Michael Belt’s Best of 2015

By Michael Belt

As each year draws to a close, I always tell myself that, regarding music, this year was better than the last. Last year, for example, I remember thinking “2014 was definitely better than 2013. My musical interests have vastly evolved and it’ll be interesting to see where this goes next year”. One year later, this mindset is prevalent to some extent, but not as much as previous years. In many areas of my life, 2015 was quite interesting, and I think the music I listened to was very reflective of that. It’s hard for me to deny that what I listened to became the soundtrack to that journey. Every year I keep a note on my phone with an ongoing list of my top releases, be it albums, EPs, mixtapes, etc. Given my ever-changing opinions on many releases (including ones I’ve reviewed for this site), every day I’d be adding, removing, and rearranging items. I think I listened to somewhere around 100 new releases total this year. As far as Tuned Up goes, I’ve been known to write way too much in my reviews, and after a year of doing so, I think I can ease up for once. With that being said, I’ll be sharing the top ten releases/songs/album covers of 2015, rather than the larger amount I covered in 2014.

Releases

aquaria

BOOTS – AQUΛRIA: Beyoncé. Run The Jewels. FKA twigs. BOOTS (Jordan Asher) has found fame by producing for all of these acts. After an impressive mixtape, WinterSpringSummerFall, and a stunning short film and EP, Motorcycle Jesus, we’re finally treated to BOOTS’ debut album, AQUΛRIA. Drawing from a combination of industrial rock and R&B, AQUΛRIA is a stunning body of work. Asher’s production has only gotten better with time, and that’s saying something given that this is his first studio album proper.

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Author – Of Brighter Days: A friend of mine turned me onto Author later last year with their EP, People Are Alike All Over. What had initially sparked my interest was that this EP was produced by one of my favorite musicians, Copeland’s Aaron Marsh. While Of Brighter Days was self-produced, it bears a lot of similarities to its predecessor. This record is only nine tracks long, but in that short time the band spares no expense evoking a multitude of sonic ideas and emotions. It’s a lush debut record that’s had my attention since it’s release. You’d be foolish to pass this one up.

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mewithoutYou – Pale Horses: Back when I reviewed Pale Horses a little over six months ago, I said “I could easily see this record being one of the best albums I’ve heard all year”. Today that conjecture has never been more accurate. mewithoutYou have crafted an impressive collection that, in many ways, can appear dark and personal at one point and suddenly take on the opposite. When combined with the record’s meticulous lyricism, Pale Horses will leave many listeners (and long-time fans) highly satisfied.

carrytheghost

Noah Gundersen – Carry the Ghost: Only a year and a half passed between the release of Noah Gundersen’s debut studio album, Ledges, and his sophomore record, Carry the Ghost. While I have yet to listen to Ledges, I’ve spent a lot of time with Carry the Ghost. Musically, multiple listens give way to comparisons to Ryan Adams. Lyrically, Noah sings a lot about existential philosophy and his journey of finding solace in secular humanism. It’s a profound body of work that evokes a multitude of emotions with every listen.

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Gungor – One Wild Life: Soul: I’ve been on a spiritual journey of sorts this year. The theological mindset I once subscribed to has evolved into something very different than it’s been in the past. While I’m very grateful for this journey, going through it has been quite hard. Feeling like somewhat of an outcast within certain communities I belong to, Gungor became a staple in my music library, given their incredible musicianship and similar stories of faith lost and found. This new record, One Wild Life: Soul, is the first of three planned records (with Spirit and Body set to be released in 2016), but by itself it’s a very dynamic body of work. It’s as layered as it is diverse, and its lyrical cornerstone is profound but simple: every life of branch is beautiful, and rather than adhering to the concept of an either/or, an us and a them, we should close that gap and reach out in love. For both its music and lyricism, Soul will hold a special place in my heart for years to come.

newbermuda

Deafheaven – New Bermuda: I was a latecomer to Deafheaven’s groundbreaking sophomore record, Sunbather. When I finally listened, I regretted missing out on hearing this record upon release. I was impressed with their blending of black metal and shoegaze as much as I was by the sonic landscapes said blending painted. It was this dichotomy of joy and despair that I hadn’t heard expressed properly in metal. I had it on repeat for a long time, appreciating every single element I could. Still, I wanted more. So when I got my hands on their third record, New Bermuda, I wasn’t surprised that this dichotomy came up again, albeit in a different light. While shorter and a lot darker than its predecessor, New Bermuda expands upon the emotional high points of the former and sets them against a more melodic and diverse backdrop. With this record, Deafheaven have created something that’s simultaneously familiar and foreign, which makes it even better than Sunbather in the long run.

