It’s December 4th, on a frigid Monday night in Boulder. Down the street, the battery of my car is dead beside a fox and a frat house. Inside a small theater, I am four songs into Julien Baker’s set and I have already given up trying to clog or clear away a steady stream of tears. “Shadowboxing” ends and as the lights change hues, I make eye contact with the middle-aged man standing beside me. He’s also here alone and also doing a shit job of holding it together.
This heavy side effect would be labeled as a warning on Julien Baker’s music if it wasn’t also the sought-after curing agent. On her second record, Turn Out the Lights, Baker limits the sparse production to little more than a guitar, piano and her voice. She conjures themes of addiction, depression, ego, and God. Her candid confessional is brave and generous.
Despite the very real sadness that pervades the record, my favorite tracks use the experience of pain to lay tracks toward lightness. “Appointments” is a lesson in the power of self-care. In “Hurt Less,” a wounded Baker finds relief in mending a friendship within a parked car. The closer, “Claws in Your Back,” motions towards accepting personal demons and owning your self-worth.
As Baker climbs out of the holes she’s painted on Turn Out the Lights, she’s accompanied by increasingly assertive guitar and violin. On nearly every track, the third act features the most intense release of Baker’s voice; you would call it shouting if she ever lost control. A pause, and then the next song starts in a whisper, continuing a breathtaking cycle.
The 45-minute rollercoaster dips and dives through a litany of Julien Baker’s trials. Baker, 22, grew up a queer Christian in Tennesee and has dealt with some pretty brutal challenges with mental health and substance abuse. Standing at just five feet tall, you’d be hard-pressed to find a more unassuming rockstar approach the microphone. And yet, when she sings she shakes the listener with assured faith that we all can wiggle through and over our own thorny challenges.
I have seen first-hand Baker’s words advancing past feel-good theory to real application. Early last year, I was mysteriously invited to a private Julien Baker fan group on Facebook. This wholesome little support group, with a mission to “share: fan-art, covers, music,…(related to Julien baker),” includes just over 800 international fans telling strangers intimate stories of how they’ve been impacted by her music, concerts, and interactions. The genuine fellowship of this digital family is defined by the fact that Baker’s own grandmother is a member (she’s very proud).
Turn Out the Lights and this associated community came to be my uplifting salve in a bleak, divisive year. My dearest Twitter dot com lost its fun and played the role of an emergency broadcast system. Just talking through personal shit that brought us down in 2017 felt like a particularly selfish maneuver in light of the whole nuclear destruction thing.
In a year when we truly needed it the most, Julien Baker provided a communion offering for a host of uniquely crooked souls. I’ll never know what my tearful neighbor in Boulder wrestled with during Baker’s concert. But I could tell the music was helping.
50 more of my favorite records in 2017
2. Lorde – Melodrama
As I can attest, you don’t have to be a Lorde stan to view Melodrama as an undisputed work of art. “Liability” is a heartbreaker, “Green Light” is heroic and uplifting, “Supercut” is a Robyn inspired bop, “Writer in The Dark” is a daring, patient ballad. Every song contributes to an ambitious, reflective storytelling thread and a totally unexpected disruption of pop superstardom.
3. The War On Drugs – A Deeper Understanding
This one plays like a sequel to 2014’s Lost In The Dream and that’s just fine with me. There’s so much to explore in the layered environments Adam Granduciel meticulously builds; immersive worlds that could extend forever with searing guitar solos wandering in and out like the BBC kid. Sonically, this is the most impressive and dynamic album of the year.
4. Big Thief – Capacity
Big Thief makes indie folk earworms that inch and inch deep below your surface, such that they sound infinitely familiar. “Mary” is an astonishing vocal achievement by Adrianne Lenker; the sparse opening frame alone is a devastating blow, leaving me wobbling and waiting to be finished.
5. The National – Sleep Well Beast
If ever a band demanded a book-club style meeting to discuss and break down releases, boy, The National would be my top pick. Every fan I’ve ever talked to has a different favorite album and favorite song and hair-raising experience; after enough listens, Sleep Well Beast qualifies for all of the above. It’s dark but romantic, with eyebrow-raising experiments and some of Bryan Devendorf’s most arresting drumming. For the record: the slow-dance drama of “Dark Side of the Gym” is my hair-raiser.
6. Father John Misty – Pure Comedy
To be honest, I thought this album was just pretty good until I saw J. Tillman perform these songs live. And then, perhaps, I came to realize this is just the album I’ll dust off when future generations ask what it was like to survive the year 2017. It’s like a scroll through Twitter—where despair is buried under desperate comic relief—translated into crass poetry and drizzled over grand orchestral arrangements. Pure Comedy is a clever, ambitious timestamp of our head-shaking year.
7. St. Vincent – MASSEDUCTION
I’m amazed at the variety of pop Annie Clark has mastered on her last three records, from guitar-driven indie to futuristic experimental and now, kinky, 80s art. In the key of late Grimes or early Gaga, MASSEDUCTION twists common notions of pop into a dangerously chaotic, witty and soulful masterpiece. St. Vincent is an unexpected, unimpeachable hero of modern pop music.
