Rust Is Just Right’s Best Albums of 2022

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Today is April 18, and it is time once again for us here at Rust Is Just Right to release our best-of list of albums from the past year.  We follow this unusual schedule for a few reasons: 1) It allows some of the albums that are released at the end of the calendar year to get some recognition, since they usually get swallowed up in the attention of the flurry of year-end lists and 2) We get the chance to analyze other lists to pick up on albums that somehow escaped our attention during the course of the year. Also, if you’re one of the lucky folks who get a refund this year, we hope you spend at least part of it on these worthy albums.

The process that is used to determine this list is highly rigorous and hardly scientific, but that is the charm and the benefit of The Process. Sure, it may look like a simple tally of the number of times we play each album, but believe us, there are plenty of working parts that contribute behind the scenes that help generate the results (and will be documented when we officially submit our eventual patent application).  It has served us well in years past, and we’re too tired to change systems now.

Note: Though the list is a Top 10, there are more albums than slots, because we don’t like breaking ties for the same play count.  If you’re really intent on focusing on only 10, I guess take the 10 highest performing albums from the list, but you really shouldn’t limit yourself like that if you can help it.

10. Alvvays – Blue Rev; Boris – Heavy Rocks; The Chats – Get Fucked; Father John Misty – Chloë and the Next 20th Century; Kiwi Jr. – Chopper; Knifeplay – Animal Drowning; Sharon Van Etten – We’ve Been Going About This All Wrong; Wet Leg – Wet Leg. (7 plays) Wet Leg was the hot new band this year that broke through into the mainstream, and I loved everything about their debut except their lead single “Chaise Longue”, so take that for what you will. Sharon Van Etten couldn’t top her previous effort which claimed our top spot a few years back, but her pandemic-inspired record did provide some comfort. Knifeplay is part of the resurgent shoegaze scene, on the more mellow end of the scale. Kiwi Jr. came out with their best effort yet, a fun and hooky indie rock effort that reminded us of a lot of bands, but none of which we could agree was the actual inspiration. Father John Misty dialed it back a notch with his moody new record, but we have the feeling it will have staying power over the years. The Chats put out some brilliantly bratty punk rock (as you might have guessed) that kept our fists and adrenaline pumping. A newfound fascination with the experimental metal of Boris led to their new album leaping onto our list. Alvvays barely makes it in, mainly because we loved their previous albums (but everyone else seems to like this one best).

9. Drug Church – Hygiene; High Vis – Blending; Preoccupations – Arrangements; Sports Team – Gulp!; Wilco – Cruel Country. (8 plays) Wilco keeps up their recent mellow run, but it still doesn’t feel like a chore even at double-album length. Sports Team helped revive memories of the mid-00s British indie rock invasion, but with more cheeky fun and more politically biting lyrics. “Arrangements” is an apropos name for the latest from Preoccupations, because the way the songs fit are intriguing enough, but still there’s something missing compared to their previous albums. High Vis shows that there’s still gold to be mined from 90s alternative rock, especially in the deeper Jane’s Addiction catalog. And Drug Church shows that you can be hardcore and have fun too at the same time.

8. Launder – Happening; Oneida – Success; Peter Matthew Bauer – Flowers. (9 plays) We loved another solo effort from a former Walkmen, but honestly we’re more excited that the guys are back and touring again. Oneida brought back memories of Open Your Heart/New Moon-era The Men, with their fast-charging rock carrying a bit stronger psychedelic streak. Launder was another great leader of the new shoegaze movement, though their reverby guitars are backed by a driving beat that will keep your energy up.

7. Cannons – Fever Dream; Earl Sweatshirt – Sick!; Horsegirl – Versions of Modern Performance; Pusha T – It’s Almost Dry; Yeah Yeah Yeahs – Cool It Down. (10 plays) If we had not waited so long to pick up the latest from the Yeah Yeah Yeahs, this album would have placed much higher on our list; after the uneven Mosquito we find the band reviving the It’s Blitz era, but with a slower more deliberate tempo. We may have heard some of these melodies before, but it never feels like a rip-off. Horsegirl reminded us of the recent debut from Yuck with its inspiration in 90s-era indie rock, but they focused on the scuzzier and more lo-fi end of the spectrum. We first heard Cannons in a beer commercial, but thankfully one of the local stations picked up on the song and put it into their rotation, prompting us to take a listen to their stuff, and we are huge fans of their dream-pop sound.

6. The Beths – Expert In A Dying Field; Orville Peck – Bronco; The Smile – A Light for Attracting Attention. (11 plays) The Radiohead side-project was a pleasant surprise, and their more animated efforts were up to the standard that we expect from the main gig. Orville Peck’s debut has remained a constant in our rotation, which makes us even more upset that the newer, more adventurous album from the goth-country crooner hasn’t been released on disc. The Beths consistently put out some of the tightest, hookiest pop-rock around, and we’re glad to see they’re getting more recognition for it. If the title of the album puts a smile on your face (like “Future Me Hates Me” did before), you’re sure to enjoy the actual music.

5. Chat Pile – God’s Country; Spiritualized – Everything Was Beautiful. (12 plays) Chat Pile proves that what “God’s Country” really needed was a return to the hard-edged noise rock of Big Black; granted, not everyone will have the same appreciation of an opening industrial drum track pierced by the scream of “HAMMERS AND GREASE!” like some of us do, but if you can get past the abrasiveness you can dig in and find real treasure. On the other hand, the best description of the band’s sound we can find is “pure evil”, but that’s not to say it’s anything cartoonish; their sound is best exemplified by the line “real American horror story” which perfectly encapsulates everything they want to say about homelessness in the brilliant “Why”.

On the other hand, Spiritualized is basically on the other end of the spectrum. A companion piece to their brilliant previous record …And Nothing Hurt, the focus here is on the more uplifting parts of life. Even the cacophonous finale “I’m Coming Home Again” finds real beauty in the dissonance.

4. Denzel Curry – Melt My Eyez See Your Future; Fontaines D.C. – Skinty Fia. (13 plays) While we enjoyed their previous albums, it wasn’t until their latest album that we came to fully appreciate the downbeat post-punk with an Irish accent of Fontaines D.C.

Denzel Curry had our song of the year with “Walkin”, a catchy mix that constantly shifts under your feet that never trips you up. The rest of the album comes pretty close to matching it.

3. Buddy – Superghetto; Spoon – Lucifer on the Sofa [/Moon]. (14 plays)

We loved Buddy’s overlooked debut Harlan & Alondra, but it didn’t quite match the snap of Superghetto. Quick and to the point, the beats were fun which helped led to replayability, but it didn’t come at the expense of witty and often incisive lyrics.

If there is one thing you can count on in the music world, it’s Spoon putting out a great album. The streak since Girls Can Tell has been incredible, and every time you think their latest is going to fall short, they pull off the impossible and come back with another classic record. This time around they’ve stripped the sound down a bit and shifted some of the focus from synths to guitars, but this isn’t exactly a redo of A Series of Sneaks. Also, special props to the band for putting together a remix album that somehow is good enough on its own but still preserves the original album’s sound.

2. Hurray for the Riff Raff – Life On Earth. (15 plays)

This album is filled with memorable tracks from beginning to end, and a new track becomes stuck in our head with each listen.

1. Bartees Strange – Farm To Table. (16 plays)

We first caught wind of Bartees Strange when we heard of a dude putting together a cover of songs by The National, and you can definitely hear that influence in the song above (we especially love how he captures the ratatat-ratatatatat of the snare). But Bartees is more than just a fan of broody indie rock, and his new album mixes genres without ever sounding just like a tourist taking in different scenes. We also caught his live show a few months back, and the guy is fun as hell (fun fact: last year’s number one artist Pom Pom Squad was set to be the opener, but couldn’t make the show due to mechanical issues with their van. Hopefully they can team up again soon.

