#18 on the 2019 Bacon Top 31 — Great Grandpa

Four of Arrows by Great Grandpa

One thing I love about writing these articles are the pleasant surprises I unearth in researching the bands I feature. For instance, I’ve liked Great Grandpa, the band whose sophomore album, Four of Arrows, landed at #18, for a few months now. But only today did I discover that they’re from Seattle (the city I, too, call home). If I’d given it any thought before today, I probably would have predicted this, as they have a distinctly indie-Seattle sound. Four of Arrows, the only Great Grandpa album I’ve heard, has a foundation similar to older Modest Mouse. Rough-around-the-edges production and pop rock sensibilities abound.

What really drew me to Great Grandpa, though, is the voice of lead singer Alex Menne. Her voice, loud and unrefined, cracks at the edges, evocative of Katie Crutchfield, of Waxahatchee, in her most strained moments. Beyond Menne, the heart of Great Grandpa are husband and wife Carrie and Pat Goodwin, who play bass and guitar respectively, and write the bulk of the band’s output. Together, the three of them, along with Dylan Hanwright on second guitar and Cam Laflam on drums, the quintet fills an indie-rock void in Seattle that I hadn’t realized even existed until now.

“Digger,” shown in the video above, is my favorite song on the album. The lyrics are unapproachable — more power to you if you can figure them out. But the video is another story. It’s impossible to talk about the video without revealing too much, so all I’m going to say is: watch the video in full. It will move you in ways you don’t expect, and not only because of the stellar soundtrack.

While this is only the 2nd album from Great Grandpa, I suspect the best is yet to come. Four of Arrows is a good effort, but this is a young band with lots of potential. Keep an eye out for the future.

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19. Designer by Aldous Harding
20. Norman Fucking Rockwell! by Lana Del Rey
21. Our Pathetic Age by DJ Shadow
22. Juice B Crypts by Battles
23. Pony by Orville Peck
24. Hyperspace by Beck
25. Eraserland by Strand of Oaks
26. Dogrel by Fontaines DC
27. You’re the Man by Marvin Gaye
28. Big Wows by Stealing Sheep
29. 1000 gecs by 100 gecs
30. In the Morse Code of Brake Lights by The New Pornographers
31. Radiant Dawn by Operators

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2009-2018 Top 31s

#19 on the 2019 Bacon Top 31 — Aldous Harding

Designer by Aldous Harding

Sometimes you love the music, and sometimes you love the artist. With Aldous Harding, the singer/songwriter behind the album here at #19, it’s more the latter than the former. Don’t get me wrong, I do like Harding’s music quite a bit. But it’s the look, the creativity, the humor behind the New Zealander’s music that really sold me.

Watch the video above, as this is exactly how I first heard of Aldous Harding. It’s innocent enough at first, with the 30-ish Harding, whose real name is Hannah Sian Topp, doing a very stilted minimal twist in a womb-like space. But as you watch her movements, or, rather, move away from the movements and start studying the space around her, you see the ridiculous hat and asymmetrical pilgrim garb and you start to wonder about what you’re seeing. The video cuts to a full-body shot, and you see she’s wearing bizzare platform cloth-wrapped boots, and her dance gets slightly more strange. The dancing continues unabated, and eventually you see the full, phallic height of the hat. Just after minute three of this tame insanity, the wheels fall off of the bus, or, rather, the hat falls off of her head, revealing a rather frightening blue face that’s apparently been attached to the top of Harding’s head this whole time, covered up by the hat. What the hell. Shortly thereafter, the hat magically reappears, and the music comes to an abrupt halt. With 40 seconds left, the music kicks back in and Harding has gone through a complete wardrobe change, giddily dancing with maracas. The video ends, and you’re left trying to sort out everything you’ve just seen.

And that’s why I love Harding. She is clearly a free soul, does whatever the hell she wants, and could care less what you or anyone else thinks. The two other videos she’s released for Designer, her third album, are no less bizarre. “Fixture Picture” has her playing a guitar in a field and doing her strange controlled twist in and around her “band”. “Zoo Eyes” has her alternating between exaggerated clown-like makeup and black pixelated face makeup. This third video feels the most self-consciously weird, purposefully presenting nonsensical imagery to accompany Harding’s quiet, Joni-Mitchell-like songwork. That’s where she loses me a little — it seems less “I like to be weird because I like to be weird” and more “I think this will be weird so I’m going to do that,” if that makes sense.

Be that as it may, I do recommend this album as well. It’s quiet, so makes for a good Sunday morning, and well-constructed. It lacks dynamism, but that works to its advantage. Give it a listen, or, more importantly, watch the videos, and fall in love just as I have.

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20. Norman Fucking Rockwell! by Lana Del Rey
21. Our Pathetic Age by DJ Shadow
22. Juice B Crypts by Battles
23. Pony by Orville Peck
24. Hyperspace by Beck
25. Eraserland by Strand of Oaks
26. Dogrel by Fontaines DC
27. You’re the Man by Marvin Gaye
28. Big Wows by Stealing Sheep
29. 1000 gecs by 100 gecs
30. In the Morse Code of Brake Lights by The New Pornographers
31. Radiant Dawn by Operators

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2009-2018 Top 31s

#20 on the 2019 Bacon Top 31 — Lana Del Rey

Norman Fucking Rockwell! by Lana Del Rey

I’m as surprised as you are that I’m putting a Lana Del Rey album on the Top 31. But believe me, this is one of the best albums of the year! You can blame Cat Power for putting Del Rey on my radar, with the wonderful duet “Woman” from her top 10 2018 album Wanderer (#7 that year). Norman Fucking Rockwell!, her sixth release including her 2010 self-titled debut, is the first album of Del Rey’s that I’ve paid any attention to, and I’m so glad I did.

Del Rey is fully embedded in the “sadcore” side of alternative rock (of which Cat Power is the “queen”), and this album does not betray that notion. It’s slow, depressing, and dark, but it doesn’t ever fall into self-loathing or goth (which wouldn’t necessarily be a bad thing).

Del Rey, whose real name is Elizabeth Woolridge Grant, has always created music in this vein, with a particular “cinematic” quality to it. The video above, titled “Norman Fucking Rockwell,” takes that to its logical conclusion, turning three of the songs on the album into a 14-minute short film, less a music video and more a parable. It‘s well worth watching the whole thing.

If you’ve not yet heard this album, don’t let whatever your brain associates with the name Lana Del Rey discolor your opinion of it. Put it on, close your eyes, and hear it for what it is: a beautiful, perfectly executed album.