Adele – 25: Up until the announcement of 25, I honestly had forgotten about Adele, which feels really strange typing, given that four years ago, everyone and their mother was obsessed with her. 21 was more that just a shining light for the music industry as a whole. It was genuinely a good body of work for mainstream music. The strengths of 19 were almost weaknesses for its follow-up, and many had wondered if Adele could’ve come back in a similar but stronger manner than before with her third record. I think that answer is dependent on the mindset the listen is in. If said mindset is one that longs for 25 to be for 21 what The Empire Strikes Back was for Star Wars, the answer could very well be no. If this mindset is one that longs for a more-mature, self-aware Adele record that only somewhat sounds like a carbon copy of what’s come before, then the answer is a resounding yes. That being said, however you lean, 25 is essential listening for any fan of Adele’s previous records, and it’s undoubtedly destined for the same critical and commercial success that 21 saw.

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Sufjan Stevens – Carrie & Lowell: I believe that one of the best ways to make a statement in the music industry is to find critical acclaim with one record, raise your birds to the fans and critics hoping for a continuation, and put out something entirely different, albeit with a small sense of familiarity. One of the last times I saw this happen, it was when Kanye West released the polarizing (yet impressive) Yeezus after finding success with its predecessor, My Beautiful Dark Twisted Fantasy. In 2015, one could say that Sufjan Stevens did the same with Carrie & Lowell, but in the opposite order (create something polarizing and follow it up with something even better). Drawing from earlier records, Carrie & Lowell did away with the electronic elements found in The Age of Adz and replaced them with mainly an acoustic guitar or piano. Combined with Stevens’ vocals, softly sung, it creates this intimate environment where the listener can grieve with Sufjan, most notably about the death of his mother Carrie back in 2012. It’s an environment where lines like “there’s blood on that blade, f**k me, I’m falling apart” don’t feel out of place with allusions to God, video stores, or lemon yogurt. It’s an environment where the listener can find themselves overcome with deep sadness and understanding. Simply put, it’s one of the best records you’ll hear all year, if you haven’t heard it already.

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MUTEMATH – Vitals: It feels odd to talk about this record right after Carrie & Lowell, mainly because while the former was a dark and minimal body of work, Vitals sees MUTEMATH returning to form with a vibrant and grandiose collection of songs. As a huge fan of the combination of synthesizers with alternative rock, it’s no surprise that Vitals would be so high up on my list, but even amongst the familiarity of records past, I wasn’t expecting how different it was from its predecessors. While their self-titled record basically established this kind of sound, its follow-up, Armistice, took this sound in a more organic direction, which was followed by a more blues-inspired sound on Odd Soul. Where could MUTEMATH possibly go next? Simple: back to a reimagined square one. Aside from more electronic and programmed drum work from Darren King (whose presence is still an integral part of this record), Vitals expands upon the ideas and accessibility of their first record with more synthesizers and more catchy hooks. It’s a welcome change of pace but it’s not distant in the slightest. Vitals is easily the best thing that MUTEMATH has released in the past nine years, and has earned the distinction of being a spiritual successor to the self-titled record that intrigued us so long ago. Even casual listeners will find themselves in awe with how far the band has come, and even more questions regarding their next chapter.

