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The best overlooked albums of 2016

By Alan Sculley

Photo: Death by Unga Bunga’s fourth album, Pinapple Pizza, is a power house of power pop

Considering the depth of quality albums released in 2016, it’s no surprise that the year produced a healthy number of releases that went unheard and under-appreciated by the vast majority of music fans.

So here’s my list of the year’s best overlooked albums. My selections lean decidedly toward rock, pop and Americana, which both reflect my musical tastes and the fact that the standout hip-hop/soul albums tend to register in the mainstream and the press. Taken as a whole, this list stands up nicely to the albums that made my top 10 list of high-profile albums (see list at end of column).

Margo Price—Midwest Farmer’s Daughter

This newcomer sounds far more seasoned than her brief discography would suggest. The

song “Hands of Time” spins a well-rounded story about battling hard times while recalling the classic country-pop of Dusty Springfield. Other songs, like the frisky two-step “About To Find Out,” paint smart (and frequently funny) character portraits. And the love lesson of “Since You Put Me Down” is set to a country swing that’s more pleasant than the barbed lyrics Price sings. There’s more where these songs come from on Midwest Farmer’s Daughter, the year’s best country album.

Death By Unga Bunga—Pineapple Pizza

This band’s fourth album in five years, Pineapple Pizza comes roaring out of the gate with “I Can’t Believe That We’re Together,” a riffy rocker in the glorious tradition of the Who’s “I Can’t Explain.” The rest of the album is just as good. Highlights include: The driving rocker “Best Friends,” which rides some twisty guitar leads into a hooky garage pop chorus; “I Can’t Hide,” another high energy hookfest that’s laced with farfisa-ish organ; the melancholy surf-pop of “Make Up Your Mind”; and “Wasting Time,” a rocker built around shimmery guitar leads.  The album boasts nice variety. Put it all together and Pineapple Pizza stands as the best power pop album of 2016.

Paranoid Style—Rolling Disclosures

Elizabeth Nelson (who essentially is Paranoid Style) sounds a bit like Jenny Lewis as a vocalist and shares her talent for pithy, knowing, and frequently humorous lyrics. But where Lewis leans toward alt-country, Nelson is a power pop ace, rocking through caffeinated guitar-rich tunes like “Certain Lists,” “Daniel In The Basement,” and “The Thrill Is Back!” and turning out hook after hook on this first-rate album.

LVL Up—Return To Love

The rumbling fuzzed out sound of Return To Love is invigorating in its own right, but the sound of the songs never overshadows the hooks or energy of the material, which is what makes this album stand out. And LVL Up does vary the sonics from time to time on this, the group’s third album. The band opts for more of a chiming guitar pop setting for “Spirit Was,” some rough acoustic textures on the ballad “Cut from the Vine,” and employs more of a spare sound before blasting away on “Five Men on the Ridge.” The balance between noise and melody and between structure and experimentation makes Return To Love a compelling listen. And the buzz this album has started to generate may soon translate into the wider attention the band deserves.

Margaret Glaspy—Math and Emotion

Glaspy writes jagged, ear-grabbing songs that range from rocking (“Emotions And Math”) to just plain ragged (“Parental Guidance”). That’s a perfect setting for her lyrics, which suggest someone who has been around the block enough times to see things for what they really are. Pricklier than Courtney Barnett or Lucy Dacus and more grounded than Fiona Apple or Stevie Nicks, Glaspy looks poised to be a strong and distinctive female voice on the indie rock scene for years to come.

The Wild Feathers—Lonely is a Lifetime

This consistently enjoyable album ranges from the epic Beatles/Oasis-esque pop of “Sleepers” to the ringing guitar rock of “Happy Again” to the folk-tinged pop of the Byrds-ish “Goodbye Song.” It’s accessible stuff that makes one wonder why the Wild Feathers remain a relatively undiscovered treasure—despite being on major label Warner Bros.

The Hotelier—Goodness

There’s nothing particularly unique or groundbreaking about “Goodness,” the Hotelier’s third album. But with melodic guitar rock songs as solid as “Settle The Scar” and “End of Reel” (which have a bit of jangle) and amped-up tunes with a little punk edge like “Piano Player,” “Soft Animal,” and “Two Deliverances,” that’s not an issue. There’s plenty to admire—and enjoy—in the no-frills guitar rock of Goodness.

Blood Orange—Freetown Sound 

The third album from Dev Hynes (formerly known as Lightspeed Champion) as Blood Orange takes on weighty issues about race, homophobia, self worth, and feminism, but does so against a musical backdrop that is far more pleasant than the subject matter would suggest. Silky, melodically rich ballads like “I Know,” “Thank You,” and “Hands Up” sound like they could be a soundtrack for romance, but deal with thornier struggles. And the occasional up-tempo tune (the poppy “Augustine,” “Best to You,” and the Prince-ish banger “E.V.P.”) is deceptively peppy. Hynes doesn’t find many answers to the issues he addresses, but he manages to entertain while spurring thought about some key problems in today’s uncertain times.

The Lemon Twigs—Do Hollywood

One of the more inventive new acts on the scene, the duo The Lemon Twigs (brothers Brian and Michael D’Addario) can sound baroque (The Rufus Wainwright-ish “I Wanna Prove to You”) one minute, new-wavey another (“Baby, Baby”), and theatrical the next (“These Words” echoes Queen with its vocal harmonies and grand instrumentation, and “Frank” has a bit of Broadway in its wide-eyed personality). The duo has a zany streak as well. If the descriptions of the preceding songs don’t suggest that, then try the funhouse frenzy of  “Haroomata.” What keeps things from crossing the line into novelty territory is the solid song craft and big hooks the D’Addario brothers bring to their songs. It will be fun to hear where this pair goes from here.

White Lung—Paradise

Fronted by Mish Barber-Way, White Lung’s frenetic guitar rock makes for a pretty relentless listening experience. But there are enough attention-grabbing riffs and vocal melodies in songs like “Vegas,” “Kiss Me When I Bleed,” and “Demented” to make Paradise (the group’s fourth album) a pretty blissful album for fans of high-energy rock that splits the difference between punk and metal. Think of The Pretty Reckless with a bit more of a pop bent.

Honorable mention

The Julie Ruin: Hit Reset; Thermals: We Disappear; Parker Millsap: The Very Last Day; Joseph: I’m Alone, No You’re Not; Dressy Bessy: Kingsized; All Boy All Girl: Slagroom; Joyce Manor: Cody; Sunflower Bean: Human Ceremony; Willie Nile: World War Willie; Heliotropes: Over There; Pinegrove: Cardinal

My top 10 albums of 2016

Beyoncé: Lemonade; David Bowie: Blackstar; Car Seat Headrest: Teens of Denial; Chance The Rapper: Coloring Book; Drive-By Truckers: American Band; Dawes: We’re All Gonna Die; Kanye West: The Life of Pablo; Radiohead: A Moon Shaped Pool; Rolling Stones: Blue & Lonesome; Leonard Cohen: You Want It Darker

 

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Alan Sculley
Reach DCP freelance writer Alan Sculley at AlanSculley@DaytonCityPaper.com.

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