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Rust Is Just Right’s Best Albums of 2021

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Today is April 18, and it is time once again for us here at Rust Is Just Right to release our best-of list of albums from the past year.  We follow this unusual schedule for a few reasons: 1) It allows some of the albums that are released at the end of the calendar year to get some recognition, since they usually get swallowed up in the attention of the flurry of year-end lists and 2) We get the chance to analyze other lists to pick up on albums that somehow escaped our attention during the course of the year.  The pandemic has been rough on musicians everywhere, so please consider purchasing some of these great albums to help support them (because we all know the .003 cents your streams will generate won’t do all that much).

The process that is used to determine this list is highly rigorous and hardly scientific, but that is the charm and the benefit of The Process. Sure, it may look like a simple tally of the number of times we play each album, but believe us, there are plenty of working parts that contribute behind the scenes that help generate the results (and will be documented when we officially submit our eventual patent application).  It has served us well in years past, and we’re too tired to change systems now.

Note: Though the list is a Top 10, there are more albums than slots, because we don’t like breaking ties for the same play count.  If you’re really intent on focusing on only 10, I guess take the 10 highest performing albums from the list, but you really shouldn’t limit yourself like that if you can help it.

10. The Armed – Ultrapop; Armand Hammer & the Alchemist – Haram; Madlib – Sound Ancestors; Grouper – Shade; Hovvdy – True Love; Boldy James & the Alchemist – Bo Jackson; Yves Tumor – The Asymptotical World; The Weather Station – Ignorance; SMILE MACHINE – Bye For Now EP; Mannequin Pussy – Perfect EP; BADBADNOTGOOD – Talk Memory. (5 plays) In most years, these albums would probably constitute our “Honorable Mention” list, but there’s still a lot of gold to be found here. We got some catchy garage rock/punk with EPs from SMILE MACHINE and Mannequin Pussy as well as some gentle mood music from Grouper, Hovvdy, and The Weather Station. We see a return of BADBADNOTGOOD with their free-form modern jazz, as well as the newest musical experiments of the impossible-to-pigeonhole Yves Tumor. And we simply cannot resist any album with The Alchemist behind the boards, so we get a double-dip of collaborations with him.

9. IDLES – Crawler; Godspeed You! Black Emperor – G_d’s Pee at State’s End; Tyler, the Creator – Call Me If You Get Lost; Dry Cleaning – New Long Leg; black midi – Cavalcade; Amyl and The Sniffers – Comfort to Me. (6 plays) Probably the most diverse group, we’ve got the snarling post-punk of Idles fitting nicely with the bratty punk of Amyl and the Sniffers, and Tyler reminding us he still has bars to go along with his ever-evolving production skills. Dry Cleaning gives us a vision of what a sedate version of Protomartyr would sound with a female vocalist (yes everyone mentions The Fall when talking about this band, but let’s get a more modern (and RIJR-specific) reference here). black midi throws everything at the wall to see what sticks–and the answer is a surprising amount. Godspeed is practically grandfathered into our lists at this point, but we’re suckers to their late-career run.

8. Lou Barlow – Reason to Live; Ovlov – Buds; Low – HEY WHAT; Lucy Dacus – Home Video. (7 plays) Ovlov joins “The L’s” with a quick and catchy indie rock release that probably flew under your radar. Low got some of the best reviews in their already illustrious career with their adventurous new album, their first as a duo, but we still prefer the first album of their “trilogy” with engineer BJ Burton, Ones and Sixes. That said, “Days Like These” is one of the best songs Low has done and a contender for song of the year. Lucy Dacus follows up her breakthrough Historian with another example of achingly beautiful confessional work, and pairs up nicely with Lou Barlow’s newest solo release. This won’t be the last time Lou will show up on this list.

7. Ka – A Martyr’s Reward; Parquet Courts – Sympathy for Life; Deafheaven – Infinite Granite; Cloud Nothings – The Shadow I Remember. (8 plays) Ka is a rapper we discovered based on recommendations from Twitter users we follow, proving that despite the general shittiness of their operation there is still potentially some benefit to the service; it’s unlikely we otherwise would have heard his compelling narratives. The other groups here are stalwarts of The Process: we’ve got another blistering attack from Cloud Nothings, mixing some of the rawness of Attack on Memory with the catchiness of their most recent work, a solid follow up to our Album of the Year (Wide Awake!) from Parquet Courts, and a Deafheaven record for those who don’t really like the screaming (so, like a typical Alcest album). At this point though, we love the screams, so we appreciate the few chances we get to hear them on this record–which is why the climax of the closer “Mombasa” is on the short list for “Best Musical Moments of the Year”; but we understand the desire to diversify the setlist (and save the voice for future releases).

6. Turnstile – Glow On; Vince Staples – Vince Staples. (9 plays) We got downbeat Vince this time around, which matches the rest of our favorite hip-hop releases from the past year, but the songs themselves weren’t downers. Turnstile is probably the best of the post-genre rock bands going right now, and at their best they sound like a version of At the Drive-In with all the kinks straightened-out–with all the good and bad that description implies. But we do appreciate the diversity in sound, and the songs got catchier each time we listened to the album.

5. The War on Drugs – I Don’t Live Here Anymore. (10 plays) These days the band infuriates us objectively, yet we can’t stop listening to their albums despite our complaints. We can keep asking why can’t they institute some degree of rhythmic diversity (please just play song that isn’t just straight eighth notes), or feel some degree of being cheated as they mine even more 80s soft-rock radio hits into their sound (we are pretty positive the backing drum track (minus the solo) from “In the Air Tonight” is used at some point), and we feel there really can’t be anyone who can dance to “Desolation Row”, at least not well, but fuck it. It still sounds good, and the solos still rip, and we want to play the songs again and again.

4. Illuminati Hotties – Let Me Do One More. (11 plays) We loved our hip-hop downbeat, but our indie rock catchy and full of hooks. And few albums were as packed with hooks as this one–we challenge you to listen to “Pool Hopping” or “Cheap Shoes” without bobbing your head or tapping your fingers or just totally cutting loose. It’s impossible.

3. Japanese Breakfast – Jubilee. (12 plays). This album has something for everyone, but it’s still a cohesive vision. And again, catchy as hell. You’ll dance, you’ll cry, and you’ll love every minute of it. And the guitar solo in “Posing for Cars” that closes the album will have you wishing for more (or pushing repeat–a convenient solution to your problem).

2. Dinosaur Jr. – Sweep It Into Space. (13 plays) Look, we understand your skepticism–this late-career album which didn’t get much buzz is not your typical album-of-the-year candidate. But J, Lou, and Murph put together a set of all-killer/no-filler tunes to constitute probably the most consistent album of their legendary careers, with Lou’s usual two contributions easily rank as some of his best work with the group. Sure you get your usual fill of fiery solos from the Guitar Wizard himself, but it’s the melodies and hooks that will keep you coming back to this album.

1. Pom Pom Squad – Death of a Cheerleader. (14 plays) Simply put, we could not stop listening to this album once we picked it up. All it took was the vocal melody from the first chorus, and we were hooked. Deceptively simple garage rock sprinkled in with the appropriate amount of tender ballads (including a cover of the classic “Crimson and Clover”), this album is a 30 minute blast that gives you a sugar rush but keeps your attention with each subsequent listen. We simply can’t stop raving about it, and can’t wait for their follow-up.

Oh, and for fun, here’s Pom Pom Squad with their cover of Nada Surf’s “Popular”.

Twitter Hates Punk Rock

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For the past four months, I have been locked out of my personal Twitter account. This punishment was for the crime of answering a friend’s question about music with the name of one of my favorite bands. This is not an exaggeration.