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21. Our Pathetic Age by DJ Shadow
22. Juice B Crypts by Battles
23. Pony by Orville Peck
24. Hyperspace by Beck
25. Eraserland by Strand of Oaks
26. Dogrel by Fontaines DC
27. You’re the Man by Marvin Gaye
28. Big Wows by Stealing Sheep
29. 1000 gecs by 100 gecs
30. In the Morse Code of Brake Lights by The New Pornographers
31. Radiant Dawn by Operators

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2009-2018 Top 31s

#21 on the 2019 Bacon Top 31 — DJ Shadow

Our Pathetic Age by DJ Shadow

It’s hard to believe that, despite having released his first album in 1996, Our Pathetic Age, DJ Shadow’s double-album epic from this year, is only his sixth studio album. Each of those six albums have been fantastic, starting with the groundbreaking Endtroducing....., the album that woke everyone to the potential of sampling and songbuilding. Since that seminal release, Shadow, whose real name is Josh Davis, has been building soundscapes and championing underground, has-been, and up-and-coming hip hop artists with great aplomb.

Our Pathetic Age is not a perfect album, but as it’s a double-length LP, it’s easy to set aside the imperfect to let the stellar shine. The album is split into two distinct halves, the first of which is fully instrumental, and the second the more predictable Shadow-type album. The Mountain Will Fall, Shadow’s 2016 album (#9 that year), saw him doubling down on his ability to take his great ear for beats and cadence and pairing that with well-known hip hop artists like Run the Jewels. RTJ reappears on the second half of Our Pathetic Age, along with a litany of other big hip hop names, such as Nas, Ghostface Killah, Raekwon, Gift of Gab and Leteef the Truthspeaker.

The video above, for “Rocket Fuel,” has Shadow teaming up with De La Soul. It’s a great song, and an even better video (directed by Sam Pilling, who also directed the great video I featured in my 2016 The Mountain Will Fall review). The song’s lyrics are top of the line, as written by the De La Soul crew. “People wanna know where Mase, Pos, and Dave went” goes the song. “Still here, still in your ear.” Later on in the song, the second verse has a mind-blowing rhyme that I can’t get out of my head:

Aced all quizzes, A-plussed the final
Vocals we align, we move it all simul-
-taneously over joints we rock
We earned thirty years, so you can say that we got
Three turns, live off the board, unlike you and your chessmen
We install doubt in you and your yes-men

That rhyming of “final” with the first two syllables of “simultaneously” and managing to keep the rhyme going is so so great. Check out this new album by DJ Shadow. You can set the first half aside, I won’t think anything less of you. But pay attention to the second half. It’s as great as anything Shadow has released to date, and you won’t be disappointed.

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22. Juice B Crypts by Battles
23. Pony by Orville Peck
24. Hyperspace by Beck
25. Eraserland by Strand of Oaks
26. Dogrel by Fontaines DC
27. You’re the Man by Marvin Gaye
28. Big Wows by Stealing Sheep
29. 1000 gecs by 100 gecs
30. In the Morse Code of Brake Lights by The New Pornographers
31. Radiant Dawn by Operators

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2009-2018 Top 31s

#22 on the 2019 Bacon Top 31 — Battles

Juice B Crypts by Battles

And then there were two. When Battles, the New York City based experimental rock band, released their superb album Mirrored back in 2007, the four-piece thoroughly impressed. I remember seeing them at Bumbershoot that summer, and watching drummer John Stanier hit that extra-high cymbal on his kit at just the right moment was the most memorable act that weekend.

In 2010, while extensively touring on the power of their debut album, the only “singer” in the group (I use that term lightly), Tyondai Braxton, left the group due to irreconcilable differences with his bandmates. The then-trio released their 2011 album, Glass Drop (#21 that year), featuring a large number of guest vocalists. It was a good album, but not as great as the first. The trio released a 2nd, this time vocals-less album in 2015 called _La Di Da Di, and all the better for it (#16 that year).

Then, in 2018, Dave Konopka (guitar / bass), left the band “for personal reasons.” Rather than throwing in the towel, drummer Stanier and multi-instrumentalist Ian Williams decided to soldier on, to great effect. This new album, Juice B Crypts, is as lush and erratic as their previous albums, and they’ve gone back to the Gloss Drop mode of bringing in guest singers, such as Shabazz Palaces, tUnE-yArDs, and Jon Anderson from Yes (!). Despite being at 50% power, the duo manages to create 11 exciting songs (some of which are really just one song broken in two, such as the cleverly named track #2 titled “A Loop So Nice…” followed by #3 “They Played it Twice.”)

If you like Battles, you’ll like this. If you’re unfamiliar with Battles, don’t start here — go through this progression: Mirrored, La Di Da Di, and then Juice B Crypts. Trust me.

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23. Pony by Orville Peck
24. Hyperspace by Beck
25. Eraserland by Strand of Oaks
26. Dogrel by Fontaines DC
27. You’re the Man by Marvin Gaye
28. Big Wows by Stealing Sheep
29. 1000 gecs by 100 gecs
30. In the Morse Code of Brake Lights by The New Pornographers
31. Radiant Dawn by Operators

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2009-2018 Top 31s

#23 on the 2019 Bacon Top 31 — Orville Peck

Pony by Orville Peck

When country music makes it onto the Top 31, it usually has a hard time being fully classified as “country music.” Phosphorescent, Neko Case, First Aid Kit — in a certain light, these could all be classified as country, but usually aren’t. This is untrue of the obscured and befringed Canadian artist Orville Peck, whose wonderful debut album Pony couldn’t fall into any other genre than Country with a capital “C.” This isn’t “my wife left me, my dog died, and I accidentally got drunk” kinda country, but it does feature rodeos, horseback riding, and a Johnny Cash name-drop in all the right ways.

You may not have heard of Peck, but you’ve likely seen him. His visage is quite memorable; he’s always seen in a lone-ranger style mask with fringe attached and hanging down to his shoulders, fully obscuring all but his eyes and most of his jawline and neck when at rest; atop that he wears a standard-issue, not-quite 10-gallon cowboy hat.

Despite his public-facing disguise, his identity is known, but remains unconfirmed by Peck himself. So I won’t perpetuate the information here. What I can tell you is he’s Canadian, he’s gay, he commands a magical baritone voice, and his stage presence is second to none. The mystery certainly contributes to what I and so many other people like about him, but once you learn the truth of who he is, that doesn’t quell the fervor people feel for him.

I’d been hearing of Peck (which is different from hearing Peck) since the beginning of the year. I found him intriguing, but didn’t scratch that itch until he was on the bill at the inaugural Thing NW music festival. He played to a crowd that sardined itself into the covered McCurdy Pavilion about midway through day 1, and ended up being the highlight for many at the festival. A friend of mine’s 10-year old daughter fell so madly in love, she bought a tee (he’s smoking a cigarette! *gasp*) and then created her own Peck costume for halloween. Such is the charisma of Mr. Orville Peck, winning fans over at all ages.

