It’s no surprise Merriam-Webster declared “surreal” the word of 2016. For better or for worse, this year has provided us with a barrage of twists and turns, and a few of the most unimaginable moments of the century. As 2016 drags its feet to a merciful conclusion, it’s time to celebrate the fact that if there was one thing this year did right, it was provide us with incredible music. From inescapable mainstream pop to the darkest depths of grindcore, it was a year chock full of musical highlights. The following list is our effort to highlight the albums of 2016 that were truly the most luminescent within their respective genres. With contributions from 20 members of the mxdwn staff, here are our favorite albums of 2016 (and if you have not yet, be sure to check out our Songs of the Year list).
50. Amon Amarth – Jomsviking
Amon Amarth retain their status as undisputed masters of mid-paced melodic death metal on Jomsviking.
– Conor Fagan
49. Underworld – Barbara Barbara, we face a shining future
A 7-song album that utilizes heavy synths and electronic beats layered onto spoken lyrics that provide the feeling of futuristic dance club, each track slowly builds up into a progressive house beat that British duo Karl Hyde and Rick Smith have masterfully mixed.
– Joel Longini
48. The Album Leaf – Between Waves
The Album Leaf’s sixth release is the perfect ambient background music to soundtrack your most pensive moments.
– Jackie Van Zelst
47. De La Soul – and the Anonymous Nobody…
Their first record since 2004, De La Soul unites classic, well-tempered lyricism with modernistic and unexpected production in this crowd-funded record, stripping the chains of label constraints. – Julian Bridges
46. Agoraphobic Nosebleed – Arc
More than half the runtime of Arc is comprised of one track. If that isn’t brutally grindcore then what is?
– Cervante Pope
45. Sam Beam & Jesca Hoop – Love Letter for Fire
Iron & Wine’s Sam Beam and Jesca Hoop’s Love Letter for Fire is a purist’s acoustic analog dream. Check the easy, breezy call-and-response in “Every Songbird Sings,” or the breathy percussiveness in “Midas Tongue” to see what this album is all about; earnest lyrics and emotion validated by equally unadulterated production.
– Kyle Smith
44. Moderat – III
Moderat returns with an album that sounds akin to the ultimate combination of underground techno and soothing melodies, taking listeners on a multifaceted musical journey.
– Kevin Nguyen
43. Touché Amoré – Stage Four
Though Touché Amoré have always toed the line between pummeling hardcore and weepy emo, never has one of their albums, or quite possibly any punk rock album ever, been more appropriate to cry to. Between the band’s creative melodies and vocalist Jeremy Bolm’s crushing and personal lyrics, Stage Four is a straight up excellent modern punk rock album, keeping a genre sometimes weighted by nostalgia fresh, interesting and most of all, driven by very real and affecting emotions.
– Sam Skopp
42. Esben and The Witch – Older Terrors
While it clearly takes a page from the post-rock manifesto of slow crescendos, Esben and The Witch’s newest release imparts this minimalistic compositional style with an impressive level of dynamism and emotion.
– Steve Bonitatibus
41. Descendents – Hypercaffium Spazzinate
Hypercaffium Spazzinate sounds like the triumphant return to form of a band reuniting successfully after an extended hiatus. Considering the members of Descendents’ collectively impressive punk rock resume, it’s no surprise that its songs are fast, fun, appropriately technical and totally catchy.
– Sam Skopp
40. Big Business – Command Your Weather
Could you really expect anything less from a duo cosigned by the Melvins? We think not, as Command Your Weather commanded us to dig deep into the album and into ourselves.
– Cervante Pope
39. Cat’s Eyes – Treasure House
Rachel Zeffira and Faris Badwan came together for a third time to find a total balance. Treasure House found itself caught somewhere between romance and grit, while never settling for either.
– Megan Huffman
38. Blood Orange – Freetown Sound
Freetown Sound is an album that speaks to one’s soul with its poetic lyrics integrated through the use of voice clips. Blood Orange blends many different voices gracefully to create something akin to an audio collage.
– Kevin Nguyen
37. Myrkur – Mausoleum
Whether you consider the hauntingly radiant makes of Myrkur to be “metal” or not, Amalie Bruun’s handle on the genre has been more than proven with the minimal in execution, yet conceptually complex Mausoleum.
