So it goes and so it goes, and in some bleak moments, the world seems a bit more abrasive this year. Sometimes I retreat entirely into art and fiction, absorbing as much beauty and weirdness as I can before having to emerge to responsibility. It’s inevitable, it’s cathartic. It’s where things change.
After years of waiting, I finally saw Boris live. It was incredible. It was exactly what I was hoping for. It changed my perception of a band that’s been a favorite for almost a decade. I now see Boris is completely new light.
Standing in the Pyramid Scheme in Grand Rapids, MI, I felt a blast-furnace heat that burned away any trace of skepticism I had about the power of live rock music. It’s been a long, long time since a band gave me such a revelatory experience.
Here’s an album that received so little mention upon its release, I’m surprised to learn that anyone else got to hear it. Gabriel Saloman’s Movement Building Vol. 2 is a self-contained explosion. It made my best of 2015 list, but I didn’t see it on literally any other. Here’s my bid for wider recognition.
This is the full album:
I hear a lot of great music almost every day, and it really adds up. I might not be rich or famous, but my life is wealthy with incredible music. I want to make everyone else as wealthy, too. Every single year, there are so many great albums that I’d recommend anyone, far more than I’d feel comfortable putting on a top ten list.
So here we are, my “honorable mention” list of 2015 albums. Every one of these albums are worth your time. Unlike my top list, they appear in the order that I heard them.
After you’ve checked this out, make sure to see the 17 Best Albums of 2015 here.
Read on to hear the best of the rest of 2015:
DJ Spider’s new album is a hot revelation, a refractory slab of noisy techno and deep house. Upon The Gates Of The Great Depth grabbed my attention out of nowhere this morning, leaping from a list of new releases with a sense of inevitability: “I’m going to be really into this,” I thought, seeing nothing more than the abstract cover art. As it wormed its way into my skull, lifting my cheeks in a smile, I realized that I was right.
It’s hard to describe to a newcomer exactly what Arther Russell does that’s so ineffably unique. He’s a cellist, composer, and otherworldly disco producer who crafted some of the strangest and most deeply affecting music the world has ever known. His singing is deeply felt, vulnerable, and nothing like any classic vocalist.
Arthur Russell was unforgivably ignored in his lifetime, but I am so thankful that the massive body of work he kept to himself has been thoughtfully collected and released in the years since. He may have died before I was 10 years old, but he’s now one of my favorite musicians ever.
The man’s brief career began in the 70s collegiate avant-garde scene, collaborating with Steve Reich, Philip Glass, Rhys Chatham, and most notably, Allen Ginsberg, accompanying the beat poet’s live work on cello. He moved into the gritty New York disco scene and crafted some of the most alien dance singles of the era before finally crafting his own masterpiece. World Of Echo, a solo journey of vocals, cello, soft percussion and electronic effects, is the only full album released during his lifetime, as Russell died of AIDS in 1992, nearly broke.