I trust we’ll have much more to love about Peck in the years to come. We’re just at the tip of the iceberg. Give this album a listen now, so you can say “I was there when…”

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24. Hyperspace by Beck
25. Eraserland by Strand of Oaks
26. Dogrel by Fontaines DC
27. You’re the Man by Marvin Gaye
28. Big Wows by Stealing Sheep
29. 1000 gecs by 100 gecs
30. In the Morse Code of Brake Lights by The New Pornographers
31. Radiant Dawn by Operators

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2009-2018 Top 31s

#24 on the 2019 Bacon Top 31 — Beck

Hyperspace by Beck

It’s difficult to compare how much I like an album that came out at the end of November 2019 to one that came out in January of that same year. I just don’t have the proper amount of time to listen properly to an album when I have to start counting down the year just a little over a month later. This album came out a week before Thanksgiving. It got sidelined immediately for Christmas music. So, the chances are much higher on this album, Beck’s 14th studio album, that I’m going to wish I’d ranked this album in a different place than here, at #24 out of all the albums I listened to in 2019.

I’m going to stick with this digression a little bit longer. Looking back at the Beck albums that have made the Top 31 in its 11-year run, I can’t say I agree with any of the placements I’ve given his albums. I ranked the utterly amazing Morning Phase at #26 back in 2014 (way too low, as I listen to this album at least once every couple of months). I ranked 2017’s Colors at #8, and while that’s not too far off, I probably should have put it a little lower than I did, when I look back and see LCD Soundsystem, Fleet Foxes and Big Thief all ranked much lower that year. And in 2009 I clearly had no idea what I was doing, because I ranked his full-album cover of Velvet Underground & Nico at #7(!). I’ve not listened to that album again since.

Out of all three of these, the Morning Phase ranking at #26 is most troubling. That album came out in February that year, so I had plenty of time to determine that I should love that album forever. And yet… I’ll never stop being amazed at how time and perspective can change one’s opinion of the music they’ve listened to. </digression> Let’s get back to his newest record.

Beck is a chameleon of music, although his more recent output seems to be falling into a pattern (a good pattern, but a pattern nonetheless). So much so that I’m inclined to say that Hyperspace is a “typical” Beck album. It has all the things you’ve come to enjoy in his music: Endlessly catchy hooks; Quiet, introspective and ethereal sounds; A mastery of the form. What more can you ask for?

On the flip side, there’s nothing that wows me here. It’s a great album, but there are so many better Beck albums to listen to, I’m not sure I’ll ever get fully into this album and listen to it for years to come. But don’t let my digression and subsequent lackluster review distract you (it’s probably just the month-long cold I have talking) — check out this new album. You won’t regret it. But maybe I will.

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25. Eraserland by Strand of Oaks
26. Dogrel by Fontaines DC
27. You’re the Man by Marvin Gaye
28. Big Wows by Stealing Sheep
29. 1000 gecs by 100 gecs
30. In the Morse Code of Brake Lights by The New Pornographers
31. Radiant Dawn by Operators

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2009-2018 Top 31s

#25 on the 2019 Bacon Top 31 — Strand of Oaks

Eraserland by Strand of Oaks

The last time we heard from Timothy Showalter’s Strand of Oaks on the Bacon Top 31 was not for his last album, but the one before that – his groundbreaking fourth album Heal, which hit #15 back in 2014. The album that followed, Hard Love, was rather forgettable (literally: I‘d forgotten all about it until I sat down to write this review). It’s hard for an artist to recover from releasing an amazing album like Heal and then follow it up by a lackluster one, and it sounds like Showalter had a particularly tough go of it in the aftermath of that 2017 album.

Battling with depression and exhaustion, he sequestered himself on the Jersey Shore. He used that negative energy to fuel his songwriting, and channeled it into this new, amazing 2019 record Eraserland. Showalter was not shy about his depression, and wrote about it on Instagram when commenting on the suicide of other greats, such as Dave Berman of the Silver Jews and Mark Hollis of Talk Talk (although Hollis’s death has not been confirmed a suicide). Of Hollis’s death, Showalter went so far as to claim the Talk Talk album Spirit of Eden changed his life and the tone of this new album:

Spirit of Eden is a prayer and a discussion with existence and it was the singular gateway for me to do that with my own life. Eraserland’s DNA is interwoven with Mark Hollis and the gifts he gave through music … I urge any of you who haven’t heard it to dig in, perhaps before you hear Eraserland to understand and perhaps find that communication with your own existence. Music saves it truly does. Thank you Mark your work will continue for the rest of time.

Sage advice, for sure. For now it sounds like Showalter is doing better, thankfully. If you’re a current fan of the Fleet Foxes, Father John Misty, Kurt Vile, or an older fan of My Morning Jacket (just to name a few), you’ll love Strand of Oaks and this new album. It’s powerful and moving, in the best way that a wailing guitar, heavy drums, and reverbed voice can be.

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26. Dogrel by Fontaines DC
27. You’re the Man by Marvin Gaye
28. Big Wows by Stealing Sheep
29. 1000 gecs by 100 gecs
30. In the Morse Code of Brake Lights by The New Pornographers
31. Radiant Dawn by Operators

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2009-2018 Top 31s

#26 on the 2019 Bacon Top 31 — Fontaines DC

Dogrel by Fontaines DC

From one literal throwback to 70s music, now to one that’s a throwback in style if not in the time it was recorded. Fontaines D.C., a five-man post-punk group out of Dublin, fall right in line with a separate scene from Marvin Gaye’s world of the 70s. Fontaines are hard-hitting, loud and obnoxious, evoking feelings of Joy Division, The Clash and even maybe a little bit of that early-U2 fervor.

I first fell in love with Fontaines by listening to KEXP 90.3 FM, my favorite Seattle-based (but more prominently available online) radio station. They received equal airplay to the station’s #2 album of 2018, Idles (#16 in my Top 31 of 2018), and were often played back to back with that band despite not releasing their album until April 2019.

If you’re a fan of guitars, barking vocals, and music with a message, then Fontaines DC are right up your alley. If you liked Idles’ Joy as an Act of Resistance from 2018, then you’ll especially love it. Give it a listen now.

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27. You’re the Man by Marvin Gaye
28. Big Wows by Stealing Sheep
29. 1000 gecs by 100 gecs
30. In the Morse Code of Brake Lights by The New Pornographers
31. Radiant Dawn by Operators

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2009-2018 Top 31s

#27 on the 2019 Bacon Top 31 — Marvin Gaye

You’re the Man by Marvin Gaye

Putting this “new” album by Marvin Gaye (whose own father shot and killed him back in 1984) is a bit of a cheat. You’re the Man, originally recorded as the follow-up to Gaye’s first platinum-selling album What’s Going On, was never released in 1972, due to a dispute between Gaye and Mowtown Records’ founder and then-president Berry Gordy (who felt that What’s Going On was already a tinge too politically-minded and this follow-up, You’re the Man, most decidedly so, despite the undeniable success of the former album.) You’re the Man, if released when originally planned back in 1972, would have been Gaye’s twelfth full-length record. Releasing now, 35 years posthumously, it becomes his 18th and final LP.