– Cervante Pope
36. Die Antwoord – Mount Ninji and da Nice Time Kid
Die Antwoord’s super theatrical fourth studio album encompasses everything the rap-rave group tries to be. A nuanced way of approaching rap, Die Antwoord uses electronic beats and bass synths to create a unique 16-track compilation that utilizes the South African band’s explicit linguistic talent and rapping abilities. Their newest album is a collection of songs that brings the listener to a state of dance that will make the more EDM-minded want to rave their faces off with accompanying neon colors and glowing pacifier.
– Joel Longini
35. Swans – Glowing Man
The final chapter is fitting; a mess of broken bodies and shattered bones lay in the wake of Swans. The Glowing Man is a triumph in the wake of war, and a eulogy for the lost lives.
– Drew Pitt
34. The Avett Brothers – True Sadness
The much-anticipated ninth LP from Carolina folk country bros The Avett Brothers sees them teaming up again with Rick Rubin for a tight and cohesive group of songs about heartbreak, neuroses and moving on.
– Melissa Daniels
33. Metronomy – Summer 08
On Summer 08, Metronomy bandleader Joseph Mount aims to bring back the glory days just prior to their breakthrough sophomore release Nights Out. The funk-pop album is a nostalgic return to form, featuring a brilliant duet with Robyn on “Hang Me Out To Dry”.
– Jackie Van Zelst
32. Killswitch Engage – Incarnate
Killswitch Engage is still holding up the metalcore mantle after so many years. The American metal pioneers are still growing their talents as the years go on, with Incarnate being heavier and more musically adept than any of their previous efforts.
– Max Sindermann
31. Kyle Dixon & Michael Stein (S U R V I V E) – Stranger Things Vol. 1 & 2
It seemed like everyone was glued to their couches this summer binge-watching the Netflix original series Stranger Things. So it’s no surprise that its soundtrack, filled with lush ‘80s vibes, has also been a huge success.
– Jackie Van Zelst
30. Nevermen – Nevermen
Sometimes life grants you little gifts you never expect to get, like this once-in-a-lifetime collaborative effort featuring TV on the Radio’s Tunde Adebimpe, Mike Patton, and Doseone from the Anticon collective. It finds three incredible singers taking the human voice to the absolute pinnacle of its potential.
– Raymond Flotat
29. Savages – Adore Life
Adore Life is exactly what one could hope for from this London-based post-punk female-fronted group. With several headbangers and goth-inspired tracks like the stunning “Adore” and “Evil” that are reminiscent of Siouxsie and the Banshees brought into the 21st century, Savages’ latest album demonstrates a massively successful post-punk album for modern listeners.
– Ilana Tel-Oren
28. The Coathangers – Nosebleed Weekend
What could be better than an ATL-based all-girl punk rock trio named The Coathangers? Answer: Not much. On Nosebleed Weekend, their fifth studio album, they balled up the pressure of recording in a historically lauded space–North Hollywood’s landmark Valentine Recording Studios–and cracked a home run, producing their most cohesive, mature, and fun record to date.
– Danny Karel
27. Allegaeon – Proponent For Sentience
With their 2016 effort, Proponent For Sentience, Allegaeon manages to cram just about every death metal formula ever broached–including a few Middle-Eastern prayer calls and a Rush cover–into a towering hour of unrelenting maximalism. The Colorado group samples every death metal style from Atheist to Zyklon, all while managing to achieve the meticulousness and studio fidelity of groups like Animals as Leaders and Scar Symmetry.
– Conor Fagan
26. Garbage – Strange Little Birds
Some 15 years ago, the Musical Industrial Complex tried to terraform the raw sonic landscape of Garbage into a commercially lucrative space. The result was a weak simulacrum of their exciting and raw initial efforts. After a long hiatus, Strange Little Birds recaptures their seminal spirit and proves that they can succeed on their own terms.
– Danny Karel
25. Nick Cave & The Bad Seeds – Skeleton Tree
Dark prince Nick Cave returned in 2016 with the moody, layered, and melodramatic sonic dream of Skeleton Tree. Finished in the wake of the unexpected death of his 15-year-old son, Cave quite literally speaks to the listener over the course of the LP’s 39 wrenching minutes. Lead track “Jesus Alone” contains evocative imagery that sets like a stain: “You’re a young girl full of forbidden energy / Flickering in the gloom / You’re a drug addict lying on your back / In a Tijuana hotel room.” Throughout, shimmering production from Cave, Warren Ellis and Nick Launay keep you afloat amidst the album’s tidal wave of grief.
