[TheDom]

Originally Posted by Severian

There was another website/zine that used to have a fan base on SYG. I can’t remember the name of it for the life of me, but it was the kind of site that put Oren Ambarchi and Jefre Cantu-Ledesma and Emeralds and stuff on year-end lists... like the most widely known entry would be Swans or something.

Anyway, does anyone know what I’m talking about?
Don’t remember the name because I’m not cool, and I don’t have time to scour the boards for it, but it was like white text on a black background? Mostly text-based. Always had really good lists.

I think you mean The Wire https://www.thewire.co.uk

I don’t think they’ve made a best of list yet but they’re always pretty insightful.

Edit:

Nvm, here’s the list: https://www.yearendlists.com/2019/12...leases-of-2019

[Severian]

Originally Posted by h8kurdt

Actually saw the pitchfork one yesterday. Fuck me what a dire list. Swear they just pick em out of a hat and hope people swallow it

I’m OK with Blonde being #1, because that’s a great album, but I think they picked it mostly to avoid putting a Trump supporter at #1. I forget most of the rest of the list, but it was not great if I recall correctly.

[Severian]

Originally Posted by TheDom

I think you mean The Wire https://www.thewire.co.uk

I don’t think they’ve made a best of list yet but they’re always pretty insightful.

Edit:

Nvm, here’s the list: https://www.yearendlists.com/2019/12...leases-of-2019

Don’t think it was Wire, but ... maybe? I feel like it was decidedly less well-known than Wire but what do I know

[The Soup Nazi]

Originally Posted by TheDom

https://www.yearendlists.com/ [...]

Cahiers du Cinéma: Top 10 Films of the Decade 2010-2019

 

One of the very few works of art so powerful it makes you feel the human race shouldn't become extinct real fucking quick.

[Bytor Peltor]

Sid Smith’s 2019 PROG list:

 

[Bytor Peltor]

50 Essential ‘Psych’ Albums 2013-2019

50 albums over the previous six years is an odd scope, but this list is well worth your time and attention.

I left the PROG list here because I figured it was the best place to do so......because who knew GONG had a new album out in 2019???

Originally Posted by Bytor Peltor

Sid Smith’s 2019 PROG list:

 

[ilduclo]

Best hits of every decade

“Sound of rock scraping on rock”

https://www.neatorama.com/story/The-...-Every-Decade/

[Severian]

Originally Posted by TheDom

I think you mean The Wire https://www.thewire.co.uk

I don’t think they’ve made a best of list yet but they’re always pretty insightful.

Edit:

Nvm, here’s the list: https://www.yearendlists.com/2019/12...leases-of-2019

Actually this has some really Fucking good shit on it.
Strange pick for a #1 album, but I kinda dig the selection.
That 75 Dollar Bill record is crazy good indeed.

Moor Mother at #2 is also surprising, but maybe this was the site I was talking about.

Anyway thanks for sharing!!

[The Soup Nazi]

Originally Posted by ilduclo

Best hits of every decade

“Sound of rock scraping on rock”

https://www.neatorama.com/story/The-...-Every-Decade/

Nifty coincidence: I once wrote in an e-mail that Bruce Springsteen's show at The Roxy on July 7, 1978 was the greatest thing since a Neanderthal figured out that banging two rocks together could make a bitchen, primal, liberating sound.

By the way, until recently, when that performance (Springsteen's, not the caveman's) finally got an official release via Nugs.net, the KMET-FM recording of it was endlessly bootlegged for decades, and rightly so. Even Clinton Heylin, in his book E Street Shuffle: The Glory Days Of Bruce Springsteen & The E Street Band —where he doesn't give two shits about "being friends" with Bruce: he questions every artistic decision and even calls Jon Landau a "schmuck" (gotta love him)— praises it to the stratosphere.

Not that anyone here will care about what I just typed, but you fucking should.

[The Soup Nazi]

Originally Posted by Severian

Moor Mother at #2 is also surprising, but maybe this was the site I was talking about.

From The Wire's Moor Mother cover story (issue 425, July 2019):

A black hole is 'black' because its gravitational pull is so intense that nothing can escape it – not even light. The sonic equivalent of a black hole, I learn during my conversation with Camae Ayewa, is a fluid moving so fast it traps sound.

She describes the feeling of screaming in a sonic black hole: "The water's flowing faster than the speed of sound, so nothing's coming out."

For Ayewa, this nightmare image is an apt metaphor for the feeling of railing against an unjust system, with its police violence and mass incarceration and political corruption, that's so powerful it drowns out everything you throw at it. "We're here protesting and sharing stories, but when everything else is so loud, how do you penetrate through?"