In addition to being a clear R&B staple of its time, the album is a fantastic piece of politically commentary. Point your finger anywhere in the lyrics and you’ll see lines like “I believe America’s at stake,” “Politics and hypocrites are turning us all into lunatics,” and “Don’t you understand/There’s misery in the land.” There’s even a line that reads “demagogues and admitted minority haters should never be president,” intended as a dig at Nixon but so easily fits our current tyrant in charge.

Even if you’re not into lyrics, putting this album on will immediately get you moving in your chair. This is Gaye at his peak, between one fantastic album (What’s Going On) and another (Let’s Get it On). I waffled on putting it so low in the Top 31, honestly. I have a feeling I’ll regret placing it so low when reflecting back in years to come.

With the politics in our country at a fever pitch, this album couldn’t arrive at a better time. Yes, the music is wonderful, but pay attention to what Gaye is telling us from the grave. The words may be rooted in the civil rights issues of the 70s, but you shouldn’t be at all surprised that you can easily connect them to today’s climate.

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28. Big Wows by Stealing Sheep
29. 1000 gecs by 100 gecs
30. In the Morse Code of Brake Lights by The New Pornographers
31. Radiant Dawn by Operators

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2009-2018 Top 31s

#28 on the 2019 Bacon Top 31 — Stealing Sheep

Big Wows by Stealing Sheep

Here’s another group that totally won me over in 2019. Stealing Sheep, from Liverpool, England, create fantastically infectious pop songs. They’ve been together since 2010, and Big Wows is the third full-length album they’ve released in that time. All three of the women in the trio, Rebecca Hawley (keys), Emily Lansley (guitar and bass) and Luciana Mercer (drums) sing lead and harmonies across every song, creating a pleasing blanket of voice throughout. Mixing their vocals with a strong 80s nostalgia-fueled aesthetic (as seen in the album’s cover, the band’s website, and the videos they’ve released such as the one for “Show Love,” above), the band hit all the right notes.

My first draft of this review included a whole portion describing how I’d not heard the band’s previous records, but it turns out memory is fickle, and I was 100% lying to myself. The band’s 2nd album, Not Real, featured on the Top 31 back in 2015 at #23. Clearly, I liked the album enough to put it on the list, and liked it more than at least 8 other albums that year — but, looking back at that list, I can’t say I’ve listened again to any of those albums ranked 23-31 from 2015. See my post from four days ago to see exactly why that may be.

According to their label bio, this album marks a pointed expansion of talent for the band: “Mercer is working with a full drum kit now instead of just toms; Lansley is playing bass guitar; Hawley is making her own synth patches; and they’re all using new equipment, developing and experimenting and moving forward together.” Even though Big Wows is ranked lower than Not Real was in 2015, I still feel that it’s the highlight of their 9-year stint as a band.

If you’re into any of the female-led pop that The Bacon Review has promoted over the years (such as Chvrches, Christine & the Queens, or Grimes) then you’ll definitely find something you like here.

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29. 1000 gecs by 100 gecs
30. In the Morse Code of Brake Lights by The New Pornographers
31. Radiant Dawn by Operators

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2009-2018 Top 31s

#29 on the 2019 Bacon Top 31 — 100 Gecs

1000 gecs by 100 gecs

This duo from St. Louis was probably the most difficult thing I listened to (and still enjoyed) in all of 2019. Every time I’d put it on at work or at home (not very often, admittedly), I’d sheepishly qualify it by saying “if anyone hates this, I’m happy to turn it off.” To my surprise, nobody ever did. A few of my coworkers (who are all younger than me, it should be said) liked it and questioned why I’d even thought to turn it off. Just goes to show: getting old is a bitch.

100 gecs consists of Dylan Brady and Laura Les, who met at a party way back in 2012. Currently, they both live in separate cities (LA and Chicago, respectively), and given they rarely breath the same air, they create music by sharing music files back and forth online. They released their first EP back in 2016, and 1000 gecs is their first full-length album.

“Full-length” is a bit of a misnomer, as the album is only 23:07 long. But what a powerful 23 minutes it is. Everything on this album is unnecessary and excessive, yet it somehow gels extremely well. This is the future of pop music, here and now. The song above, “Money Machine,” is one of their more tame songs, which should give you an indication about how radical the rest of the album is.

Grab those reins and hold on tight. Don’t give up early, and you’ll be surprised at your disappointment when the end comes in quickly.

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30. In the Morse Code of Brake Lights by The New Pornographers
31. Radiant Dawn by Operators

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2009-2018 Top 31s

#30 on the 2019 Bacon Top 31 — The New Pornographers

In the Morse Code of Brake Lights by The New Pornographers

By now you must have heard of the Canadian supergroup The New Pornographers. They’ve only ben around for some 22 years, and have released 8 albums in that time (not to mention the 25+ solo and other-group albums released over that same period by band members Carl Newman and Neko Case—and formerly Dan Bejar, from Destroyer—including some that have featured previously on the Top 31 in various forms). There’s not much more I can say about them that you haven’t heard from me before.

In the Morse Code of Brake Lights isn’t their best effort, but even their “just good not great” albums are better than most. Their 2017 album, Whiteout Conditions, didn’t make that year’s countdown, but their phenomenal 2014 album, Brill Bruisers, was at #18 that year. Neko Case is by far my favorite member of the band, and her last two solo albums have also been featured on the Top 31, at #17 in 2018, and #5 in 2013. Per usual, she features prominently on Morse Code.

“The Surprise Knock” is my favorite track on the album. The video above, for the song “Falling down the Stairs of Your Smile” is one of their less-dynamic songs, but the Neko-led chorus still kicks ass. Give the whole thing a listen—if you’ve liked the New Pornographers in the past, you’ll find the formula continues to work quite well on this album, too.

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31. Radiant Dawn by Operators

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#31 on the 2019 Bacon Top 31 — Operators

Happy new year, and new decade! I honestly can’t believe it’s already 2020. It seems not that long ago we were all frightened about what Y2K would bring when that clock struck 12:00 — that was 20 years ago! Everyone knows that time speeds up as we get older (due to your personal experiences growing less and less unique the more you experience throuhgout your lifetime). It’s just a small but significant part of being human.