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Kendrick Lamar – To Pimp a Butterfly: Since its release in March, Kendrick Lamar’s third record, To Pimp a Butterfly, has remained at the top of my list. Initially, I was surprised it wasn’t moving down. All year long I was anticipating releases from some of my favorite artists like MUTEMATH, Jon Foreman, Kanye West, The Weeknd, twenty one pilots, Paper Route, etc. Some of these releases made it pretty high, some didn’t, and some didn’t even release this year. I held out so long for these while my anticipation for a new Kendrick record didn’t even surface until I heard “The Blacker the Berry”, which immediately sparked my interest. Casual listeners, ones mainly familiar with “Swimming Pools (Drank)” or “B*tch, Don’t Kill My Vibe”, might wonder why To Pimp a Butterfly would even appeal to the single-based streaming, selfie-taking, mainstream music aficionado of 2015. Its predominant jazz roots come across as anachronistic, and its lyricism isn’t as comparable to the lovesick poetry you’d expect from someone like Taylor Swift. Yet what many fail to realize is that these elements are exactly why To Pimp a Butterfly is a dark horse in music everywhere. Lamar combined a multitude of genres and musical ideas with eighty minutes of lyricism regarding existential crisis, racial tension, and love for one’s self, and somehow pulled it off flawlessly. Nowhere else will you hear an almost-realistic conversation with Tupac this year. There was no other record in 2015 that touched on America’s resounding racial tension quite like this record, which only added to its cultural and historical relevancy. Heck, even Taylor Swift loved it, which might say something to her devoted fanbase (or not). These are only a handful of reasons why it’s remained at the top of my list, but the best way to understand is to experience it for yourself. Believe me, you’ll spend dozens of listens trying to dissect everything that’s going on. It’s been nine months and I’m still picking up on things I’ve missed since its release. While 2015 was an incredible year for music, no mainstream record was as rich and as To Pimp a Butterfly. It speaks volumes when nearly everybody that’s listened has the same praise. It’s become my favorite hip-hop record (as well as one of my all-time favorite records). Ultimately I can see this going down in history as one of the most important albums of the decade. If you don’t listen to any other release I’ve placed on my list, at least listen to this one. You won’t regret it.

Songs

Brandon Flowers – Can’t Deny My Love

[youtube]https://www.youtube.com/watch?v=9iiDlU4rhlY[/youtube]

The lead single from his sophomore solo record, The Desired Effect, The Killers frontman Brandon Flowers teamed up with producer Ariel Rechtshaid to create one of the catchiest and most upbeat pop songs I’ve heard all year.

The Weeknd – Tell Your Friends

[youtube]https://www.youtube.com/watch?v=CnmU8xix3S0[/youtube]

Co-produced by Kanye West, “Tell Your Friends” takes Abel Tesfaye’s typical lyricism and puts it in a more relaxed, almost lounge-like setting. It’s a very smooth track that, while not as radio-friendly as other cuts from Beauty Behind the Madness like “The Hills” or “Can’t Feel My Face”, stands out as the most well-executed cut from the record.

Selena Gomez – Good For You (feat. A$AP Rocky)

[youtube]https://www.youtube.com/watch?v=DXKHCgNFk1I[/youtube]

2015 was the year when a lot of pop artists grew up, presumably in the wake of what Taylor Swift did last year with 1989. That being said, I was not expecting similar results from former Disney Channel-sweetheart Selena Gomez. I was proven wrong with the lead single from her second solo album, Revival, titled “Good For You”. Some might dismiss it as lyrically boring, or out of place with pop music in general, mainly because of its lack of uptempo beats or A$AP Rocky’s verse, but I’ve learned that the best songs that are representative of this commonly-desired coming of age will be the ones that make me think “wow, this is different” immediately upon first listen. “Good For You” did just that for me, in a positive way.

Adele – Hello

[youtube]https://www.youtube.com/watch?v=YQHsXMglC9A[/youtube]

It’s honestly hard for me not to include “Hello” on this list. Aside from Adele’s near-perfect vocal abilities, it was honestly the best way for her to come back after nearly a four year absence from music. Sure, one could assume she’s singing to an ex-lover with those opening words “Hello, it’s me”, but it’s not wrong to assume she’s singing to the fans as well. Combined with Greg Kurstin’s phenomenal production, Adele’s voice shines through and proves she hasn’t any talent in her absence.

MUTEMATH – Used To

[youtube]https://www.youtube.com/watch?v=_4M-U4Vuqvo[/youtube]

This song took a lot of listens to grow on me. Initially, “Used To” sounds nothing like previous MUTEMATH singles. Now, it has set a precedent that I wish future MUTEMATH songs would follow. It starts out quite minimal at first, but continues to grow throughout the rest of the track, swelling with the perfect amount of synthesizers and electronic and live drums. The transition out of the bridge onward is perhaps one of my favorite moments in music this year. I think I can safely say this is now my favorite cut from Vitals, and definitely one of the better songs of 2015.