Back in December, a friend spent some time talking up John Mayer’s stint with the most recent touring version of the Grateful Dead and was marveling at his musicianship. In the midst of this euphoric posting, he gave the prompt “Actually name a band John Mayer couldn’t improve I DEFY you”. Without considering the merits of Mayer’s guitar-playing skills, I took the question seriously and gave a one word answer. This was the band.

Now, I know many people have different opinions about John Mayer, the majority of them dependent on when they first encountered his music or last paid attention to his career. Personally, I remember him from his debut album, which was filled with chords you normally only hear in jazz band (a plus from this guy who played guitar in jazz band!) that supported decent soft pop-rock songs (a plus for my sister who actually bought the album and played it a lot more than I preferred). In other words, I never was a big fan of Mayer, but it never was an opinion that was set in stone. Over the years I’ve read interviews from musicians I respect who praise Mayer’s skills, so my assessment these days whenever I see his name is more along the lines of “good for him, but not sure I’ll check out the new album.”

In other words, my answer was not given because of any animus towards the man; quite the contrary. It was a serious and thoughtful response to the prompt, and I would argue the definitive correct answer. Suicide was a landmark punk band from the 1970s, and their music could not be farther from John Mayer’s normal work. Suicide was an aggressively confrontational group, who gave no thought to alienating their audience at their live performances. Suicide’s music was harsh, minimalist, and repetitive; in other words, not a match for John Mayer’s ostentatious and pyrotechnic noodling. The point was to reduce music to its most primitive level, relying on artificial sound from early synthesizers and drum machines. The addition of a guitar to this would in and of itself defeat the point of the band. And to further distinguish themselves from other good answers like Kraftwerk, Suicide was always a duo, with Alan Vega and Martin Rev being the sole members of their decades-long run. In this case, three’s definitely a crowd.

So, what’s the controversy? For a few hours, there was none. In fact, my friend responded to my answer in good fun, with “You know he’d bring them to a whole nother level” [sic]. Nobody seemed bothered by it, but later that night I open up Twitter on my phone, and I can’t load up my Timeline. Apparently at some point that evening, either somebody reported the tweet (unlikely) or it was auto-flagged by Twitter itself.

And that’s when I began my battle with Twitter’s totally non-responsive bureaucracy.

In the big block of text preventing me from accessing my account, there’s a link to an appeals form. I fill it out, expecting it to be a quick fix. Surely a brief explanation with a handy link to Suicide’s Wikipedia page will fix the matter!

Nope.

I kept receiving generic “we’ve received your request and will process it as soon as we can” responses, and kept filling out responses with lengthier and lengthier explanations. At first, I was understanding–it’s not like everyone is familiar with the work of old punk bands, especially if the people handling content moderation are either not from this country or are younger than say 30. But after multiple attempts, it seemed nobody at Twitter wanted to believe that a band whose debut was twice ranked one of the 500 greatest albums of all time by Rolling Stone actually existed.

A couple of days into the process, I was fed up. I understand the band is somewhat obscure, but how obscure are they really when they figure into the plot of an independent Greek film? (Quick note: the actor in that scene is the writer/director Yorgos Lanthimos (“The Favorite”, “The Lobster”, “Dogtooth”)). How unknown is the band when they’re mentioned in the reviews of albums by the Yeah Yeah Yeahs and the Flaming Lips, when they’re name-checked by LCD Soundsystem (skip to 3:06), sampled by artists like M.I.A., and when they’re covered by The Boss?

[Fun fact: Bruce Springsteen was next door recording his own stuff when Suicide was in the studio recording their second album. He loved the band, and noted their influence on his classic album Nebraska]

One might be tempted to characterize Twitter’s response as Orwellian or Kafkaesque, but those terms don’t really fit–though this classic Kafka doodle characterizes my reaction. Apparently most authors never really considered the possibility of a completely unaccountable power, one that is immune to any complaint whatsoever because they can simply ignore them forever without consequence.

Amid the generic responses, there was a single actual reply. Apparently my case was reviewed and it was determined…I violated the rules “against promoting or encouraging suicide or self-harm.” Apparently not only are the people of Twitter culturally illiterate, but they’re just plain old illiterate! By simply reading the prompt and response, there is no way to interpret my tweet as a “threat”, at least if you want to follow the basic rules of grammar. It would take ridiculous leaps of logic to conclude that my response could be viewed as a threat, and that’s only if you decided to read it without knowing how English worked in any way whatsoever.

Now, this incident in and of itself is deeply silly, but it points to a more serious problem with how Twitter functions in general. Despite the ample evidence shown to the contrary, and because they chose to ignore all context to the discussion, had Twitter decided that the mere MENTION of “suicide” was a suspension-worthy offense? It’s the precedent of this incident that truly matters.

Would it now be forbidden to discuss the Eugenides novel/Sofia Coppola film/Air soundtrack to “The Virgin Suicides” in any capacity? That’s tough, because two of those three are favorites of mine as well (I will get around to reading the novel at some point, I promise). Could I also not discuss Pom Pom Squad’s song “Lux”, which is a reference to the story? Hell, would I be able to mention the fact that the album references an incident that also inspired the landmark experimental documentary “Landscape Suicide”? It sure seems like all these mentions would invite a suspension. It’s too bad, because the album rules (and will figure prominently in our Best of 2021 rundown).

Let’s keep this going. Will we now be forbidden to discuss the song about all that guy really wanted was a Pepsi?

Or how about the song about how much the singer loves his dog?

How about mentioning the name of the theme to the most popular TV show of all-time? I’m guessing that’s out of bounds now too.

I know it sounds like I’m exaggerating, but it’s all on the table because according to Twitter, context does not matter at all! It doesn’t even rise to the level of “nuance” in this case, and that is a serious problem.

The cherry on top of this shit sundae is that the week before my suspension, Twitter was full of jokes about ACTUAL SUICIDE PODS. That’s right, news came from Switzerland about a new assisted-suicide machine, and it prompted tons of jokes on my timeline. I did not join in, but I also didn’t report anybody, because that would be ridiculous. Some of the jokes were even good.

What might be the most remarkable aspect of Twitter’s punishment of my account is the fact that it is a secret. None of my followers would know about my suspension unless I’ve personally told them, because Twitter has not posted any warning on my page. All of my friends look at my profile, and they just see a guy who suddenly stopped posting (well, let’s face it, retweeting) back in late December. This led to multiple friends tweeting out “What’s up with @[me]?” I was able to see glimpses of this, because I was still able to view a line or two from my phone notifications. Could I see any more of the tweet, or perhaps yet respond? No. Even better, I received a few direct messages from friends checking up on me, because by all appearances I had fallen off the face of the Earth. I was only able to know about these DMs because I still got an email notification. Again, could I respond? Of fucking course not. I had to instruct a friend to relay the fact that yes, I still am alive, to those folks who reached out to me.

[As a proof of life to my followers: I told you Lil’ Penny was good, we’ll miss you 3J but you’re going to enjoy my original home, and hopefully Thrillard comes back this fall fully healthy and ready to kick ass]

There really is a wonderful irony to the fact that Twitter’s heavy-handed response was supposedly justified by their concern for the health of its users, but their shitty behavior in fact prompted deep concern from many of its users about my health.

Is there a way to escape this bureaucratic nightmare? There seems to be one. Though Twitter keeps giving me the option of filing appeals that they never intend on viewing, they also say if I choose to drop my appeal (which still is being decided after four months???), I can be reinstated. They’re not even asking me to delete the tweet–they already did that for me [if you go to the tweet in question, they note that it violated their standards]. They simply want me to confess in this ridiculous Soviet show trial of a process, and frankly, I’m better than that. Twitter is too ridiculous for me to abandon basic principles, like that punk rock rules or that the name of a band from 50 years ago is too controversial to mention. Again, a name that is so dangerous that mere exposure should provoke terror in those who see the word, and yet one of the members is still alive and the other died in his sleep at the age of 78. Yup, that dangerous.