The same is true of music: the older we get, the smaller our individual world of undiscovered music gets. Happily, a huge amount of new music is dumped into the world every year, making it impossible to ever feel that you’ve heard it all, even if what you believe constitutes “good” music gets narrower as you age. That’s just the result of your tastes being refined, your knowledge of musical theory (whether studied in classrooms or absorbed through audio osmosis — audsmosis?) expanded, and the avenues through which and opportunities to hear new music dwindled.

As we get older, it would be very easy to stop listening to new music. I’m sure a lot of friends that are my age or older have done just that, content in the 40+ years of music they’ve added to their collections. I purposefully push against that friction; much like a daily crossword is meant to keep the brain functioning better well into old age, I believe a continuous, healthy dose of new music helps to keep those neurons firing at a youthful clip.

The Top 31 is my own personal battle against the inevitable atrophying of my brain. Because I know I’ll be cataloging things at the end of the year, it pushes me to want to always first check Apple Music’s “New Music” category when I’m putting on something to listen to. Most of the music I find in there is not great, but if I’m compelled to listen to something more than once, it gets added to my library and is easily found in my “Recently Added” category. 95% of the time, when I want to hear something, I start there.

But listening to new music for most of my available music-listening time has a downside, too: forgetfulness. I couldn’t possibly recall what new music I was listening to a month ago, let alone five or more years ago. And that’s where the Bacon Review Top 31 comes in. This 2019 Top 31 is my eleventh countdown. That’s 11 years, each with 31 albums of history, available for review at my fingertips. Looking for an older album to listen to but not sure where to start? Look back at the 2013 countdown (for instance) and pick something great that you’d forgotten about.

As every year nears its end, I toy with the idea of stopping the countdown. It’s a hefty chunk of work, it puts an added burden on me and my family throughout the month of January, and I could easily just leave it all behind. But then I remember past years, and how happy it makes me feel when a friend of mine tells me they’ve enjoyed listening to something that they first read about here. That alone is motivation enough to keep going. And so here we are, a brand new decade, and another year’s full of music to recap. Let’s dive in with #31:

Radiant Dawn by Operators

I’ve always fallen on the Spencer Krug (#27 in 2011, #23 in 2013, and #31 in 2018) side of the Wolf Parade (#17 in 2010 and #14 in 2017) fence, but Dan Boeckner, former lead singer of the Handsome Furs, former co-lead of the Divine Fits (#11 in 2012), and current lead of Operators, has been a quiet force of musical output for 20 years now.

I’m fairly certain that Operators should still be considered a “side project,” (to Wolf Parade’s “main project”), but that doesn’t mean Operators music is any less brilliant. Close your eyes and listen — you’d be hard pressed to guess that this isn’t just another Wolf Parade album. Boeckner, like his Wolf Parade co-leader Krug, is a Canadian singer/songwriter with an insatiable appetite for creating new music. Over the past 20 years, Boeckner has released 17 different EPs and albums, under five different monikers. His voice, affected and unmistakably his, is like a strong sour ale: an acquired taste.

If you’ve liked Wolf Parade, Divine Fits, Handsome Furs, or even Operators’ previous output (this is the 2nd full-length release from the project — the first was 2016’s Blue Wave), then there’s no reason for you to not like this album.

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Subscribe to the 2019 Bacon Top 31 Apple Music playlist
2009-2018 Top 31s

#1 on the 2018 Bacon Top 31 — Phosphorescent

C’est La Vie by Phosphorescent

The number one album of 2018 is by Matthew Houck, aka Phosphorescent, and it’s not the first time he’s enjoyed the top spot of the Top 31. His last album, Muchacho, was #1 back in 2013 (and the album before that was #20 in 2010, one of many rankings over the past 10 years that I clearly misjudged at the time).

When I started ranking 2018’s albums at the end of December, and I grouped my potential #1 albums together, I groaned. I knew I needed to put Chvrches and Phosphorescent at the top — they were my definite favorites from the year — but had real reservations about doing so because they’d both been #1 their last time up. I’d successfully avoided having any repeat #1 albums in the past, as I think it makes a statement about the band and my tastes I’m not quite willing to accept: am I too predictable, stuck in the musical rut of middle age?

C’est La Vie, Houck’s 9th studio album, and his first in five years, is every bit as good but very different from Muchacho. That’s because Houck is in a vastly different space than he was five years ago (and so, too, am I). In that span, he managed to have not one but two children, get married, and move to Nashville. While his previous albums have been chock full of heartache, pain, and suffering, C’est La Vie bubbles with life and happiness.

Just listen to the track above, “New Birth in New England.” This is not the voice of a drunkenly depressed man, this is bouncy joy. Smack dab in the middle of the song, the bridge is a quiet moment — the slide guitar slows down, the hymnal angel chorus chimes in, and the familiar woosh woosh woosh sound of a sonogram, that first heartbeat that expectant parents hear, proving that there’s life growing inside the mother’s belly, wafts up from the depths. If you haven’t yet been through pregnancy, then that sound may not be familiar to you. But as a father of two, it’s oh so familiar, and comes with such joyous weight, it’s hard not to well up with happy tears any time I hear it. The specific recording on the song is from the first time Houck heard his own daughter’s heartbeat. Magical.

Later on in the album, the song “Beautiful Boy” plainly states the subject of the song — Houck’s now five-year-old son. It’s an ode to every parent’s everlasting fear of being unable to protect their children enough. It’s gut-wrenching and wonderful at the same time. The music of Phosphorescent always seems to pull at those dual strings, but in the past the direction being tugged has been downward. It’s a lovely feeling, finally being pulled in the other direction by a voice I’ve been loving for so many years.

One of the great joys of marriage is being able to share all the things you love, and having your partner fall in love with some of those things as well. My wife patiently tolerates my constant music playing, and she often likes what she hears. She will latch onto certain sounds, especially if they’re loved by the children as well. Phosphorescent held a special place in my heart long before I met my wife, so it was with even more joy than usual that I excitedly watched her own blossoming love of the band. In November, I got to take her to her first Phosphorescent show, and Houck did not disappoint. His performance of “Wolves” (which I managed to record), is performed solo, and shows the full range of his vocal talents. After the song’s few verses, Houck pushes his voice through a repeater, layer upon layer, until it mimics the pack of wolves he sings about. It’s gorgeous and deeply moving.

C’est La Vie has a special power. It feels innocent enough your first couple times through. But then you catch yourself humming the tunes when you’re not listening, filling in the quiet moments with little spoken phrases you can’t quite place. You invariably hear yourself, question the little tune’s origin, and then finally put it together. It surprises you like a random toy left out that’s imbued with the power of phosphorescence — you forget it’s there until you turn out the lights.

Pick up C’est La Vie. And then every other album Phosphorescent has released. After ten years of charting my Top 31 of the year, I can honestly say there’s never been someone as consistently good as Matthew Houck. Join me while I rejoice in his music; you will be pleasantly rewarded, every time.