– Kyle Smith
24. Jenny Hval – Blood Bitch
Jenny Hval’s fourth album in as many years is a conceptually rich work, with lyrics steeped in vampiric imagery, horror and menstrual blood. In a singles-centric musical age, Blood Bitch is a refreshingly cohesive work that is both engaging thematically and musically.
– Steve Bonitatibus
23. Deftones – Gore
The four years Deftones took between making their previous record and Gore was time well spent. They returned with mind-blowing guitar tones and lead singer Chino Moreno’s emotional and clever lyrics, proving that after almost after thirty years in the industry they can still make an outstanding record.
– Lauren Doyle
22. Boris with Merzbow – Gensho
Great castles often hide behind greater walls. Hulking monoliths that mean as much in symbolism as they do in practicality. This wall may be daunting, but behind it lies an intricate castle of noise and drones, begging to be occupied.
– Drew Pitt
21. Bleached – Welcome The Worms
Having evolved since their days as something of an equally-viable third-wheel to Wavves’ and Best Coast’s lo-fi surf pop revolution, Welcome The Worms sees Bleached adopting a straight up rock n’ roll swagger, trading in their surf boards for mid-calf leather boots, metaphorically speaking. It’s a welcome change, suggesting a staying power beyond what could have been a momentary, trend-driven relevance. Their new and improved sound is just nostalgic enough, maintaining an edge that will keep today’s mosh-ready audiences on their feet.
– Sam Skopp
20. Russian Circles – Guidance
For over a decade, Russian Circles carved out a respectable place within the once-crowded post-metal scene. While most of their peers stubbornly drew water from the same well again and again as the sub-genre faded from relevance, the Seattle band has released its best work to date. Equal parts aggressive, hypnotic, intriguing and beautiful, Guidance will stand as one of the seminal releases in the experimental-metal pantheon.
– Matt Matasci
19. Leonard Cohen – You Want It Darker
On his 14th studio album, Leonard Cohen focuses on making peace with both his world and his mortality. And at 82, Cohen went out as sharp as ever, producing some of his most compelling lyrics about God, forgiveness, sex, death and most notably, loss. The intended context behind the album title is unclear; fan and media speculation has labeled it a quip, question, taunt and dare. No matter the intention, it’s undeniable that Cohen does bring it to us as dark as ever. You Want It Darker deftly explores the grim sides of love in “Treaty,” youth in “Traveling Light,” and interpersonal relationships in “If I Didn’t Have Your Love.”
– Tim White
18. Helms Alee – Stillicide
Heavy, gloomy and doomy while still surprisingly melodic, Helms Alee’s fourth LP (and first for Sargent House) finds the noise-rock trio further honing their irreproachable dynamics. Whether it is Dana James’ anthemic singing or Ben Verellen’s guttural roar, the Seattle band adds just enough melodicism to their bleak post-hardcore soundscapes that you will be unable to resist listening again, and again, and again, and again, and… you get the idea. There are few heavy releases that are able to appeal to such a diverse range of musical interests, and Helms Alee do so with hard-to-recreate aplomb.
– Matt Matasci
17. Kendrick Lamar – untitled unmastered.
After 2015’s To Pimp A Butterfly, it seemed that there was no way for Kendrick Lamar to further assert the breadth and depth of his artistic merit and nuanced social outlook. However, just under a year later, Lamar surprised the world by releasing this unannounced collection, a slough of “unfinished” demos left behind from the TPAB recording sessions. A continued glimpse into oppression, spirituality and sexuality, untitled unmastered. was much more a through-conceived work of art than its title gives it credit for, and its casual release helped prove Lamar’s status as an artistic power for the ages.
– Julian Bridges
16. Wilco – Schmilco
Wilco’s already made significant contributions to alt-country’s modern catalog, and this year with Schmilco they cemented their signature, slightly off-center twang. Frontman Jeff Tweedy continues to offer deep, introspective musings, not in the least with his opening salvo “Normal American Kids,” and the complete album was one of the most solid and listenable efforts from the year. It’s worth noting, too, that these tracks were collected as the softer takes from 2015’s Star Wars sessions, marking the highs and lows of Wilco’s creative chemistry that continues to captivate their fans and earn critical respect.
– Melissa Daniels
15. Devin Townsend Project – Transcendence
Devin Townsend’s masterful composition skills wrought a new symphonic masterpiece that delighted progressive music fans all over. With such an eclectic musical background, Townsend rarely disappoints his fans, and Transcendence is no exception. Driving guitar riffs and complex instrumentation come together to build an operatic masterpiece that could only be achieved by Townsend’s large musical pallette. Townsend incorporates everything from complex orchestral arrangements to EDM-style synthesizers, leaving no two songs sounding the same. Yet somehow, they all come to bear Townsend’s distinct fingerprint. Transcendence had a lot to live up to after Townsend’s previous critically acclaimed release, Z2, and it did not disappoint.