So at the moment I’m going to keep holding out and hope that somebody, literally anybody, at Twitter comes to their senses. Because seriously, fuck these assholes for making me agree with the Worst People on the Planet in believing that they are incapable of monitoring themselves to any degree whatsoever. And goddammit, somebody should have to answer for that crime.

Remembering Ronnie Spector & the Genius of “Be My Baby”

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Last week we mourned the death of the legendary Ronnie Spector, the lead singer of The Ronettes. While Ronnie had more than a few hits over the years, she forever attained immortality with her breakthrough smash “Be My Baby”. It is perhaps the greatest song ever written, a position claimed by one of the foremost authorities on the matter, Brian Wilson.

When the news of Ronnie’s passing first broke, I responded in a way I imagine most people did: putting “Be My Baby” on repeat. The music may be the epitome of Phil Spector’s “Wall of Sound” technique, but the reason why we can listen to this song on endless repeat is mainly due to Ronnie’s impassioned vocals, and her ability to convey all the turbulent emotions of young love in a way that never grows old. Somehow with each listen there’s something new to be found, a new wrinkle or detail to appreciate.

And so it was after a few listens this past weekend, after hundreds over the years, that I was able to once again find something previously hidden to me in the song that added a whole new level of appreciation to the effort in crafting the song. It was a subtle connection between the lyrics and music, a connection so subtle it was probably unintentional.

The song opens with Hal Blaine’s classic drum beat, a pattern so recognizable you’ve heard it copied dozens of times over the years by other artists. You probably don’t even need to see it typed out, you already have it playing in your head:

Boom. BoomBoom. Thwak.

By alternating between the one snare/three snare hits, he creates a push-and-pull that adds tension and variety to the beat. It is not revolutionary by any means, but it gets the job done. However, this past weekend, I realized there was a connection of the one/three pattern in the lyrics as well.

For every kiss you give me [Thwak]

I’ll give you three [Crk Crk Crk]

The lyrics even match the push-and-pull of the music! The two complement each other so well that it’s hard to imagine it wasn’t a planned pairing. Even there’s a good chance it’s merely a coincidence based on a mistake, I’ll forever prefer to think otherwise.

Who knows what treasures the next hundred listens will unearth. But thanks to Ronnie, every single one will be as enjoyable as the first.

Rust Is Just Right’s Best Albums of 2020

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Due to the global pandemic, there was a disruption to “The Process” in constructing our annual best-of list for the year. However, we still wanted to recognize that music was in fact released during these difficult times, and sometimes it was even quite good. So once again, for the purposes of our records (and your shopping list), here are our favorite albums from the past year.

10. Idles – Ultra Mono; EOB – Earth

9. Wolf Parade – Thin Mind; Moaning – Uneasy Laughter

8. Fleet Foxes – SHORE; Muzz – Muzz

7. Fiona Apple – Fetch the Bolt Cutters; Cults – Host; Deftones – Ohms

6. Waxahatchee – Saint Cloud; Fontaines D.C. – A Hero’s Death

5. Pearl Jam – Gigaton; Hum – Inlet; The Strokes – The New Abnormal

Really appreciated the left-turn this video takes (and fitting because that’s when the Strokes changed their usual musical formula)
Not just the usual RIJR bias–this was a really good Pearl Jam album

4. X – Alphabetland; Washed Out – Purple Noon

3. Run the Jewels – RTJ4; Protomartyr – Ultimate Success Today

This video kind of summed up 2020! If it had a 50% bigger budget, it would be an all-timer

2. Yves Tumor – Heaven to a Tortured Mind

It’s pretty impossible to sum up YT’s music, but we love it.

1. The Avalanches – We Will Always Love You

It was a shitty year for everyone, but at least this album made us hopeful for humanity.

Rust Is Just Right’s Best Albums of 2019

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Today is April 15, and though circumstances are not what they usually are for this time of year, we here at Rust Is Just Right have decided to brighten your spirits a bit by following tradition and releasing our Best Albums of the Year list.  We follow this unusual schedule for a few reasons: 1) It allows some of the albums that are released at the end of the calendar year to get some recognition, since they usually get swallowed up in the attention of the flurry of year-end lists and 2) We get the chance to analyze other lists to pick up on albums that somehow escaped our attention during the course of the year.  Unlike other years, however, we do not recommend spending your stimulus money on these albums, though if you have money to spare consider different ways of supporting your favorite musicians directly.

The process that is used to determine this list is highly rigorous and hardly scientific.  However, we are still in the process of attempting to patent and trademark The Process, which if you may recall, is simply tallying up the play counts on iTunes for each album.  It has served us well in years past, and a quick glance at our list this year proves that it has worked once again.

Note: Though the list is a Top 10, there are more albums than slots, because we don’t like breaking ties for the same play count.  If you’re really intent on focusing on only 10, I guess take the 10 highest performing albums from the list, but you really shouldn’t limit yourself like that if you can help it.

10. Danny Brown – uknowhatimsayin¿; Foals – Everything Not Saved Will Be Lost–Part 2; Jay Som – Anak Ko; Tyler, the Creator – IGOR; Wilco – Ode to Joy (5 plays)

The mood on Danny Brown’s latest was a bit lighter than his previous album Atrocity Exhibition, but the hooks weren’t quite as memorable this time around.  The second half of the ambitious new work from Foals rocked harder than the first from start to finish, with the fiery “The Runner” and the epic “Neptune” as clear standouts, but the lack of variation made it suffer in comparison.  Jay Som provided some of the best lo-fi indie rock of the year, with nifty and inventive melodies (like the hook in “Devotion”).  Tyler and Wilco both continued the path of their most recent releases to dial it down a notch, both to pleasant results.

9. Big K.R.I.T. – K.R.I.T. Iz Here; Freddie Gibbs & Madlib – Bandana; Maxo Kream – Brandon Banks (6 plays)

K.R.I.T. followed up RIJR favorite 4eva Is a Mighty Long Time with a solid effort, but most of the best tracks were already released on EPs the previous year.  Bandana mixed fun coke rap with incisive political cracks and Madlib’s production was in fine form.  Maxo Kream showed off one of the most infectious flows of 2019, which made it easy to revisit the album again and again.

8. Beck – Hyperspace; Operators – Radiant Dawn; Titus Andronicus – An Obelisk (7 plays)

Beck continued to operate in “fun” mode like his previous album Colors, but this time the mood is slightly more relaxed, if a bit sedate.  It’s no surprise that we here at RIJR would love whatever project Dan Boeckner (Da Gawd) is working on at the moment, and we were glad to see him return to the synthpop of Operators.  While we were bigger fans of Patrick Stickles’s foray into more “acoustic” songs with A Productive Cough, we were not going to stop him from lashing out and rocking out once again with the furious An Obelisk.

7. Denzel Curry – ZUU; Mannequin Pussy – Patience (8 plays)

We initially were skeptical of Denzel Curry, but his fiery cover of “Bulls on Parade” converted us into fans, and Curry keeps the energy up on the raucous ZUU.  One shouldn’t assume that Mannequin Pussy is our (by now) token female garage rock choice, because the group showed off chops and ambition that far outstrip that kind of pigeonholing.

6. DIIV – Deceiver; Orville Peck – Pony (9 plays)

Considering Slowdive grabbed the top spot a couple of years ago and My Bloody Valentine’s previous high ranking when they returned before that, it should not be a surprise to find a shoegaze album on the list.  The shock is from DIIV accomplishing the feat–sure, their bouncy, surf-style jangle music skirted around the genre, but we couldn’t have expected them to recreate some of the most unique sounds from the legends of the genre and find cool new ways to use them.  Of course, longtime readers are probably more surprised to see a country album this high up on our list, but Orville is no ordinary cowboy.  However, if there were more artists that could croon like Roy Orbison and back it with gorgeous spare guitar, then maybe we would see more representation from that genre on this list in the future.