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2. Love Is Dead by Chvrches
3. Twin Fantasy (Face to Face) by Car Seat Headrest
4. Dirty Computer by Janelle Monáe
5. The Horizon Just Laughed by Damien Jurado
6. Chris by Christine and the Queens
7. Wanderer by Cat Power
8. Tell Me How You Really Feel by Courtney Barnett
9. The Louder I Call, The Faster It Runs by Wye Oak
10. Ruins by First Aid Kit
11. Cocoa Sugar by Young Fathers
12. Loner by Caroline Rose
13. Big Red Machine by Big Red Machine
14. I’ll Be Your Girl by The Decemberists
15. The More I Sleep the Less I Dream by We Were Promised Jetpacks
16. Joy as an Act of Resistance by IDLES
17. Hell-On by Neko Case
18. Superorganism by Superorganism
19. Living in Extraordinary Times by James
20. Thank You for Today by Death Cab for Cutie
21. Black Panther: The Album by Kendrick Lamar
22. Suspiria (Music for the Luca Guadagnino Film) by Thom Yorke
23. Merrie Land by The Good, the Bad & the Queen
24. Room 25 by Noname
25. WARM by Jeff Tweedy
26. God's Favorite Customer by Father John Misty
27. Vessel by Frankie Cosmos
28. For Ever by Jungle
29. Twerp Verse by Speedy Ortiz
30. Remain in Light by Angélique Kidjo
31. This One’s for the Dancer & This One’s for the Dancer’s Bouquet by Moonface

Subscribe to the 2018 Bacon Top 31 Apple Music playlist
2009-2017 Top 31s

#2 on the 2018 Bacon Top 31 — Chvrches

Love Is Dead by Chvrches

Just barely missing out on their second #1 album in a row, here’s Glasgow, Scotland’s Chvrches with their third fantastic album, Love Is Dead. Chvrches (pronounced “churches”) has been a mainstay on the Top 31 since their debut album came out in 2013 and was #4 that year. Two years later, their follow-up, Every Open Eye, was the best album of 2015. And this new album marks their third straight 4th-or-better release, a phenomenal run by any standards.

Clearly I have a bias, but dancey pop music really doesn’t get any better than Chvrches. The trio, featuring Lauren Mayberry on lead vocals, and Martin Doherty and Iain Cook on synths and additional vocals, is defining an entire genre of sound for a generation. Just looking back at the lower albums in this year’s Top 31, Chvrches fingerprints are all over. Janelle Monáe, Christine and the Queens, and Wye Oak are all producing similar sounds, and that’s just within the Top 10. But Chvrches is the best.

My family agrees. I had the immense pleasure of taking my son to his first-ever, true concert, seeing Chvrches this past September, and it was glorious. The band put on their usual amazing set, and Mayberry bounced around the stage, amping up the crowd. My son is not one for big displays of emotion in public, so catching him singing along quietly to himself during the songs he knew was a big highlight for me. And if Dirty Computer is my daughter’s favorite album ever (she’s 15 months old), then Love is Dead is definitely her 2nd favorite. You should see the smile across her face when she hears those keyboards kick on.

It really feels as if Chvrches can do no wrong. Three albums, all at or near the top of their respective years’ releases. There are some great songs on this new album. “Miracle,” shown above, is one. There are two other videos from the album: “Get Out” and “Graffiti.” Matt Berninger, lead singer of Bacon Review favorites The National, also makes an appearance, on the song “My Enemy.” That song is a result of the two bands being on the same bill at Treasure Island Music Festival back in 2015, when Mayberry joined The National on stage for their song “I Need My Girl.” I love it when the bands I love have unexpected chance encounters and then decide to make music together.

With every new Chvrches album, I think maybe they’ve hit the peak, and the next one will see them backsliding. But then the new album comes out and it’s stellar. I like this kind of trajectory, and I look forward to listening to new and great Chvrches albums for the rest of my life.

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3. Twin Fantasy (Face to Face) by Car Seat Headrest
4. Dirty Computer by Janelle Monáe
5. The Horizon Just Laughed by Damien Jurado
6. Chris by Christine and the Queens
7. Wanderer by Cat Power
8. Tell Me How You Really Feel by Courtney Barnett
9. The Louder I Call, The Faster It Runs by Wye Oak
10. Ruins by First Aid Kit
11. Cocoa Sugar by Young Fathers
12. Loner by Caroline Rose
13. Big Red Machine by Big Red Machine
14. I’ll Be Your Girl by The Decemberists
15. The More I Sleep the Less I Dream by We Were Promised Jetpacks
16. Joy as an Act of Resistance by IDLES
17. Hell-On by Neko Case
18. Superorganism by Superorganism
19. Living in Extraordinary Times by James
20. Thank You for Today by Death Cab for Cutie
21. Black Panther: The Album by Kendrick Lamar
22. Suspiria (Music for the Luca Guadagnino Film) by Thom Yorke
23. Merrie Land by The Good, the Bad & the Queen
24. Room 25 by Noname
25. WARM by Jeff Tweedy
26. God's Favorite Customer by Father John Misty
27. Vessel by Frankie Cosmos
28. For Ever by Jungle
29. Twerp Verse by Speedy Ortiz
30. Remain in Light by Angélique Kidjo
31. This One’s for the Dancer & This One’s for the Dancer’s Bouquet by Moonface

Subscribe to the 2018 Bacon Top 31 Apple Music playlist
2009-2017 Top 31s

#3 on the 2018 Bacon Top 31 — Car Seat Headrest

Twin Fantasy (Face to Face) by Car Seat Headrest

Here we are at the top 3! This year was, as has happened in a few years past, difficult to pin down. But when this has happened in the past, it’s been a matter of “nothing is jumping out at me as a strong #1.” This year is different, in that there were so many phenomenal albums by bands that I love, they could all have qualified as #1 for the year. But countdown lists can’t have ties, especially not at the top, so here we are at very strong #3 with Car Seat Headrest.

You may remember Car Seat Headrest from their last album, Teens of Denial, which hit #7 in 2016. Hailing from Seattle, the band’s lead singer/songwriter Will Toledo is a wordsmith of the highest order. Writing very close to his heart, Toledo spins tales of typical rock & roll fare — love, loss, family — but with a reality seldom encountered in today’s songs.

Twin Fantasy (Face to Face) is not 100% new material for the band — it’s actually a complete re-recording and reworking of an album Toledo put out in 2011, five albums ago. I have not heard the original Twin Fantasy, but given this is a re-recording and reworking of that album, I’ll feel safe not calling it a rerelease (and thereby disqualifying it from Top 31 contention).

