That being said, London Grammar's Truth Is A Beautiful Thing is beyond incredible. Not enough can be said about Hannah Reid's voice, nor even her lyrics, and the poise and craftsmanship of Dan and Dot's guitar/drum/etc is truly awesome. If you haven't given it a listen, absolutely do so. Now on to list.
#3: Mura Masa - Mura Masa
This was a really interesting album for me. I had become a fan of Mura Masa with the incomparable "Lotus Eater" years ago, then sometime later I stumbled across the original A$AP Rocky-less version of "Lovesick." I absolutely loved it, and only grew to a further infatuation with Benzi & BryceM88's brilliant T-Pain blend. I even used the oh I can't believe it drop as my ringtone for nearly a year.
So yeah it's safe to say I was fully aboard the Mura Masa bandwagon. Then came the incredibly popular "What If I Go?," which I liked, but certainly didn't hold the same shine as its predecessors. I can't say I was as intrigued with the new A$AP Rocky version either, but indeed it has grown on me, becoming one of the many 5-star tracks on this incredible album. Then came the Charli XCX joint, and I was back on board. It just nailed the vibes I had come to expect from Mura Masa. It was fun and light, but still oh so bouncy and club friendly. The next single, "All Around The World" kind of fell flat for me. It's weird because now I think it's my favourite track on the whole album, and this is kind of the key to Mura Masa; it takes a little time to grow on you, but once it does, it really finds a special place in your heart. And this is where it really takes off for me, hearing it being performed live at Coachella.
That Coachella performance introduced me to "helpline" with Tom Tripp, my love for which has been well documented on my Twitter and again here as I wrote about the studio release. The live performance won me over with its inspired raw emotion and playfulness. It was here that I also learned to love "All Around The World" and "Nuggets." Later in the summer, after the release of the album, I got the chance to see Mura Masa live, and was so enthralled when Bonzai sang all the guest parts. It truly was incredible despite my main love "helpline" not getting played. But back to the quality of this album and my reasoning behind its placement here as my 3rd favourite album of the year.
While it's not fair to call them misses, there are certainly some weaker spots in the tracklist (#'s 6, 9, 12 and 13). For whatever reason I just couldn't get into them, and not for a lack of trying. Sure it's not a big deal with "give me The ground," which is a viable interlude, but the others just don't hold up to the majesty of "Nuggets," "All Around The World" and "Second 2 None." Regardless this is an album I would not hesitate to play nearly anywhere at anytime. You really can play it from beginning to end, and not find any trouble at all. Maybe just slightly less than those below, it is cohesive and of unquestionable quality. Combining countless genres and elements it truly is one of the most incredible albums, not just of this year but, of this generation of electronic music. The sky is seemingly the limit for the young Alex Crossan, and his Mura Masa project. I cannot wait to see what he does next.
#2: Kölsch - 1989
Without a doubt Kölsch was one of my artists of the year. This album aside, his remixes of "Hell To The Liars," "Alaska," and "Take A Chance," are all epic. He even played a set atop the Eiffel Tower (see and read here). So really, even without 1989, this man certainly made his mark on 2017. That being said this album really puts the rest of those productions to shame. It is that good, and we should have expected that after his previous extraordinary albums. But, I will say that this may be his opus.
Maybe more than ever (save for when electronic music was disco) strings were the thing in 2017. I've said it before but they certainly seem to lend themselves to electronic music and DJing, particularly because of their ability to flow (see Skratch Bastid & The Afiara Quartet). That being said 1989 is not really about it's DJing qualities, more so its incredible standalone nature. It really does stand as an epic orchestral movement.
Right from the get-go the vibes are illustrious and truly awesome as the mood is set with an undeniable majesty. The mix of the most electronic of vibes (acid and techno) with the live organic feels of the orchestra is incredible, growing softly from "Serij" to the atmospheric excellence of "Grå." Then comes the bleepy brilliance of "In Bottles." It is at once so high in the sky that it screams sanctified strength while still managing to bump with blasts of brimstone. When the strings come in there's nothing you can do thank the techno gods for Kölsch. There's no question you'll find it in my Top 100 Tracks countdown, next week. The fact that it is followed by the equally impressive "Grey," propels 1989 into rarefied air.
The success of this track takes little time to become evident, and once again blends the orchestral/light feels with its electronic/heavy counterparts. A special nod has to go to the fantastic transition from the fluttery flute to the powerful brass at around the minute mark. "Grey," like 1989 as a whole, succeeds in being both as bold and powerful as a giant, yet as cunning and nimble as a pixie. While I love the follow up track "Grau," it inevitably comes as a bit of a lull, but still a supremely enjoyable one. It builds us back into the arc of the album setting us up for the ferocious "PUSH." Its got an acid intensity that once again Kölsch ushers in alongside the orchestral arc ever so expertly.