5. Foals – Everything Not Saved Will Be Lost–Part 1 (10 plays)

We got a sense of the scope of the ambitions Foals had with their first release of the year, and honestly the album could have been fine as a stand-alone.  Not as heavy as their recent efforts, but the band compensated by experimenting with different instruments and tones while also focusing on finding new grooves.  It may have been a little bit more difficult to get into at first, but the efforts pay off.

4. The National – I Am Easy to Find (11 plays)

Oh wow, what a surprise–RIJR loves an album from The National!  However, the relatively low placement may throw some of our loyal readers for a loop.  Much like the rest of their catalog, it takes several listens for I Am Easy to Find to get nested and settled in your head, but again like the rest of their catalog, the effort is worth it.  The inclusion of guest vocals from a variety of women helps the album stand out in their discography, and their contributions provide an excellent counterpoint to Berninger’s sonorous baritone.  In the end, a sagging middle section blunts the momentum of an otherwise excellent addition to the band’s discography, but we guarantee you will love hearing these songs live.

3. Purple Mountains – Purple Mountains (12 plays)

We never got the chance to dive into the excellent work of the Silver Jews, but that was beginning to change with the release of David Berman’s new project Purple Mountains.  We once again had his trademark imagery and wordplay, but this time with a fuller and more expansive backing band.  Unfortunately the album was forever marked by Berman’s subsequent suicide a few weeks after its release, and it remains almost impossible to listen to this beautiful masterpiece without that knowledge hanging in the air.  Still, David was up front and blunt about his struggles, and we are all the better for him describing them to us in such vivid detail.  Somehow, lines like “All the suffering gets done by the ones we leave behind” become even more poignant with every passing day.

2. Bon Iver  – i,i (14 plays)

This was the year we became full-fledged acolytes to the Bon Iver experience and are ready to spread the gospel of Justin Vernon and Co.’s genius.  Their latest can best be described as a synthesis of their previous work–you have the experimentalist aspects of 22, A Million mixed with the 80s soft jazz/synth sounds of bon iver, bon iver with the classic falsetto seen in For Emma, Forever Ago.  The ability of the group to use a cut-and-paste approach (and then recreate them live) continues to amaze us, and has led to some incredible results.

1. Sharon Van Etten – Remind Me Tomorrow (16 plays)

We have long been champions of Sharon Van Etten, and we were immensely overjoyed to see her put together one of the finest albums top-to-bottom of recent years, followed by tours that saw her playing far bigger venues than ever before (moving up from the cozy confines of the Doug Fir to selling out the Crystal Ballroom is quite the jump, which was quickly followed up by opening for Bon Iver on their arena tour).  The music may have shifted from traditional guitar-based singer-songwriter styles to a more electronics-heavy approach, but none of the magic was lost.  Remind Me Tomorrow is an incredibly dense and layered record, and listeners will pick out wonderful new details each time through.  But what still remains is Sharon’s incredible voice, as well as her captivating and exemplary lyrics, wringing out incredible emotion from every note.  Just about every song deserves its own full-post write-up, but we’ll leave you with our pick for song of the year, “Seventeen”.

Rust Is Just Right’s Best Albums of 2018

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Today is April 15, and while the rest of the nation trudges through another Tax Day, we here at Rust Is Just Right choose this occasion to return from the dead and release our Best Albums of the Year list.  We follow this unusual schedule for a few reasons: 1) It allows some of the albums that are released at the end of the calendar year to get some recognition, since they usually get swallowed up in the attention of the flurry of year-end lists; 2) We get the chance to analyze other lists to pick up on albums that somehow escaped our attention during the course of the year; and 3) It provides a handy consumer guide for people to focus where to spend their tax refund.

The process that is used to determine this list is highly rigorous and hardly scientific.  However, we are still in the process of attempting to patent and trademark The Process, which if you may recall, is simply tallying up the play counts on iTunes for each album.  It has served us well in years past, and a quick glance at our list this year proves that it has worked once again.

Note: Though the list is a Top 10, there are more albums than slots, because we don’t like breaking ties for the same play count.  If you’re really intent on focusing on only 10, I guess take the 10 highest performing albums from the list, but you really shouldn’t limit yourself like that if you can help it.

10. Black Panther: The Album; Earl Sweatshirt – Some Rap Songs; Idles – Joy as an Act of Resistance; Lucy Dacus – Historian; Nipsey Hussle – Victory Lap; Ought – Room Inside the World; Rolling Blackouts Coastal Fever – Hope Downs; Sleep – The Sciences (8 plays)

Against all odds,  we somehow once again agree with at least one of the “Best Album” choices from the Grammys with our inclusion of the Kendrick Lamar-assembled soundtrack to Black Panther.  Its inclusion was a surprise to us, but the Kendrick/SIA mega-hit “All the Stars” helped make this solid compilation one of the more memorable soundtracks to be released in years.  Another surprise was Ought’s latest release, which zigged when we expected it to zag–we were anticipating a return to their hard-hitting debut,  but instead it was an album marked by its ballads, most notably the show-stopping “Desire”.  Earl Sweatshirt returns with his latest venture into the avant-garde, eschewing choruses and hooks for the enigmatic Some Rap Songs.  Idles created one of the hardest-hitting albums of the year with the politically-influenced post-punk Joy, bringing to mind a British working class version of Protomartyr.  Lucy Dacus created some of the most gorgeously epic indie rock this year, unafraid to play with dynamics and mix her lovely voice with music that shifts from the tranquil to the anthemic.  Rolling Blackouts Coastal Fever brought the chill factor, recalling a laid-back Real Estate kind of vibe, but with a bit more pep and greater variety to their overall sound.  Sleep seem intent to prove how Black Sabbath’s Master of Reality is the greatest album of all time, and considering the results, we are not inclined to argue.  As for Nipsey, his inclusion on this list is bittersweet because of his recent murder, but hopefully more people will seek out his music (and benefit his family–he owned all his masters).

9. Arctic Monkeys – Tranquility Base Hotel + Casino; Beach House – 7; Black Thought – Streams of Thought Vol. 1, Vol. 2; Vince Staples – FM! (9 plays)

We were puzzled by the backlash to the latest Arctic Monkeys album, which we believed followed the same trajectory as their mainstream-breakthrough AM without being a shameless imitation; maybe we just appreciated their retro/futuristic lounge style more than most.  We initially felt 7 was an unremarkable addition to the Beach House catalog, but subsequent listens revealed a greater depth to their trademark synthpop sound.  Black Thought released two EPs this past year, and depending on the day we might switch our favorite, though we more often end to lean to the more energetic Vol. 2.  For FM!, Vince Staples made the perfect soundtrack for a summer cookout, and even the skits are still able to blend seamlessly after multiple listens.

8. Car Seat Headrest – Twin Fantasy; Moaning – Moaning (10 plays)

Will Toledo dipped back into his past for his follow-up to RIJR favorite Teens of Denial, reworking his early work Twin Fantasy.  Fans of his hypersensitive attention to lyrical detail and his appreciation for classic indie rock tropes should be pleased with the results, though like Teens, it takes a few listens to appreciate the craft.  Moaning is a new group that decided to put a more lively spin on the current revival of shoegaze, and the result is some of the catchiest songs of the year.

7. Hookworms – Microshift; Cloud Nothings – Last Building Burning (11 plays)

If you were looking for a more rock-inclined version of LCD Soundsystem, then Hookworms provided the perfect album for you.  It is impossible to not get fired up after listening to opener “Negative Space”, and the album never lets up.  After cleaning up their sound and sanding down some of the edges for Life Without Sound, Cloud Nothings get back to basics and blow out their amps again for the furious Last Building Burning.