There are so many great songs on this album, but unfortunately only one video, for the song “Nervous Young Inhumans,” featured above. I implore you to listen to my favorite track from the album, “Bodys,” a song I’ve bounced around to in my living room with my daughter in my arms many many times. There’s a lot of repetition of lyrics on the album, to the point where the sentiment of the line (such as “Stop smoking, we love you”) takes on new and deeper meaning. It’s quite effective at drawing out emotion and connection, but I can’t quite put my finger on why.

I had the pleasure of seeing Car Seat Headrest for the first time last year, and it was well worth the wait. My god, this band can rock. Teens of Denial was a great album on its own, but Twin Fantasy is a whole other level. Check it out ASAP.

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4. Dirty Computer by Janelle Monáe
5. The Horizon Just Laughed by Damien Jurado
6. Chris by Christine and the Queens
7. Wanderer by Cat Power
8. Tell Me How You Really Feel by Courtney Barnett
9. The Louder I Call, The Faster It Runs by Wye Oak
10. Ruins by First Aid Kit
11. Cocoa Sugar by Young Fathers
12. Loner by Caroline Rose
13. Big Red Machine by Big Red Machine
14. I’ll Be Your Girl by The Decemberists
15. The More I Sleep the Less I Dream by We Were Promised Jetpacks
16. Joy as an Act of Resistance by IDLES
17. Hell-On by Neko Case
18. Superorganism by Superorganism
19. Living in Extraordinary Times by James
20. Thank You for Today by Death Cab for Cutie
21. Black Panther: The Album by Kendrick Lamar
22. Suspiria (Music for the Luca Guadagnino Film) by Thom Yorke
23. Merrie Land by The Good, the Bad & the Queen
24. Room 25 by Noname
25. WARM by Jeff Tweedy
26. God's Favorite Customer by Father John Misty
27. Vessel by Frankie Cosmos
28. For Ever by Jungle
29. Twerp Verse by Speedy Ortiz
30. Remain in Light by Angélique Kidjo
31. This One’s for the Dancer & This One’s for the Dancer’s Bouquet by Moonface

Subscribe to the 2018 Bacon Top 31 Apple Music playlist
2009-2017 Top 31s

#4 on the 2018 Bacon Top 31 — Janelle Monáe

Dirty Computer by Janelle Monáe

My daughter’s favorite album of her 15-month life is an exceedingly catchy, exceedingly raunchy album by the genius singer, songwriter, actress and producer Janelle Monáe. It just so happens to (thankfully) be one of my favorites of the year as well. Monáe is one of those people who is so insanely talented at everything she does that you kinda want to hate them. Like Justin Timberlake, Monáe can sing, dance, write, act, is drop dead gorgeous and can seemingly do no wrong. What an asshole.

If you haven’t yet heard of Monáe, you’ve probably seen her. She had a couple of great recent supporting roles: one in the Oscar-winning Best Picture of 2016 film Moonlight (her big screen debut), and another in the Oscar-nominated Best Picture of 2016 film Hidden Figures. Before she’d received the script for either of those fantastic movies, Monáe had started writing what would eventually became her third album. Once shooting was done, back into the studio she went, and out came 2018’s Dirty Computer.

The album is a pop music, sex-filled dream. Some of the lyrics within would make someone who’s not been listening to artists like Prince their entire lives blush, such as:

Pynk, like the inside of your... baby
Pynk behind all of the doors... crazy
Pynk, like the tongue that goes down... maybe
Pynk, like the paradise found

or

You know I love it, so please don't stop it
You got me right here in your jean pocket
Laying your body on a shag carpet
You know I love it so please don't stop it

Listening to the album will remind you of Prince, because his signature sound is all over the album. Prince worked with Monáe on the album before his death in 2016, and “Make Me Feel,” shown in the video above, is the climax of their joint effort. Just watch that video, but be warned: while there’s not a naked part in the whole video, it definitely toe’s the line of what’s safe for work viewing. In addition to having Prince’s fingerprints all over it, the album is chockablock with guest stars as well. Brian Wilson, Stevie Wonder and Grimes all make appearances.

Monáe took other cues from Prince, too, releasing Dirty Computer – An Emotion Picture along with the album. At just over 45 minutes, the film is a loose sci-fi story built around the sounds of the album. You can watch the long film and see all the music videos within, or you can watch them individually, too:

• “I Like That”
• “PYNK”
• “Django Jane”

If you’re not familiar with Monáe, you’ve got a lot of catching up to do. Start with listening to this album, then watch out for her next thing. I guarantee, if she hasn’t done it already, she’ll be the next megastar to host Saturday Night Live as both the host and the musical guest, and she will kill it.

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5. The Horizon Just Laughed by Damien Jurado
6. Chris by Christine and the Queens
7. Wanderer by Cat Power
8. Tell Me How You Really Feel by Courtney Barnett
9. The Louder I Call, The Faster It Runs by Wye Oak
10. Ruins by First Aid Kit
11. Cocoa Sugar by Young Fathers
12. Loner by Caroline Rose
13. Big Red Machine by Big Red Machine
14. I’ll Be Your Girl by The Decemberists
15. The More I Sleep the Less I Dream by We Were Promised Jetpacks
16. Joy as an Act of Resistance by IDLES
17. Hell-On by Neko Case
18. Superorganism by Superorganism
19. Living in Extraordinary Times by James
20. Thank You for Today by Death Cab for Cutie
21. Black Panther: The Album by Kendrick Lamar
22. Suspiria (Music for the Luca Guadagnino Film) by Thom Yorke
23. Merrie Land by The Good, the Bad & the Queen
24. Room 25 by Noname
25. WARM by Jeff Tweedy
26. God's Favorite Customer by Father John Misty
27. Vessel by Frankie Cosmos
28. For Ever by Jungle
29. Twerp Verse by Speedy Ortiz
30. Remain in Light by Angélique Kidjo
31. This One’s for the Dancer & This One’s for the Dancer’s Bouquet by Moonface

Subscribe to the 2018 Bacon Top 31 Apple Music playlist
2009-2017 Top 31s

#5 on the 2018 Bacon Top 31 — Damien Jurado

The Horizon Just Laughed by Damien Jurado

Now we’re getting to the point in every Top 31 where I start to doubt myself, where I start to question “is this album truly better than this other album?”, and where I have trouble coming to terms and being settled with where I place each album from here on out. Today, Damien Jurado’s amazing album The Horizon Just Laughed is #5. But tomorrow, I’ll want to put it at #2. I have to put a stake in the ground somewhere, so I guess this is it.

I’ve talked about Damien Jurado many times in the past ten years. He’s had a phenomenal run of albums, and a huge impact on my life. His three albums prior to this new one have all been in the best albums of the year each year that they were released (#2 in 2016, #0 in 2014, and #5 in 2012). No other artist has been featured so prominently in the Top 31. I love the man. So much so, my wife and I even consummated our marriage (on the dance floor — get your mind out of the gutter) by making “Kola” from Visions of Us On the Land the soundtrack to our first dance together.

