thoughtful riffs. Offers itself is definitely a coming-of-age album for NE-HI. Balla said he wanted the record to be “something of an act of solidarity with people who are trying to figure it all out. There was a lot of pressure and exhaustion and self-discovery in the process of writing and recording. We were trying to find our voice and we’re proud of the one we found.” I think listeners will definitely hear this in the lyrics of tracks like “Stay Young”, “Offers”, and “Out of Reach”. While NE-Hi is trying something new lyrically, they stay true to their rattling, jangling guitars. Their psycho surf influence is still prevalent on tracks “Buried on the Moon” and “Every Dent”. Songs like “Prove” pep things up a bit, but we still have Mikey’s and Jason’s long, lingering vocals to draw us in.

Homeshake – Fresh Air

Some believe we’ve been following Homeshake on his journey of love since the beginning. In The Shower and Midnight Snack were about him lusting after and eventually “getting the girl.” All relationships experience lulls – and perhaps with the miscommunication vibe happening on Fresh Air, we’re witnessing the first lull of this relationship. The title could also be referring to that first gulp of fresh air once the honeymoon cloud of sex and snuggling has cleared and things become more real. The third album for Sagar put him on my list because it’s deeper than his last two while serving up some of the best singles he’s created with tracks “Every Single Thing,”“Call Me Up,” and “Khmlwugh.” Sagar’s third album is an easy listen. Perfect for coffee shops, house parties, or even a booty call.

Sandy (Alex G) – Rocket

This album has a crazy evolution. It starts out this typical, indie folk singer-songwriter type of thing and then morphs into something… that’s a little beyond words. The metamorphosis starts with the track “Horse” and then just propels on this trajectory through what I can only imagine are the chasms of Alex G’s mind. Through dark wave, to almost rap, to autotune, synth-pop, and light punk . Then “Judg” happens and were back to why people have been comparing Alex G to Elliott Smith. There’s also some borderline country/alt-country happening with the track “Powerful Man.” The reason why this made it onto my list is that fact that I haven’t figured it out yet, I keep going back to it, keep trying to figure out it’s narrative, if it even has one.

Vagabon – Infinite Worlds

Although this album is only eight tracks long is does an incredible job of encompassing a lot of big ideas, ideas somewhat but not entirely unknown to the indie rock genre. Ideas of communities and safe spaces are a big part of Tamko’s lyrics. In songs like “Cleaning House” and “The Embers” this is made apparent. Tamko’s incorporation of pedals and synths is truly beautiful and paints some sort of ethereal landscape. Especially on tracks like Mal a L’aise. This album made my list because of the overall triumphant air it puts out.

Julie Byrne – Not Even Happiness

Byrne could be my generation’s answer to Joni Mitchell, not to say Miss Mitchell isn’t still relevant. But Byrne reminds me of Mitchell in the sense that here’s a woman with a haunting voice and captivating songwriting that punctures your hearts and lungs while trying to sing along. In her opener, she sings “To me, this city’s hell/ But I know you call it home/ I was made for the green/ Made to be alone”. This album came out two days before I moved from Chicago to Portland. Byrne is a traveler and a singular one at that. While Byrne IS writing love songs she also sings of herself. And while her lyrics are deep, her music is simple but not in a lacking way, in a way where it speaks for itself. It’s not all folky finger picking either. The track “I Live Now As A Singer” nods to herself and her generation and brings in some synthesized instrumentals.

Perfume Genius – No Shape

Just how Kate Bush’s Hounds of Love makes you want to run down hallways barefoot in a ballgown, Mike Hadreas’ No Shape does the same thing. It’s ravenous and undulating. There are actually quite a few similarities between the two albums. I think Hadreas might be paying homage to miss Bush. The video for “Slip Away” is almost a combination of the videos Bush shot for the title track on Hounds of Love and Running Up That Hill. The song Wreath even borrows a few lyrics from Bush. No Shape is a triumph because it allows the listeners (if they’ll let themselves) to throw away any shackles they’ve put on themselves. No Shape is also a proclamation of love and while Hadreas is happy to succumb to it, it can be overwhelming. It’s a beautiful album that rushes through the listeners like an irregular cold wind during a heat wave. You’re left appreciative but grasping for more.