6. Mitski – Be the Cowboy (12 plays)

We loved Puberty 2, and Mitski continues her hot streak with her new album.  Mitski gets to the point quickly in each of the fourteen songs here, dispensing with conventional verse/chorus/verse structures and getting the message across around two minutes for each song.  Mitski does not necessarily switch between different genres; it would be more accurate to say she explores the limits of the various styles one can find within the larger umbrella of “indie music”, from the swelling “Geyser” to the effervescent “Nobody” to the gentle closer “Two Slow Dancers.”

5. Fixtures – Trust Yourself I Guess [EP]; No Age – Snares Like a Haircut (13 plays)

A link from Twitter led me to this Bandcamp release from Fixtures, and it did not take long for me to get sucked into its irresistible hooks.  If you aren’t humming by the end of “On Tape” or “Remember Who I’m Looking For”, then you might need to schedule an appointment with your local ENT specialist.  No Age returned from a long layoff showing no signs of rust (no pun intended), and were able to compose an album that effectively summed up the sounds they explored in their previous experimental works.  We also love the title, which we learned is a reference to how much like a haircut, one can usually pick out what era a song comes from simply by the way the snare drum is recorded.

4. Preoccupations – New Material; Spiritualized – And Nothing Hurt (14 plays)

We continue to be impressed by the evolution of Preoccupations, who have now settled into a gothic post-punk sound.  We said it the first time we heard it, but we are glad to confirm that “Disarray” is the best song we heard this year.  Take note of the different time signatures employed by the guitar, bass, and drums, as they shift in and out of sync with each other in a perfect illustration of the title.

And Nothing Hurt is another wonderfully gorgeous space rock opus from Jason Pierce’s Spiritualized project.  As one may expect, repeated listens reveal brilliant sonic details, and soon you will be picking up the various random instruments that help fill out the sound.  Amazingly enough, most of the album was recorded in Pierce’s bedroom, though with the extent of the orchestration and the depth of the overall sound it would be easy to assume it was done instead in a giant studio.

3. Father John Misty – God’s Favorite Customer; Pusha T – DAYTONA (15 plays)

Considering we named his album I Love You, Honeybear our favorite album of 2015, you would be correct to assume we were disappointed with Joshua Tillman’s follow-up, Pure Comedy, which we found overlong and way too much of a chore to listen to all the way through, so much so it did not come close to appearing on our 2017 list.  However, FJM redeemed himself with the much tighter God’s Favorite Customer.  The bite has returned to the lyrics, but more importantly, it is an infinitely more interesting album from a musical perspective, filled with memorable melodies.

Pusha T once again delivers a batch of coke raps, but the wordplay on this quick-hitter is among his best work, and Kanye provides his best production work in years.  DAYTONA was at the forefront of the switch to shorter works, with its 7 tracks clocking in at 21 minutes, leaving the listener wanting more and never wearing out its welcome.

2. Deafheaven – Ordinary Corrupt Human Love (16 plays)

Deafheaven broke out with the genre-defying Sunbather, and then followed up their shoegaze-meets-black metal classic with an emphasis on their heavier roots with New Bermuda.  It seems this was a move made in response to concern about proving the group’s metallic bona fides, and while we loved both albums, it seems the audience expectations weighed heavily on the band.  With Ordinary Corrupt Human Love, Deafheaven threw out those expectations and indulged their inner muses, and the result is easily their most fun album to date.  If you were hesitant to dip into their work before, this might be the album for you.  It even features some actual singing at points!

1. Parquet Courts – Wide Awake! (17 plays)

We were initially weary when tracks from Wide Awake! began to be released, as we could not find a common thread between any of them–one of the singles was even a stitched together combination (“Almost Had to Start a Fight/In and Out of Patience”) that did not make much sense by itself.  However, the disparate styles explored by the band made sense within the context of the album.  Perfect for the streaming age, Wide Awake! seems perfect for shuffling, even though one track leads into the next through almost the entirety of the album.

There are several reasons why Wide Awake! is our favorite album of the year, including the overt nod to Pavement (their most obvious comparison) with “Mardi Gras Beads” (that somehow also seems to be influenced by The Walkmen), to the infinitely catchy “Tenderness”, to the goofy title track, which effectively parodies the current movement to appear “woke” even if it means sacrificing depth–which led to the surreal moment of the band performing the song on Ellen.  But it’s understandable–goddamn, that bass groove is infectious.

But the band is not just smart-asses looking for piss-takes.  The opener “Total Football” is the best summation of the group’s approach, with insightful lyrics and hooks galore.  And in this time of great division, we can all agree with the song’s final words: “And fuck Tom Brady!”

Rust Is Just Right’s Best Albums of 2017

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Today is April 17, and while the rest of the nation trudges through another Tax Day (a few days later this year), we here at Rust Is Just Right choose this occasion to return from the dead and release our Best Albums of the Year list.  We follow this unusual schedule for a few reasons: 1) It allows some of the albums that are released at the end of the calendar year to get some recognition, since they usually get swallowed up in the attention of the flurry of year-end lists; 2) We get the chance to analyze other lists to pick up on albums that somehow escaped our attention during the course of the year; and 3) It provides a handy consumer guide for people to focus where to spend their tax refund.

The process that is used to determine this list is highly rigorous and hardly scientific.  However, we are still in the process of attempting to patent and trademark The Process, which if you may recall, is simply tallying up the play counts on iTunes for each album.  It has served us well in years past, and a quick glance at our list this year proves that it has worked once again.

Note: Though the list is a Top 10, there are more albums than slots, because we don’t like breaking ties for the same play count.  If you’re really intent on focusing on only 10, I guess take the 10 highest performing albums from the list, but you really shouldn’t limit yourself like that if you can help it.

10. Phoebe Bridgers – Stranger in the Alps; Fleet Foxes – The Crack-Up; Godspeed You! Black Emperor – Luciferian Towers; Vince Staples – Big Fish Theory; Tyler, the Creator – Flower Boy; Wolf Parade – Cry Cry Cry (7 plays)

It should come to no surprise for our readers the band who inspired our site’s name would crack our Top Ten with our return, though their low placement on the list may raise some eyebrows.  While their return has enough artistic merit to make it more than a simple cash-in on instant nostalgia, Cry Cry Cry lacked the standout songs that marked Wolf Parade’s previous work, with the album seeming to be more competent than anything.  Still, the one-two punch of Dan Boeckner’s “Artificial Life” and Spencer Krug’s “King of Piss and Paper” (reversed for the video) should alleviate the worries of any fans that the Canadian supergroup still has gas left in the tank.

I felt bad for the short people behind me

Wolf Parade, at the Crystal Ballroom

Tyler, the Creator bounced back from a couple of forgettable efforts with an ambitious album that recalls why fans were so impressed with the Odd Future crew back when “Yonkers” first hit, mixing bangers with surprisingly introspective tracks.  We’ll leave the discussion about the lyrical prowess of Vince Staples to others (they never really impressed us that much, but the words aren’t usually our focus), but the beats on Big Fish Theory were a goddamn revelation considering the malaise that seems to be spreading over modern hip-hop these days.  We’re not sure what gets the party going with the kids these days, but bump Vince’s latest on your headphones and you should be set for one heart-pumping adventure.

Much like Dinosaur Jr., another iconic alternative group, Godspeed has shown new life after their return from their prolonged hiatus.  However, as good as their recent albums have been, they seem to be following a similar arc where the third album doesn’t quite have the juice of its two predecessors.  That said, the climax of “Bosses Hang” is exactly what we need these days.

Phoebe is the newcomer to the party, and her delicate debut is perfect for late-night listens.