Jurado turns feelings into music like no other. He grabs hold of your heart and squeezes it hard, right up to but never surpassing the edge of no return. Unlike the trio of albums he produced with Richard Swift throughout the 2010s, this new album is a self-produced triumph of lyric and sound that chronicles Jurado’s abandonment of his home for sunnier skies. It’s a love letter, a goodbye, to Washington. And there are quite a few direct references to the Pacific Northwest, not the least of which is the song featured above, “Over Rainbows and Rainier” — the high point (or low point, depending on your perspective) of the album.

There’s a moment, three minutes and 24 seconds into the song, a moment that clearly wasn’t planned, where Jurado has to stop to collect himself. That moment is all of six seconds long — a hairs breath of time, really — just after Jurado sings the line “I forgot I was human” and trips up. He later said in an interview he’d begun to tear up. Tears are not heard, obviously, but the halt in the song, the palpable pause in the verse, feels like an eternity, and you’re right there with him, arm in arm, feeling everything he’s feeling. His is a magic not many can muster.

And that’s where the beauty of self-production comes into play. Had another person produced the record, they would have pushed for another take, for Jurado to clear his head and try again. But it’s precisely this emotion, this connection to himself and to the listener, that he alone can convey.

You can pick up any one of Jurado’s last four albums (out of 16 over the last 22 years) and be blown away. At the end of my review for Visions of Us On the Land for the 2016 Top 31, I speculated that this may be the end for Jurado. He’d just finished the trio of albums with Richard Swift, and I was convinced that it was Swift that had brought the magic out of Jurado. I can’t tell you how pleased I am that I was wrong. The Horizon Just Laughed is testament that Jurado just keeps getting better and better. If you’re not listening to him on the regular, there’s no time like the present.

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6. Chris by Christine and the Queens
7. Wanderer by Cat Power
8. Tell Me How You Really Feel by Courtney Barnett
9. The Louder I Call, The Faster It Runs by Wye Oak
10. Ruins by First Aid Kit
11. Cocoa Sugar by Young Fathers
12. Loner by Caroline Rose
13. Big Red Machine by Big Red Machine
14. I’ll Be Your Girl by The Decemberists
15. The More I Sleep the Less I Dream by We Were Promised Jetpacks
16. Joy as an Act of Resistance by IDLES
17. Hell-On by Neko Case
18. Superorganism by Superorganism
19. Living in Extraordinary Times by James
20. Thank You for Today by Death Cab for Cutie
21. Black Panther: The Album by Kendrick Lamar
22. Suspiria (Music for the Luca Guadagnino Film) by Thom Yorke
23. Merrie Land by The Good, the Bad & the Queen
24. Room 25 by Noname
25. WARM by Jeff Tweedy
26. God's Favorite Customer by Father John Misty
27. Vessel by Frankie Cosmos
28. For Ever by Jungle
29. Twerp Verse by Speedy Ortiz
30. Remain in Light by Angélique Kidjo
31. This One’s for the Dancer & This One’s for the Dancer’s Bouquet by Moonface

Subscribe to the 2018 Bacon Top 31 Apple Music playlist
2009-2017 Top 31s

#6 on the 2018 Bacon Top 31 — Christine and the Queens

Chris by Christine and the Queens

If you’ve been paying attention to the Top 31 over these last 10 years, you’ll have noticed a strong affinity for indie pop that makes you want to jump up and down and pound your fist. Starting with my very first #1 (Passion Pit’s Manners), and then again with CHVRCHES at #1 in 2015 with Every Open Eye, I love me some catchy, synth-fueled pop. 2018 was a good year for this genre, as witnessed by the appearance of Wye Oak at #9 and Superorganism at #18, but now we can add an even better album to that mix: the sophomore album from French singer/songwriter Héloïse Letissier, otherwise known as Christine and the Queens, or Chris for short (which also happens to be the name of said album).

Letissier is a truly global singer, in that she has released both of her albums in their native French as well as in English. Some of the songs blend together French and English, because this is pop music and voice is just another instrument, really. I’ve not yet heard her 2014 debut, Chaleur humaine, but it sounds like I should rectify that soon given the acclaim that was heaped upon it by The Guardian, The Independent, Mojo, and NME (who all named it one of the best of 2014). I can’t get enough of this new album, though, in both languages.

When I first heard “Damn (what must a woman do)” on KEXP, I quickly reached for my phone to try and Shazam it, thinking it was some new amazing previously unreleased Michael Jackson bombshell of a song. Based on the power of that one song (which, unfortunately, doesn’t have a video, but you can listen to it here), I picked up the full length Chris, which comes as a double album — first the English versions and then the French. While her first album was recorded fully in French and then had the English words injected into it, Chris was written bilingual-ly from the beginning. If the song didn’t work in both English and French, it was reworked until it did, to amazing effect. At times, Letissier likes to use syllables and pieces of meaningless words in her songs, using her voice as an additional instrument rather than to convey any sort of overt meaning. A form of skat for the pop generation.

Be sure to watch and listen to the above video, and then explore some other videos from the album:

• “La marcheuse”
• “5 dollars”
• “Doesn’t Matter (Voleur de Soleil)” or in English “Doesn’t Matter”
• “Damn, dis-moi” (shown above) or in English “Girlfriend”

Letissier is only going to get bigger. She’s working towards taking over the world, and you‘d better get on this train now, lest you be left behind.

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7. Wanderer by Cat Power
8. Tell Me How You Really Feel by Courtney Barnett
9. The Louder I Call, The Faster It Runs by Wye Oak
10. Ruins by First Aid Kit
11. Cocoa Sugar by Young Fathers
12. Loner by Caroline Rose
13. Big Red Machine by Big Red Machine
14. I’ll Be Your Girl by The Decemberists
15. The More I Sleep the Less I Dream by We Were Promised Jetpacks
16. Joy as an Act of Resistance by IDLES
17. Hell-On by Neko Case
18. Superorganism by Superorganism
19. Living in Extraordinary Times by James
20. Thank You for Today by Death Cab for Cutie
21. Black Panther: The Album by Kendrick Lamar
22. Suspiria (Music for the Luca Guadagnino Film) by Thom Yorke
23. Merrie Land by The Good, the Bad & the Queen
24. Room 25 by Noname
25. WARM by Jeff Tweedy
26. God's Favorite Customer by Father John Misty
27. Vessel by Frankie Cosmos
28. For Ever by Jungle
29. Twerp Verse by Speedy Ortiz
30. Remain in Light by Angélique Kidjo
31. This One’s for the Dancer & This One’s for the Dancer’s Bouquet by Moonface

Subscribe to the 2018 Bacon Top 31 Apple Music playlist
2009-2017 Top 31s