The post Year-end roundup: Rose’s top albums of 2017 appeared first on Quip Magazine.

While Mississippi Studios has become a reoccurring waterhole in my life, last night was extra special because I was getting a little taste of sweet home Chicago. The boys from NE-HI are currently on a pretty massive tour in support of Offers, their second studio album which was produced by Dave Vettraino and distributed by Grand Jury (who also reps Twin Peaks and Day Wave to name just a few). Half of the band is clad in Bulls gear due to the playoffs and it’s almost like I’m back at The Empty Bottle. Oh how I’ve missed the web of the garage rock scene in Chicago.

NE-HI takes the stage and there’s no messing around. They launch into “Sisters,” which was one of their first singles on Offers. “Sisters” morphs into “Prove” (while Jason Balla and Mikey Wells shake their guitars towards the amps to create a distortion) and then they hit the crowd with the song that started it all, “Since I’ve Been Thinking.” As the set progress the boys become possessed. They’re thrashing and writhing all over the stage and the energy they exude is palpable. Next up, they make a dedication to Sean Page, a long time friend and local musician here in Portland who performs under the moniker Mantra Blues.

The set list continues with “Buried on the Moon,” “Drag,” “Offers,” “Reach,” and they close out with “Stay Young,” quite possibly the most popular track on their sophomore project. The gentlemen of NE-HI have been at it for a few years and they are finally getting the recognition they deserve. It was also revealed that they would be playing Pitchfork Music Festival this year. This is a surreal experience for a Chicago musician. The boys’ passion and talent have begun their propulsion towards notoriety and it’s really exciting to watch. NE-HI will be touring until mid July so I highly suggest if they’re playing in a city near you, you make the trek out. It’ll be an experience on par with watching televangelist speak in tongues.

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NE-HI recently released their second album, Offers, via Grand Jury records (which also happens to be the home of a couple more of my favorite windy city boys, Twin Peaks). This is the first release for NE-HI under a prominent indie label.

For the new album, the group worked with well-known Chicago producer Dave Vettraino, who also helped produce their first project. Vettraino previously worked with fellow garage rockers Cafe Racer. The garage scene in Chicago is a wonderful little community that supports one another. That’s where Twin Peaks started, and I’m sure we’ll only see more come out of it (cough, cough, Post Animal).

NE-Hi took more than two years after the release of their first effort to craft Offers. Most fans know that the first album materialized almost as a fluke. The young men initially came together to write the score for a friend’s film, but the film never ended up coming out. Instead, they formed a band.

The biggest difference with Offers is they had time to reflect and decide who they wanted to be as a band and what they wanted to say. I was able to sit down with guitarist Jason Balla and learned that most of the writing came about organically, amongst some stumbles and a little overanalyzing.

They were frustrated at first over the recordings and decided to just relax and have some friends over. Through the magic of what I can only image was “Olde Style” and jamming, the album’s title track was born. During the jam session, Colin Croom (of Twin Peaks) chimed in with a broken Farfisa. No word on whether he played on the record—but I love how this music scene is so intertwined with one another, like a brotherhood.

Offers itself is definitely a coming-of-age album for NE-HI. Balla said he wanted the record to be “something of an act of solidarity with people who are trying to figure it all out. There was a lot of pressure and exhaustion and self-discovery in the process of writing and recording. We were trying to find our voice and we’re proud of the one we found.”

I think listeners will definitely hear this in the lyrics of tracks like “Stay Young”, “Offers”, and “Out of Reach”. I personally think “Everybody Warned You” is about an ex—at least, it makes me think of mine. While NE-Hi is trying something new lyrically, they stay true to their rattling, jangling guitars. Their psycho surf influence is still prevalent on tracks “Buried on the Moon” and “Every Dent”. Songs like “Prove” pep things up a bit, but we still have Mikey’s and Jason’s long, lingering vocals to draw us in.

Offers is a somewhat rare piece in the garage rock scene where the sophomore record not only delivers, but may surpass the debut effort. If you have the chance, catch these boys on their odyssey-level tour.