BOOTS – Dead Come Running

[youtube]https://www.youtube.com/watch?v=dfqFukLZuJ0[/youtube]

“Dead Come Running” is a fairly dark track from BOOTS’ debut record, AQUΛRIA. Once I heard it, however, I knew there was more than meets the eye. I heard an interview where Jordan Asher (BOOTS) described the song’s lyrical origins, noting three instances where he witnessed someone die, and how he’s never felt numb to that, even though we as a culture are expected to. Lines like “too many fires, everything will look the same” and “dead come running on the evening news” are reflective of this sentiment. Add BOOTS’ impressive production work to this and it makes the listener feel less numb than they have before.

Carly Rae Jepsen – Run Away With Me

[youtube]https://www.youtube.com/watch?v=TeccAtqd5K8[/youtube]

E•MO•TION was the pop record nobody was expecting this year. While Carly Rae Jepsen was initially declared a one-hit wonder with “Call Me Maybe”, E•MO•TION garnered critical praise for being a solid, full-length pop album that sounded nothing like whatever was on the radio at the time. So, while slightly disappointing, it makes sense that “Run Away With Me” only peaked at #49 on the Billboard pop charts. That being said, many critics aren’t far off from calling it “Teenage Dream 2.0”. Its opening saxophone hook draws the listener into a soft pre-chorus, leading into an anthemic hook that sets the tone for the rest of the album.

Grimes – Kill V. Maim

[youtube]https://www.youtube.com/watch?v=Xi-V06al_h4[/youtube]

Who else can you expect to write a song set from the viewpoint of a vampiric, genderfluid Michael Corleone from The Godfather but Grimes? Taken from her Art Angels record, “Kill V. Maim” is as aggressive as it is bubbly. It’s probably the fiercest track from musician/producer Claire Boucher, and it’s a notable departure from tracks like “Oblivion” from 2012’s Visions. With lines like “you gave up being good when you declared a state of war”, Grimes has crafted one of 2015’s more unique and enjoyable songs.

Florence + The Machine – What Kind of Man

[youtube]https://www.youtube.com/watch?v=XgeKHTcufLY[/youtube]

WARNING: Video NSFW

My initial exposure to Florence + The Machine rested solely on well-known tracks like “Dog Days Are Over”, “Cosmic Love” and “Shake It Out”. This year I decided to give their third record, How Big, How Blue, How Beautiful, a chance. While it’s a decent record, no song stood out to me like “What Kind of Man”. Starting out very soft, with Florence Welch’s voice layered with a distorted duplicate of her own, it’s abruptly cut off and transitions into a loud and soaring hook. It’s not entirely easy to explain why its simplicity works. It just does.

Drake – Back to Back

[youtube]https://www.youtube.com/watch?v=7mXZ4OJDQw8[/youtube]

This might be sacrilege for fans of “Hotline Bling” but “Back to Back” was arguably the best Drake song released this year. Coming off of two successful mixtapes, If You’re Reading This It’s Too Late and What a Time to Be Alive with Future, radio success with the aforementioned “Hotline Bling” (which is still a great song), and an upcoming and long-promised fourth studio album, Views From the 6, Drake has had quite the 2015. However, some of his best moments came out of his feud with rapper Meek MIll, who made the claim that Drake was using ghostwriters. One of these was “Back to Back”. Named for its status as the second diss track Drake released within a week towards Meek Mill (the first being “Charged Up”), “Back to Back” features lines like “you love her, then you gotta give the world to her, is that a world tour or your girl’s tour?” and “trigger fingers turn to Twitter fingers”. It’s sharp and well-timed, as well as one of the more enjoyable Drake songs I’ve heard. Being the first diss track nominated for a Grammy, it’s safe to say that while Drake might be reaching out a bit more to a wider audience with newer songs, he hasn’t missed a beat. If Views From the 6 is anything like his most recent singles, I’ll be very impressed.

Covers

Adele – 25

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