9. Dieg Cig – Swear I’m Good at This; The War on Drugs – A Deeper Understanding (8 plays)

What can we say–we love duos.  The mix of the sugar-sweet vocals with the propulsive punk makes Diet Cig a welcome addition to the garage rock revival.  The War on Drugs exceeded our expectations; we had begun to get tired of the band’s style (and had read too many critiques of their sound), so we weren’t exactly pumped for their latest.  However, there are plenty of songs on Understanding which will make the band’s eventual Greatest Hits release.  That said, we pray that on the next album Adam Granduciel learns you can use drum patterns besides ones that hit on 2 and 4.

The War on Drugs, at the Crystal Ballroom

8. Alvvays – Antisocialites; Beck – Colors; LCD Soundsystem – American Dream; Protomartyr – Relatives in Descent (9 plays)

Alvvays went a bit darker with their follow-up to their self-titled debut, and added new textures to their indie-pop sound.  Beck finally released his often-teased follow-up to the Album of the Year winning Morning Phase, and while it seems the rest of the country wasn’t psyched for a return of “fun” Beck, we found this album plenty enjoyable.  Beck may have fussed over individual sounds endlessly before the release of Colors, but repeated listens prove it was well worth the effort.  LCD Soundsystem was another welcome return of indie rock royalty, and though it seems they may have stalled a bit creatively after their wonderful initial three album run, “Call the Police” was worth the price of admission in and of itself (though we wish they could have found a way to include the teaser single “Christmas Will Break Your Heart” on the album).  Protomartyr further honed their sound of post-punk mixed with the ravings of an esoteric college professor.  Relatives was not as initially catchy as The Agent Intellect, so it may discourage new fans, but eventually it hooks your way into your brain–see how the line “She’s just trying to reach you” keeps repeating throughout and how it fits with the themes of the record.  The lyric from the Michigan band of “It’s been leaded by snider men to make profit from the poor” might be the best line from 2017, but it’s the following line I keep repeating in my head: “I don’t want to hear those vile trumpets anymore.”

Protomartyr, at the Doug Fir

7. Broken Social Scene – Hug of Thunder; The National – Sleep Well Beast (10 plays)

Hug of Thunder might be the most consistent front-to-back record in the BSS catalog, with several songs that are just really damn uplifting.

Broken Social Scene, at the Crystal Ballroom

By contrast, Sleep Well Beast is a step down for The National, but they’ve been on fire since Alligator and you can’t expect them to maintain perfection forever.  The electronic flourishes to the album are a nice touch, and there are several standout songs that will be great additions to the average setlist.  Simply put, the album gets dinged only because it pales in comparison to their recent string of successes.

The National, at the Schnitz

6. Death From Above 1979 – Outrage! Is Now; Queens of the Stone Age – Villains; Run the Jewels – Run the Jewels 3 (11 plays)

Death From Above officially dropped the “1979” from their name, but it’s going to take us a while to get used to it.  However, we are thrilled that the return to form of The Physical World was no mere fluke, and we’re exceedingly pleased to see the band continue to evolve.  At first, it may seems the album dips in the middle, but after a few times through it becomes clear the forays into sludgier metal riffs are a welcome evolution for the duo (and will help save the stamina of a singing drummer).  Hell, see how easy they make metal look with the hard-hitting opener, “Nomad”.  We may overrate these guys compared to others, but honestly, we have no idea why “Freeze Me” wasn’t a bigger summer hit.

Death From Above, at the Roseland

It took a few times though to get on the same wavelength as QOTSA for their latest, with our initial impression being that a few of the better songs would have worked just fine as Eagles of Death Metal tracks instead.  But once we got lost in the sound and feel of the record, we began to appreciate it more.  Also, “Villains of Circumstance” will be remembered as one of their best ever.

Queens of the Stone Age, at the Hult Center

RTJ is in a strange position, because the schedule of their leak and official release had them straddling the line between 2016 and 2017 lists, but this feels like the right spot for them (if we included every single listen since its release, it would tie for the top spot).  RTJ3 isn’t as lean as its predecessors, but there’s plenty here that will leave listeners longing to hear the continuing saga of Jamie and Mikey.

Run the Jewels, at the Crystal Ballroom

5. Joey Bada$$ – All-Amerikkkan Bada$$; The xx – I See You (12 plays)

A couple of surprises make it into the top half of the list!  We were not impressed with Joey’s debut, but All-Amerikkan Bada$$ is an impressive step forward, effectively mixing groovy R&B and political hip-hop.

We thought The xx had already begun running out of creativity with the decent Coexist, but it turns out there is still juice left in their minimalist indie rock.  Who knew you could make introverted love songs so danceable?

4. Big K.R.I.T. – 4eva Is a Mighty Long Time (13 plays)

Big K.R.I.T.’s ambitious new record easily slides into the trinity of Wu-Tang Forever and All Eyez on Me on the list of greatest hip-hop double albums.  Though nominally split between his two personalities with the party anthem heavy “Big K.R.I.T.” and the introspective gospel-tinged “Justin Scott”, the album flows just fine as one long piece.  Hell, even the few skits on the album can be listened to more than once!

3. Cloud Nothings – Life Without Sound; Grizzly Bear – Painted Ruins; Japandroids – Near to the Wild Heart of Life (14 plays)

Now here’s a triumvirate you would expect from us.  Japandroids got an early jump on everybody with a January release, which partially explains their high ranking on this list, though we don’t want you to put too much in that disclaimer.  Wild Heart of Life is a half-brilliant, half-decent album, which explains our reluctance to fully commit to any direction in our assessment.  The title track opener is an all-time great for the band, and the run from “Midnight to Morning”, “No Known Drink or Drug”, and “In a Body Like a Grave” finish the album on a rousing note.  It’s the middle songs which sag, though we appreciate them as experimental forays necessary for a duo who wish to have a long career.

Japandroids, at Revolution Hall

Grizzly Bear once again returns with an album that sounds great on headphones, begging for you to pick out more and more details with each listen, all in a style that’s perfect for either driving in the car or listening late at night.

Grizzly Bear, at the Roseland

Cloud Nothings made the most consistently brilliant punk record of the year, and goddammit I hope that band keeps moving on to bigger and better things.

Cloud Nothings, at the Doug Fir

2. Kendrick Lamar – DAMN.; Spoon – Hot Thoughts (16 plays)

After the overflowing To Pimp a Butterfly, a record that placed a lot of its emphasis on being a complete album, it seemed Kendrick was coming back with a series of hard-hitting singles–“Humble.” and “DNA.” were huge, aggressive tracks which got everybody fired up for the release.  The initial impression of DAMN. as a series of singles eventually proved to be incorrect, as Kendrick revealed more of the thought process behind the album.  For us, though, the switch was flipped when the “Collector’s Edition” was released, which flipped the tracklisting from back-to-front.  All of a sudden, the album seemed to have a much better flow, and its themes became more readily apparent.

What more can be said about Spoon?  The band is incapable of releasing a less-than-great album at this point, and Hot Thoughts shows off a fun side that had been hiding in the background for a few years at this point.  Britt and the guys walk the tightrope of staying true to their “sound” while not repeating themselves–for example, the funky “Can I Sit Next To You” fits right alongside their early hit “I Turn My Camera On” without it being a rehash.

Spoon, at the McDonald Theater

We love the whole album, but we’re going to keep the somber “I Ain’t the One” and the relevant-to-these-times “Tear It Down” on repeat.

1. Slowdive – Slowdive (17 plays)

The return of My Bloody Valentine may have inspired more ink, but we appreciated the return of the other titans of shoegaze more.  Slowdive fits right in next to Souvlaki and Just for a Day, but doesn’t feel like a mere revival of their early-90’s peak.  The music is as gorgeous as ever, venturing from the delicate haunting vocals in the ballads to the big rush of guitars in the epics.

Slowdive, at the Crystal Ballroom

We’re not sure if we’ll look back in ten years and definitively say we made the right choice on the number one album of 2017, but we’re confident in saying we’ll still love the hell out of this album.