– Max Sindermann
14. The Avalanches – Wildflower
After an extremely successful first album, Australian duo The Avalanches returned after 16 years with their second studio album, a 21-song conceptual album that seems to take you on a journey as the listener who travels through the city in what feels like the 70’s, while listening to the latest hip-hop DJ’s freshest mixtape. Opening up with a 15-second introduction of sound effects from a local urban neighborhood, and scratching that sounds like a vinyl record being put on or a cassette tape starting after pressing play transitions perfectly into the first proper track “Because I’m Me,” a masterfully mixed track that sets the scene of this bouncy album. Each song segues into the next, allowing the only break to be the sound effect of a cassette tape changing. Each track of this album is a hip-hop-rooted groover that mixes in well-crafted lyrics and strong rap verses. The first trio of songs, as well as the rest of this fantastic album, transports the listener back in time to stunning effect.
– Joel Longini
13. The Dillinger Escape Plan – Dissociation
No 2016 release was more bittersweet than Dissociation, The Dillinger’s Escape Plan’s sixth and final full-length. Lead as always by the dizzying, angular and downright spastic guitar playing of Ben Weinman, the seminal mathcore group have pieced together a nostalgic amalgamation of their past material spiced with some melancholic left turns in tracks like “Low Feels Blvd” and “Wanting Not so much to as To.” In more abundance than any other Dillinger outing are moments like the intro of “Nothing to Forget,” where Ben and the boys drop the cut-and-paste mathcore meticulousness that propelled them to fame in favor of ballsy, barreling punk rock.
– Conor Fagan
12. Banks & Steelz – Anything But Words
On paper, the two creative forces behind the album—Wu-Tang Clan ringleader RZA and Interpol’s Paul Banks—sound completely incompatible. Anything But Words, however, succeeds against the odds. A large factor here is that any egos were left at the door, as the album never plays like a struggle between the pair. The two artists seem to be pushing each other throughout, consequently creating an out-of-their-comfort-zone album that continuously pays off. The album creates payoff moments when Banks provides upbeat rock hooks to accompany RZA razor-sharp verses. Not only do Banks & Steelz escape the contentious “rap rock” title many have come to loathe in its late ‘90s/early 2000s resurgence but they (successfully) argue that the genre can, in fact, produce inspired work.
– Tim White
11. School of Seven Bells – SVIIB
Years in the making, SVIIB is the swan song from Benjamin Curtis and Alejandra Deheza, and an album that many assumed would never see the light of day. Featuring the delicate arrangements and soaring atmospherics that became a trademark of the School of Seven Bells sound, the tragic circumstances surrounding SVIIB’s creation elevates the subject matter to another plane; the fact that it even exists is a blessing for music fans. The final School of Seven Bells album to be released following Curtis’ death, every moment of Deheza’s journey can be felt in this intensely humanizing collection of songs.
– Matt Matasci
10. Mogwai – Atomic
These moments are rare, existing in brief flashes of sunlight and burning heatwaves. Atomic flits about the in-betweens, occupying the spaces of detonation and annihilation equally and fittingly. Its occasionally ambient nature as a soundtrack plays nicely with the trademark cacophony of Mogwai, creating a seamless connection between product and subject matter. The album is cause and effect, explosion and aftermath. Earth was lucky to stand within the blast zone.
– Drew Pitt
9. David Bowie – Blackstar
Earlier this year, the world mourned the loss of an all-time great when David Bowie passed away at the age of sixty-nine. The man’s impact on performance art is undeniable; yet his musical contributions were equally extraordinary, perfectly encapsulated in the form of his final album. Released two days before his death, Blackstar merged Bowie’s soulful croon with striking jazz and avant-garde elements. The sprawling, eponymously-titled album opener features ambient guitar noodling, a handful of reed solos and harmonic modulations a plenty, marking a daring shift towards the esoteric. Yet despite some of these more experimental qualities, Bowie and company ensure that their album never strays too far from the mainstream, always maintaining a delectable blend of free jazz textures and percussive grooves (“‘Tis A Pity She’s A Whore” and “Lazarus” clearly showcase the group’s ability to establish a catchy rock beat). Meanwhile, “Dollar Days” boasts guitar strumming accompanied by subtle electronica, hearkening back to the synth-tinged, electroacoustic atmospheres of “Space Oddity.” All in all, David Bowie’s final contribution to his fans is one of his most impressive yet—and that’s saying something.