This question is central to Analog Fluids Of Sonic Black Holes, a solo album under her Moor Mother name that she tells me she's just finished working on, due out later this year on the Don Giovanni label. It was also the title of her multimedia art exhibition in 2018 at The Kitchen in New York, where she was selected by Laurie Anderson as the recipient of the gallery's inaugural Emerging Artist Award. As a visual artist, Ayewa works in video, sculpture and collage, combining elements from disparate sources in order to draw connections across space and time to share the stories she speaks of. [...]

[Bytor Peltor]

2010s: Favorite Music Releases ♥ Staff Picks

Originally Posted by Bytor Peltor

Tiny Mix Tapes: 2010’s Empty Essence

Not sure if this is what you were looking for, but there is a little something for everyone.

[Bytor Peltor]

2010s: Favorite 100 Music Releases of the Decade

[The Soup Nazi]

Mercifully, Robert Christgau kept it to 25 albums. That's how you do a fuckin' list.

Dean's List: The 2010s
The 25 best albums of the last 10 years

For me, constructing a best-of-decade list isn’t just a matter of boiling down my annual Dean’s Lists. It’s serious work—done thoroughly, more work than any fulltime critic has time for. Recalling music that came out eight or nine years ago doesn’t come naturally to anyone. And more than with year-enders, striking the right balance between pleasure and gravitas is a challenge, because gravitas counts for more in stabs at provisional canonization. One reason the Roots’ How I Got Over began atop my provisional top 25 and stayed there was that, yes, my most-played 2010s album had a theme even if black middle-class angst proved so specialized the band would leave it behind for true-crime tales on their two-and-counting later albums. I note sadly that it made neither Rolling Stone’s 100-album countdown or Pitchfork’s 200-album monster—a distinction it shares with 14 of my other selections, most obtusely Laurie Anderson’s Heart of a Dog and M.I.A.’s Maya. Check those out, kids.

I could go on for paragraphs, pages, but damn it I won’t. Instead I will note that when you review 200 albums a year the older stuff has a way of shuffling off to Buffalo—my collection of sound recordings includes 4000 A minus or better albums. So while longterm playability has to figure prominently in deciding how much I truly like what I like, it can’t be the definitive criterion. Sometime in the past 10 days, for instance, I concluded that I probably hadn’t put on Neil Young’s Dean’s List-topping 2012 Americana since 2013 because it’s filed on the floor next to the rear file cabinet along with some 30 other Young CDs I didn’t even alphabetize until a few years ago. In the past week I’ve played it four times as I whoo-hooed over its conceptual brass. It had also been a while since I pulled out that dickhead Kanye’s perversely superb 2010 album and even Paul Simon’s So Beautiful or So What, one of three also-rans I finished my labors by comparison-playing alongside Wussy’s Strawberry and Das Racist’s Relax, which made the cut, and the Pistol Annies’ Interstate Gospel and Yo La Tengo’s Stuff Like That There, which didn’t.

[...]

[The Soup Nazi]

cont.

Another album I hadn’t heard forever required no relistening: Heart of a Dog, which I played on a whim while Carola and I packed up a Florida motel room in early 2017, kept on to the end after we were done, and loved the one time I’ve played it since. Mount Eerie’s A Crow Looked at Me is similar but darker—a death album so bleak and concrete it’s hard to get through even on the rare occasions when nothing else will do. Records like those two you love for their impact, not their fun quotient or use value. But love it nonetheless is. A giddier kind of love comes with my two most eccentric picks, which finished two and three on sheer playability: Mast’s Thelonious Sphere Monk, a rockish instrumental survey of my favorite musician in any genre including Chuck Berry and the Dolls (though maybe not the Beatles) and the unheralded American Honey soundtrack, which makes a single living thing of Rae Sremmurd and the Raveonettes, E-40 and Steve Earle as the must-see Andrea Arnold flick it’s attached to follows a troupe of young magazine-subscription hustlers across flyover country more humane than its taste in presidents might lead cineastes to believe.

Obviously there’s lots more to say a lot more about all 25 of these records. But the main thing is that, while this project was too much work, I was glad it gave me an excuse to replay more good albums than 25—40 or so, I’d guess. But now it’s time for me to return to 2019, which this year-end like all year-ends will have me checking out a lot of overrated albums and a few finds from other people’s premature best-ofs for a 2019 Dean’s List I hope I finalize by late January. Sad to say, that Dean’s List is unlikely to include anything else that will sneak into my decade list behind 17-year-old Billie Eilish’s phenomenal fourth-place When We All Fall Asleep, Where Do We Go? No teenager I can recall has ever made such an impressive album, though I guess Elvis’s Sun Sessions gets an asterisk, and who knows what will become of her? She’s so young anyone who identifies dad has to worry, and some of her public pronouncements have been kind of dumb. I gave her debut an A in April, so the phalanx of my unofficial fan club my manager calls the grade grubbers will no doubt be wondering whether said debut is really what I foolishly decided half a century ago to designate an A plus. Guess it is. So it would seem is everything down to 10 here except Mount Eerie, even though it comes before the Tribe Called Quest effort I rashly awarded that grade in the wake of Donald Trump’s electoral coup. May that apparent inconsistency rankle the bowels of the anal until a Christmas Eve I hope is jolly for every one of you.