8. Kamasi Washington – Harmony of Difference
Thirty minutes of warm, oft-turbulent jazz from an essential modern composer.
9. Vince Staples – Big Fish Theory
Vince Staples is, for my money, the most exciting hip-hop artist in the game. With each release, Staples keeps parkouring up and over expectations. This record is especially daring and mysteriously dark beneath the signature bass-heavy thumpers.
10. Jason Isbell and the 400 Unit – The Nashville Sound
By a significant margin, The Nashville Sound is the best country record of 2017. Isbell is on a remarkable songwriting hot streak, this time largely forgoing his well-documented personal demons to reflect on the broader role of Southern anxiety in Trump’s America. Oh, and you can’t ask for a more compelling love song than “If We Were Vampires.”
11. Rina Sawayama – RINA (EP)
If you ever wanted to hear a pop record that combined Britney Spears and Grimes aesthetics, then RINA is a must-listen. I have played the hell out of these sugary electropop jams.
12. Sampha – Process
Last year, Sampha turned heads featuring on Solange’s “Don’t Touch My Hair.” On his debut, he pulls you in with sparse, piano-driven R&B and the experimental soul-pop tracks forecast a diverse career similar to Sufjan Stevens or Bon Iver. I’m crossing my fingers.
13. Perfume Genius – No Shape
On Mike Hadreas’ 2012 debut single “Hood,” he offers that the subject wouldn’t call him baby “if you knew the truth.” The truth, today, is that Perfume Genius’ devastating, open heart has never been as accessible and pop-forward as No Shape. Allow yourself to get caught in his fragile, sprawling and (at last!) hopeful web of love.
14. Waxahatchee – Out in the Storm
My favorite way to consume music is through car speakers. They don’t even have to be good speakers, built into a good car. Just gimme music that makes me slap the steering wheel and point cooly to strangers at red lights like they’re part of my musical. Out in the Storm is one of those drivable rock records and an impressive sonic leap for Katie Crutchfield.
15. Sheer Mag – Need to Feel Your Love
Sheer Mag is the most exciting punk band in the business and frontwoman Tina Halladay will literally give you the business. At a show this year, I saw Halladay snatch a phone from a texting attendee and house it in her sweaty bra for the duration of the song. Halladay wants you to listen, and for good reason: above the good-times riffs she tightropes a motivating theme of frustrating rage and change activation.
16. Hurray For The Riff Raff – The Navigator
The unforgettable highlight is track 11, a resistance rally cry titled “Pa’lante” – Puerto Rican slang for “go forward.” It’s a welcoming final destination, after being whisked away on a Caribbean- and Broadway-influenced reshaping of traditional Americana. This is a deeply moving, superstar leap forward for Alynda Segarra.
17. Phoebe Bridgers – Stranger in the Alps
Stranger in the Alps is the most arresting new voice I’ve heard since my introduction to Sharon Van Etten. Sure these are sad songs, almost too sad depending how deep you dive in, but it’s such a smart, magnetic voice on the other end.
18. White Reaper – The World’s Best American Band
A selfish pleasure of mine is a rock band that aims its riffs and anthems for stadiums but plays 300 person clubs. White Reaper is thankfully that brazen and as a result this record is bonkers fun.
19. Charly Bliss – Guppy
If you can get past the squeaky, bratty vocals (the best part!), oh man, you’re gonna love these kids. This year needed a pop-punk punch of singalong positivity and Charly Bliss will knock ya out.
20. Kelela – Take Me Apart
Far and away my favorite alternative R&B record of the year. The industrial, Arca-produced layers under Kelela’s intimate voice create a hyper unique aesthetic in an increasingly analogous genre.
21. Jay Som – Everybody Works
Much like Dave Grohl’s enterprising Foo Fighters debut, you might be surprised to know Jay Som is not a band but a solo project by 22-year old Melina Duterte. In fact, this whole indie rock album was recorded in her bedroom! Insert: wanna-feel-old.jpeg.
22. Julie Byrne – Not Even Happiness
Like a modern Vashti Bunyan, Byrne is a charming, intimate new songwriter with a warm blanket of a voice.
23. Slowdive – Slowdive
Begging for headphone spelunking, this is the best shoegaze record in years. “Sugar for the Pill” in particular feels like forever friend.
24. Kendrick Lamar – DAMN.
More bangers, if slightly less impactful than To Pimp a Butterfly. Still, “HUMBLE” is now an NBA dance team staple and it warms my heart we’re shaking our asses to an insecure, contemplative poet.
25. Paramore – After Laughter
This headfirst dive into 80s LA pop is the kinda thing 2017 Katy Perry headfaked towards before juking out of bounds into a popcorn stand.
26. IDLES – Brutalism
Bruising British punk that is political, funny and relentlessly brash.
27. Queens of the Stone Age – Villains
The veteran desert rockers turn out a refreshingly impolite (and dancey) collection of songs reliably called upon for a good time.
28. Alvvays – Antisocialites
Every single by Alvvays sounds like the triumphant final song that fades in at the end of a romantic comedy. They’re now 2-for-2 with earworm-exclusive albums and are a must-watch rising band.