– Steve Bonitatibus
8. The Black Queen – Fever Daydream
Back in 2013, Dillinger Escape Plan vocalist Greg Puciato revealed that he was working a new side project, though no one really knew what it was. The project came to complete fruition at the beginning of this year with the trio of Puciato, Josh Eustis and Steven Alexander as The Black Queen releasing their debut album Fever Daydream. Ultimately it’s a mix of synth-pop inspired by their location in Los Angeles, never becoming anything completely familiar in the best way. Fever Daydream grounds itself in the group’s eclectic backgrounds of synth-pop and IDM but finds sneaky ways to push boundaries without becoming distorted from its original purpose, keeping it retro, modern and at times, futuristic, all at once. The sound finds a perfect equilibrium; that is not surprising given the talent of all three members, allowing for the vision of the album to stay center-focused with the music providing full support. The result is an electronic album that sounds both built up and stripped down.
– Megan Huffman
7. Santigold – 99¢
Santigold returns with the third studio album of her career and does not disappoint. As the first song begins on 99¢, a feeling is invoked that can be described as overwhelming happiness. “Think happy thoughts” is a phrase one could associate with this album, as many of the upbeat songs all seek to brighten your day. Not to keep listeners bored, she also switches things up in the middle portion of the album. Santigold’s album mashes many genres, some sounding reggae-esque while others conveying a signature pop silliness. It’s hard to truly define what genre this album is because of the way Santigold cycles through styles such as electronica, trap and more, across each song. Want songs with powerful lyrics? Check. How about songs that gets you jumping up and down? Check. There’s definitely at least one track that will resonate with anybody who takes a listen.
– Kevin Nguyen
6. Angel Olsen – My Woman
Angel Olsen’s best album to date was released by Jagjaguwar records earlier this year. The southern bred indie folk-rock singer’s voice shines throughout the album, often shifting in vocal style and achieving wide ranges of vocal effects throughout the album, and incorporating jazz and blues in several tracks. My Woman is filled with angst and vulnerability with standout tracks like “Shut Up, Kiss Me,” the heavier “Not Gonna Kill You” and the slower, yet stunning “Sister” and “Those Were the Days.” In fact, there isn’t a forgettable song to be found in the album’s entirety—each of the 10 tracks in My Woman have a depth and meaning to them and are orchestrated with care and beauty that is uniquely Angel Olsen.
– Ilana Tel-Oren
5. TEEN – Love Yes
New Wave is alive and well on Love Yes. From the Bangles-sounding “Tokyo” to the spiritual undertones on “Superhuman,” TEEN covers all manner of topics while maintaining accessibility and without sacrificing boisterous synth and drum machines. As if the band’s upbeat sound wasn’t cause enough to listen to them, TEEN also boasts passionate, prosaic lyrics. Phrases like “Time has become an obsolete entity” on “Animal” and “I was born in the winter / They called me Metok” from “Please” leave the listener with much to contemplate. In the end, while no concrete answers may be found, the band and the album have done their job, communicating both their sound and message to the listener. From Teeny Lieberson’s vocals, to the band’s perfect harmony and mind-blowing lyricism, every type of listener will find something to latch on to. Whether it’s the bubblegum pop of the opening track “Tokyo,” the subtle nods to bygone eras or the Liberson sister’s ability to rouse anybody to dance, there is no doubt that Love Yes is an unforgettable album.
– Lauren Doyle
4. A Tribe Called Quest – We Got it from Here…Thank You 4 Your service
With the death of Phife Dawg in March, many were sure that they had seen the last of the space-rap outfit that was A Tribe Called Quest. However, the ensemble surprised the world in November with the release of We Got it from Here…Thank You 4 Your service, a masterwork of a record that had secretly been in the works since late 2015.
The album, much like 1991’s The Low End Theory or 1993’s Midnight Marauders, is one that is unified both musically and thematically, engaging in the dialogue of the present day rather than attempting to juvenilize the aging emcees. In the midst of a turbulent and unexpected election outcome, the ensemble gives voice to social concerns and personal reflection, simmering in a soundscape that sounds both familiar and distinctly contemporary. Q-Tip, in particular, emerges as the clear leader of this effort, cementing himself in the canon of both hip-hop production and lyrical composition. The record–equal parts nostalgia, social outcry and tribute–is a fitting finale to the legacy of A Tribe Called Quest, and a touching farewell to an integral member of the group.