1. The Roots: How I Got Over (Def Jam)
2. Mast: Thelonious Sphere Monk (World Galaxy/Alpha Pup)
3. American Honey(UME)
4. Billie Eilish: When We All Fall Asleep, Where Do We Go? (Darkroom/Interscope)
5. Noname: Room 25 (self-released)
6. Randy Newman: Dark Matter (Nonesuch)
7. Laurie Anderson: Heart of a Dog (Nonesuch)
8. Kanye West: My Beautiful Dark Twisted Fantasy (Roc-a-Fella)
9. Mount Eerie: A Crow Looked at Me (P.W. Elverum & Sun, Ltd.)
10. A Tribe Called Quest: We Got It From Here . . . Thank You 4 Your Service (Epic)
11. Neil Young With Crazy Horse: Americana (Reprise)
12. The Uncluded: Hokey Fright (Rhymesayers)
13. Tierra Whack: Whack World (self-released)
14. Wussy: Attica! (Shake It)
15. Frank Ocean: Nostalgia, Ultra (self-released)
16. Wussy: Funeral Dress II (Shake It)
17. M.I.A.: Maya (Deluxe Edition) (Interscope)
18. Tom Zé: Estudando a Bossa: Nordeste Plaza (Luaka Bop)
19. Rihanna: Anti (Deluxe Edition) (Westbury Road/Roc Nation)
20. Dabke: Sounds of the Syrian Houran (Sham Palace)
21. The New Pornographers: Whiteout Conditions (Collected Works/Concord)
22. Kendrick Lamar: To Pimp a Butterfly (Top Dawg/Aftermath/Interscope
23. Vampire Weekend: Modern Vampires of the City (XL)
24. Wussy: Strawberry (Shake It)
25. Das Racist: Relax (Greedhead)

[_tunic_]

NBA Top 100 dunks of the decade

and

College Basketball Top 50 dunks of the decade

[The Soup Nazi]

From Paste:

The 20 Best Album Covers of 2019

The 30 Best Album Covers of the 2010s

Spoiler alert: #1 is the same on both.

[Bytor Peltor]

Best Field Recordings and Soundscapes Of The Past Decade

[d.sound]

Here is my personal list.
Alphabetical, ** = best of the best

**100 gecs - 1000 gecs

Acronym & Kali Malone - The Torrid Eye

**Ana Roxanne - ~~~

BAND - lebenkunstler

BLACK DRESSES - THANK YOU

Carter, Tutti, Void - Transverse

Caterina Barbieri - Ecstatic Computation

Charli XCX - Charli

Christina Vantzou - Six Cellos for Sol Lewitt

Clairo - Immunity

Dis Fantasy - Dis Fantasy EP

Ellen Arkbro - Chords

Emily A. Sprague - Water Memory/Mount Vision

**Emptyset - Blossoms

Excepter - The Debussy EP

Floating Points - Crush

**HTRK - Venus in Leo

JAB - Erg Herbe

Jan St. Werner - Glottal Wolpertinger

Jefre Cantu-Ledesma - Tracing Back the Radiance

Jetski - Live at Two Nights of Noise

John Chantler - Tomorrow is Too Late

Joni Void - Mise En Abyne

Kali Malone - The Sacrificial Code

Kim Gordon - No Home Record

**Kim Petras - Clarity

**Lea Bertucci - Resonant Field

Maria W. Horn - Epistasis

Missy Elliott - ICONOLOGY EP

**Myriam Bleau - Lumens & Profits

Nivhek - After Its Own Death, Walking in a Spiral Towards the House

NYPD Records, volume 3: Nefertiti Abstract Movie

Oren Ambarchi - Simian Angel

Phill Niblock - Music for Cello

Pita - Get On

Rip Hayman - Dreams of India & China

**Robert Turman - Flux (technically this is the first release)

**Sarah Davachi - Pale Bloom

**Sean McCann - Puck

Schnitt - Wand

Triad God - Triad

Uffie - Tokyo Love Hotel

Visible Cloaks, Yoshio Ojima, & Satsuki Shibano - FRKWYS Vol 15 - Serenitatem

YATTA - WAHALLA

**Yeule - Serotonin II

[Bytor Peltor]

Originally Posted by The Soup Nazi

From Paste:

The 20 Best Album Covers of 2019

Spoiler alert: #1 is the same on both.

.

I’ve only heard it twice (maybe), but from the popularity I perceived from seeing it mentioned on the internet, I’m very surprised not to see:

Norman Fucking Rockwell

[Moshe]

My list:


https://ohnowords.wordpress.com/2020...%a8-2010-2019/