It is after "Gris," which again is a bit of an unavoidable let down, that I am find myself free of the fever of 5-star ratings. "14" is still a strong production but something about it seems less inviting to my ears; at worst it offers further dynamics to the album. Things pick up again with "Khairo," "YKPI" and "Liath" which are brilliant, if less potent than their predecessors. The former would be a fantastic fit in Pete Tong's Ibiza Classics. And while I'll say I'm not a big fan of "Goodbye" it certainly serves its role as a crafty conclusion to an incredible album. If (and I hope this isn't the case) this is Kölsch's final release, it comes a fantastic cap to an extraordinary artistic endeavour. But please, I want, nay, need more.
#1: Sinjin Hawke - First Opus
When the lead single "Onset" was first released, I instantly knew we were in for a treat (read here). Little did I know just what that meant. It was clear that Sinjin doing Sinjin for Sinjin was going to be fantastic, but after just one play of First Opus it was clear that this was an epic masterpiece of production ability. His utilization of samples and god-like direction of them still blows my mind. To think of a club record achieving this kind of incredible artistic arc is simply stunning. I've truly never heard anything like it, nor do I ever expect to come across anything of its caliber anytime soon. If we are being purely 'scientific' few albums come within reach, considering average track rating it achieved an astounding 4.4 stars per track (as a reference both of the above got 4.3) And this is including the only 2-star tracks in any of these albums, "Nailgun" and "Prophecy Of Martyn Bootyspoon," both of which I find grating. But this is about my appreciation of First Opus, so on we go.
Ironic isn't it, that both this and and 1989, open in very much the same manner: with an orchestra warming up. However the similarities generally end there, as Sinjin delivers both divine and diabolical future trap club killers one after another. The vocal sample from "Wolves" plays an important role in the whole album, but is so exquisitely introduced in "Monolith (Overture)." It is planted like the American flag on the moon, laying claim to this extraterrestrial environment. Its play with the other vocals and popping percussion is just too much to take, there's nothing you can do but melt into your chair as this wondiferous wall of sound slaps your soul silly. So yeah, safe to say its one hell of an intro. Next up comes "Dawn Of Infinity" which welcomes even more of this celestial creativity. It serves as a splashy send off into the plucky possession of "They Can't Love You," which bumps and grinds beneath an incredible sheen. The follow up, "Shimmer" furthers the siren strength of First Opus leaving you utterly helpless under its power.
As if making his motives clear, the aptly named "Don't Lose Yourself To This" is a snide reminder that Sinjin has you in his clutches. It may be the most diabolic of any of the 14 tracks, conjuring up the image of space witches brewing a bubbling concoction, snickering as they do so. And this is where "Nailgun" comes in, and to incredible effect, it utterly churns your insides. As I listen now it's making me absolutely noxious. Thankfully "Flood Gates" comes as a shining saviour. The flourishes are absolutely fantastic, as if illustrations of a Gilderoy Lockhart-esque character bursting onto the scene. It is at once magical, yet so clearly sci-fi. The triumphs continue with "By Any Means" which brings both blistering drum work, and careening choruses. It is incredibly hopeful, serving up such an incredibly stark contrast to the tracks before.
While we've felt both magic and sci-fi themes before, I get a video game vibe from "Snow Blind," particularly Zelda. The soaring vocal coming as the titular princess calling out to our hero (in this case Martyn Bootyspoon) to save her. And this is where Hawke sets off on his epic journey with "Onset." It is the Bat Signal, beckoning our hero to battle, and sure enough it slays. Once again the video game vibes come to full effect, with the wildly bleepy midsection of "Onset," as though flying through levels on hyper-drive. The return of the horns hit like a montage of mayhem and oh so close calls, but ultimately our hero comes through in stunning success.
However one final boss lays in wait with "In Cold Blood." The familiar "Wolves" vocals are back as our hero has reached the final castle while the evil villain tortures the princess as one final act of cruelty. This may be the most emotive track, truly pulling on the heartstrings especially as the diving sound of video game death ends the track. The magic returns for the penultimate track as the life is struggled to be saved, amidst calls to a higher power. The desperation is evident as the end of the track nears and all seems to be lost. However we're in for one final flourish of fantasy. "In Loving Memory" is the perfect send off for First Opus. It delivers all the impact and essence of the album in one track, as we're left to remember each of the incredible tracks it took us through. It is a this point that reaching for the repeat button, and playing the album again seems like the only option. Play your favourite levels over again and experience the magic once more. I know I have, and surely will continue to do so. Writing this piece and listening to First Opus as a whole was an absolute joy, and only furthers my feverish love for it.