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Prior to the release of their second full-length album, Offers I was able to exchange some pleasantries with NE-HI’s guitarist Jason Balla. The boys behind NE-HI started their lengthy support tour back in Chicago on the release day of their record. They are most likely coming to a town near you but for now, you can pick their record up via Grand Jury.

Rosie Blanton: This is your first album with Grand Jury. What was it like being signed to such a great label and how did it come about?

Jason Balla: It was really exciting to sign with them. We had been in touch over the years, but once we were able to finally meet them we really hit it off. These two very righteous dudes, Craig and Robbie, run the whole thing. Our good buds Twin Peaks are also on the label so it’s fun to be running alongside some familiar faces.

RB: Production for this second album must have been different as well, did you work with anyone?

JB: The two main differences between recording Offers and our S/T were the studio and time. On both records we worked with our friend and really talented engineer Dave Vettraino of Public House. When we made the first record we were very new as a band and we really just threw it all against the wall. This time around we were able to rent out a really nice studio in town and the 5 of us just took the place over. The time in between cutting those albums we really learned a lot about how we wanted to sound and also we played as a band way better. I’d wager Dave picked up a few new tricks in that time too. Aside from being very technically good at his job, Dave has this way of making you comfortable and getting the best takes out of us. He brought all these old lamps from his house and set them up in the studio to get the lighting just right. True tone zone master, vibe coordinator.

RB: If production is something the band does DIY, who handles it? Or is it a collaboration?

JB: The production aspect of the record is pretty minimal really. Typically, we’d be listening in the control room and someone might start to hear a place for a tambourine or a vocal harmony or a really blown out drum machine. We tried to have a rule where we didn’t turn down any idea until we tried it. We threw a lot of those ideas out, but some stuck!

RB: What about lyrics? Another collaboration or do most lyrics come from one or two people?

JB: Basically Mikey and I (Jason) write all the lyrics. Whoever is singing lead pens the words and then for certain harmony parts we kind of sit down and make sure we’re cool with what we’re saying or that we’re emphasizing the right words.

RB: Do you have any good stories to share with us about the writing process… maybe an event or an evening that led you to write a certain song?

JB: The title track from the record came along incredibly organically. Early in the writing process we were having a little trouble overthinking everything and that was hurting the songs we were making. We did two rounds of recording and the first session we had finished most of what we had to work on and decided to have some friends over, have some beers, hang out. We pulled out a broken Farfisa and basically jammed on some chords until the song Offers appeared. For such a downer song, it really was born out of a moment of freedom and fun.

RB: What gear are you guys using? 

JB: James just bought a new bass amp, which is pretty awesome! Mikey is pretty stoked on this brand of pedals called Catalin Bread lately. They make a wild chorus pedal. My main baby is my Fender Bassman. I’ve been dreaming of tremolo pedals lately. In the studio our favorite piece of gear was an ampex preamp. Any time we weren’t happy with a tone we’d just “throw it through the ampex.”

RB: You guys have quite the tour schedule ahead of you! Is this the longest tour you’ve done? 

JB: Yes! We’re all stoked. We’ve all toured a good deal, but this is the longest time all at once that we’ll have been out. We’re headlining the whole damn thing, which is crazy! A few bands are joining us for short legs, which will be really cool. There’s this band Flasher we’re playing a couple of shows with. Also this new band FACS from Chicago. And real soon our buddies Wulfpac are doing some days.

RB: What are you trying to say with this album? 

JB: We want the album to be something of an act of solidarity with people who are trying to figure it all out. There was a lot of pressure and exhaustion and self-discovery in the process of writing and recording. We were trying to find our voice and we’re proud of the one we found.

RB: This last question is kind of goofy but I like to ask everyone I interview this, if you had one superhero power, what would it be?

JB: I was actually just watching Seinfeld with my roommate last night and Jerry and George were arguing over whether Superman also had super humor. I think if I had to choose a power I would go with super humor. You can always use more laughter.

RB: Thank you so much for your time guys! Can’t wait to see you in Portland! 

JB: See you THERE! Thank you

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