29. Wildermiss – Lost With You (EP)
I first heard this Denver indie band as I was prepping for July’s Underground Music Showcase and immediately fell in love. The quartet is led by Emma Cole on vocals and keys, taking on a Rilo Kiley vibe between her soaring choruses and the plucky dueling guitar riffs. Good luck resisting repeat listens of this bighearted six-song energy jolt.
30. Mandala – Cash for Smiles
You’ll quickly notice two things about this killer debut album: my goodness, there’s a wealth of guitar solos for a modern indie band, and, huh, it kinda sounds like it was recorded in a dorm room (it was). That reminds me: can your brother buy us Yuengling?
31. J HUS – Common Sense
At the 24 second mark of my first listen, I wrote “WOAH!” as a review in my notebook. The bouncy, Afrobeat production of this rising UK rapper is a grin-inducing thrillride.
32. Wolf Alice – Visions Of A Life
Wolf Alice’s sophomore effort continues its captivating run of sweet and sour alternative rock.
33. Casper Skulls – Mercy Works
A must-listen debut for the stirring dynamic of the two vocalists. Consistently moved by the guitar work as well. Definitely a band to keep tabs on.
34. Kelly Lee Owens – Kelly Lee Owens
An alluring, meditative electronic record that pairs best with work headphones or an evening edible.
35. LCD Soundsystem – american dream
Long-time fans of the dance group know James Murphy has always used cowbells and bouncy synthesizers to tell some dark, personal tales. So I was confused when american dream was applauded for Murphy getting “real” and self-aware. To me, it’s the album’s darker, slower songs where LCD Soundsystem just doesn’t stick the landing. But there are still hits and the “tonite” + “call the police” combo is one of the strongest sequences of the year.
36. Laura Marling – Semper Femina
It’s hard to say if this is my favorite Laura Marling release, or just the latest in her captivating run of folk masterpieces. She may be the most underrated musician on the planet.
37. BROCKHAMPTON – SATURATION II
From a prolific and meteoric pop rap boy-band, this record is weird, witty and all over the place in the best possible way.
38. Ratboys – GN
Ratboys was a delightful surprise, with its lof-fi, whispery jangle rock that pops with waves of overdrive guitar. Mostly, this band just takes me back to the mid-2000s, when indie rockers sang like they had a sleepover secret, primarily Mirah, Owen and the eerily similar Bellafea.
39. Rozwell Kid – Precious Art
I listened to this surfy, slacker pop-punk so much in 2017. What can I say, I have a weakness for “woo hoo” choruses that sound like Everclear. Plus there’s a 55-second song called “Wish Man” that, without giving it away, ends with the band making dog sounds; at their live show they took animal requests and played the song about 12 straight times. They seem chill lol.
40. (Sandy) Alex G – Rocket
Alexander Giannascoli aka Alex G aka Sandy is a lo-fi indie folk hero for fans of Elliot Smith. “Rocket” is his best album, a worthy introduction to his warm melodies and see-what-sticks exploration.
41. Priests – Nothing Feels Natural
Lo-fi D.C.-based punk with jazz and surf influences. The consistent thread of this debut is singer Katie Alice Greer’s in-your-face, if not unreasonable, anger.
42. Rapsody – Laila’s Wisdom
She had me at “I’m gonna trip like Grayson Allen.” Beyond that, this is one of the best sounding hip-hop records of the year, spotlighting an essential, gender-busting North Carolina lyricist.
43. Susanne Sundfør – Music For People In Trouble
After 2015’s disco-pop masterpiece Ten Love Songs, I was a bit shocked to hear Sundfor’s folky, pastoral follow up. This was definitely a grower.
44. Alex Lahey – I Love You Like a Brother
I was very high on Lahey’s “You Don’t Think You Like People Like Me,” her electric 2016 single. The Australian indie rocker followed it up with an incredibly fun debut record, full of jump around anthems.
45. Land Of Talk – Life After Youth
Catchy, heartfelt indie rock. If you dig Waxahatchee, jump into the track “This Time.”
46. Spoon – Hot Thoughts
A fun collection of handclaps and dancefloor riffs from a band with a Midas touch for every evolution.
47. Valerie June – The Order Of Time
June provides a unique Appalachian drawl on a bluesy bed of Astral Weeks soundscapes.
48. Rose Elinor Dougall – Stellular
An eclectic mix of pop gems that moves from disco synth-pop to atmospheric piano quests.
49. Ryan Adams – Prisoner
A break-up album with Heartbreaker level gut-punches, stadium-ready rockers and some of the veteran’s best songwriting. “Shiver and Shake” is a masterpiece.
50. Gang of Youths – Go Farther In Lightness
Imagine Springsteen meets The Arcade Fire’s “Funeral” with a dash of The National. For nostalgic indie rock fans, this record has it all.
51. Wy – Okay
An impressive debut from a Swedish duo that sounds like the best of The xx. The singles “What Would I Ever Do” and “You + I” are sensational.
GatheringWool 