– Julian Bridges
3. Cult of Luna & Julie Christmas – Mariner
This collaboration between Swedish progressive post-metallers Cult of Luna and American vocalist Julie Christmas surprised many fans this year. Collaborations and supergroups are always a hit or miss venture, but Mariner proved itself to be something pretty special. Cult of Luna’s sludgy and spacey brand of metal creates a perfect foundation for the dreamy and ethereal vocal talents of Christmas. The album is a guided musical journey through soaring melodies and beefy guitar riffs. At times it can be soft and sweet, and at others it can be crushingly brutal. With such a wide dynamic range, the two collaborative parties demonstrate their masterful songwriting skills and create their own brand of musical storytelling. At a length of about 55 minutes and with only five tracks, each song comes out to be pretty lengthy, but it’s hard to tell once you’re sucked into it. The music is entrancing and engaging in ways that many progressive artists spend years struggling to achieve. Mariner will end up being one of the albums that helps define the “post-metal” genre. Fans can only hope that this isn’t the last we hear of collaboration between Christmas and Cult of Luna.
– Max Sindermann
2. Poliça – United Crushers
For their third studio album, United Crushers, Poliça full-on tackled many heavy issues. The album was meant to be political, address social injustice, call out their own industry and even look for love, but never did they promise to find it or provide any solutions; those ends were never the point. United Crushers was never meant to be a war cry to revolution or a megaphone yelling into the crowd. Its protest comes from the desperation found in Channy Leaneagh’s voice, facilitating an intimate discussion with the listener about fear and desire, though with no means in sight, and that becomes more tangible than the idea of a what a protest song should be. There is a joining of personal struggle with public outrage so close they start to consume one another, one ending where the other begins. Some songs, like “Wedding,” are on the more overtly political end of the spectrum (in this case being about police brutality), while much of the album sounds more like personal exploration that finds itself being reflected in a more poetic bigger picture, like dissolving relationships one-on-one and as a community. United Crushers was intimate, raw and overall, thought provoking.
– Megan Huffman
1. Casualties of Cool – Casualties of Cool
In a year—as many of the last ten or so have been—overloaded with phenomenal music, one stood head and shoulders above the rest for us. The self-titled release by duo Casualties of Cool was a tour-de-force creation, harnessing a luminous and soothing form of atmospheric country. The group is a duo fronted by Devin Townsend Project creative force Devin Townsend along with fellow Canadian singer Ché Aimee Dorval. Created by the two in separate studios apart from each other over years branching all the way back to Townsend’s supremely elaborate 2011 release Deconstruction, the album was formally brought to bear in a 2014 crowdfunding campaign in the ramp-up to Townsend’s long-in-the-works Z2: Dark Matters Ziltoid the Omniscient sequel. In the beginning of 2016 it found formal, full release on his label Inside Out. That full, wide release to the public is why we include it amongst 2016’s greatest releases.
It’s almost impossible to talk about 2016 without mentioning its many tragedies, frustrations and setbacks. Scores of people have taken to calling the entire year a wash, throwing their hands up in angered disillusion. Along with the passing of music giant David Bowie at the onset of the year, Casualties of Cool came along shortly thereafter with an almost foreboding tone. It revels in the darkness and in spite of the potential for dreary, bleak melancholy that many would slide into like a morass of dread, the duo’s music blooms like a firefly on a warm summer’s night. In a recent in-studio live performance for Dunlop, Townsend himself described the release as “Being something you listen to when you’re chilled out, but also, if you’re not careful it’s going to bite you.” It’s true. Its genius comes from delighting in the negative spaces and quiet, and always managing to come together like an old friend lost after decades and suddenly found anew.
Over almost seventy-five minutes song-after-song (“Mountaintop,” “The Code” and “Forgive Me” are just a few stellar examples) unfurl one enticing melody or sonic idea after another. Dorval’s treatment combines all the best emotive techniques at times longing and lonely, other times confident and steady and even at times gracefully cool. The world may be at a point where uncertainty, division and apprehension might be at their apex, but this release exudes the best of artistry in the face of complex problems. Similar to the best releases Portishead ever delivered, it’s a spark in the middle of endless expanse, one bright enough to appear as if it could warm the whole world.
– Raymond Flotat
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