Best of the Rest: Other Highlights of 2016

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Even with our expanded Best-Of list courtesy of The Process, there were still a ton of great albums released last year that were worthy of recognition.  Since we here at Rust Is Just Right are big believers in spreading all good music, we’re going to put a spotlight on some other great records that you may have overlooked from the past year.

YG – Still Brazy

This would be a memorable album even if it didn’t include the future national anthem of the United States, “FDT.”

Wilco – Schmilco

A delicate album that seems tossed-off now, but future Wilco fans will enjoy as a secret gem.

Sturgill Simpson – A Sailor’s Guide to Earth

The token country album, but its status as one that even indie kids would enjoy is earned, even beyond the touching cover of Nirvana’s “In Bloom.”

PJ Harvey – The Hope Six Demolition Project

Forgotten too soon (or worse, seen as a disappointment), this was a strong album from one of rock’s most consistent artists.

Nothing – Tired of Tomorrow

It didn’t measure up to their debut, but there’s still gold in their shoegaze-meets-hard rock sound.

The Last Shadow Puppets – Everything You’ve Come To Expect

Not quite as strong as their debut, but it was a treat to see Alex Turner’s side-project return once again

Gojira – Magma

I saw these guys open up for Mastodon, and instantly became a fan.

DIIV – Is The Is Are

They pretty much play only one song, but it’s a good one.

Death Grips – Bottomless Pit

Just when it seemed like the creative well was running dry, Death Grips find new nuance in their abrasive sound.

David Bowie – Blackstar

Goddamn, who knew he had this in his backpocket the entire time?  Bowie was still capable of musical surprises, like this futuro-jazz album, up until the end.

Dame D.O.L.L.A. – The Letter O

Damian Lillard is easily the best rapper in NBA history (and in all of professional sports), but really his talent is better than everything that sentence implies.

Clipping. – Splendor and Misery

Daveed Diggs got mass recognition for his role in “Hamilton,” but a lot of fans would prefer he stick to his day job.  A great sci-fi hip-hop concept album.

Bleached – Welcome the Worms

One of the strongest garage rock albums during the current wave of the genre.

Also Worthy of Praise

Yuck – Stranger Things, Band of Horses – Why Are You OK, Wire – Nocturnal Koreans, Banks & Steelz – Anything But Words, Joy Formidable – Hitch

All Albums That Were Considered

In the interests of full disclosure, here are all the other albums that we listened to last year, in full.  Most of these were quite good and worthy of repeated listens, but they just could not crack the previous lists.

The Men – Devil Music, Kanye West – The Life of Pablo, Beyonce – Lemonade, Frank Ocean – Blonde, Red Fang – Only Ghosts, Teenage Fanclub – Here, Anderson .Paak – Malibu, Beach Slang – A Loud Bash of Teenage Feelings, Tim Hecker – Love Streams, Adrian Younge – Something About April II, A Giant Dog – Pile, Walter Martin – Arts & Leisure, Andrew Bird – Are You Serious, Bloc Party – Hymns, Holy Fuck – Congrats, Pixies – Head Carrier, Yung – A Youthful Dream, Dandy Warhols – Distortland, Pinegrove – Cardinal, of Montreal – Innocence Reaches, Savages – Adore Life, Hot Hot Heat – Hot Hot Heat, DJ Shadow – The Mountain Will Fall, Deerhoof – The Magic, Woods – City Sun Eater in the River of Light, Tindersticks – The Waiting Room, White Lung – Paradise, Childish Gambino – “Awaken, My Love!”

Rust Is Just Right’s Best Albums of 2016

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Today is April 18, and while the rest of the nation trudges through another Tax Day (a few days later this year), we here at Rust Is Just Right choose this occasion to return from the dead and release our Best Albums of the Year list.  We follow this unusual schedule for a few reasons: 1) It allows some of the albums that are released at the end of the calendar year to get some recognition, since they usually get swallowed up in the attention of the flurry of year-end lists; 2) We get the chance to analyze other lists to pick up on albums that somehow escaped our attention during the course of the year; and 3) It provides a handy consumer guide for people to focus where to spend their tax refund.

The process that is used to determine this list is highly rigorous and hardly scientific.  However, we are still in the process of attempting to patent and trademark The Process, which if you may recall, is simply tallying up the play counts on iTunes for each album.  It has served us well in years past, and a quick glance at our list this year proves that it has worked once again.

Note: Though the list is a Top 10, there are more albums than slots, because we don’t like breaking ties for the same play count.  If you’re really intent on focusing on only 10, I guess take the 10 highest performing albums from the list, but you really shouldn’t limit yourself like that if you can help it.  Also, we have reviews for nearly all of these albums, so for those of you seeking a more detailed analysis all you need to do is click the appropriate tag above.

10. Alcest – Kodama; Angel Olsen – My Woman; A Tribe Called Quest – We got it from Here… Thank You 4 Your Service; Bon Iver – 22, A Million; Pity Sex – White Hot Moon; Summer Cannibals – Full of It (7 plays)

Garage rock is still a dominant trend in indie circles these days, and Summer Cannibals with their fiery energy and Pity Sex with their peppy melodies represent the best of the scene.  As for Tribe, who knows what was more surprising–that the group reunited or that its comeback effort was so good, able to call back to their 90’s heyday without sounding like retreads.  Many have pointed out the influence that Alcest has had on Deafheaven (frontman Neige even appeared on the latter’s groundbreaking Sunbather for a spoken-word contribution), and it looks like the tables have turned–after going in a softer direction in Shelter, Alcest brought some edge back (and a few shouts) to their melodic mix of shoegaze and metal.  Bon Iver continues to experiment with loops and vocal effects (in the vein of his work in Volcano Choir) moving further and further away from the delicate acoustic of For Emma, Forever Ago; however, the result is still some gorgeously moving music.  Angel Olsen was one of the artists that we picked up on after reading year-end lists, and we quickly became fans of her versatility, with an album that ranges from classic retro numbers to sweeping epics.

9. Chance the Rapper – Colouring Book; Iggy Pop – Post Pop Depression (8 plays)

If you were looking for inspiration or a quick pick-me-up, the best place to look last year was the ebullient Chance the Rapper.  His mix of gospel and hip-hop helped create some of the best songs from last year, but the album as a whole seemed to run a little to long.  Josh Homme of Queens of the Stone Age helped Iggy Pop stun audiences and critic with a great comeback album, mining the sounds of Pop’s landmark solo efforts Lust For Life and The Idiot.  The new songs mixed seamlessly with the classic material when they were out on tour, and together they put together one of the best shows we saw last year.

8. Dinosaur Jr. – Give a Glimpse of What Yer Not; Hamilton Leithauser + Rostam – I Had A Dream That You Were Mine; Mitski – Puberty 2; Parquet Courts – Human Performance (9 plays) 

With their latest, Dinosaur Jr. has now put together more great albums in their reunion years (four) than in their original golden era (three-ish).  Parquet Courts rebounded with an album that stood up to repeated listens much better than the at-times grating Sunbathing Animal, and songs like “Berlin Got Blurry” stuck with us long after the fact.  Hamilton Leithauser formally teamed up with Rostam Batmanglij (Vampire Weekend) for his second solo effort (after collaborating on a couple of tracks for Black Hours), with the result being a record that effectively matched Hamilton’s remarkable and unique voice with doo-wop, old country, and soft ballads.  Mitski was another find from the critics lists, and we only wished we had come across her inventive explorations of identity and depression sooner.

7. Danny Brown – Atrocity Exhibition; Deftones – Gore; M83 – Junk (10 plays)

We continue to be amazed at the ability of the Deftones to continually put out great new records in a genre where bands can quickly grow stale; perhaps more impressive was how Gore did not have any big singles but was still able to hold your attention from beginning to end.  A lot of people dismissed Junk when it first came out, but we quickly grew to love it once we realized the truth in the title; the complaints about the sequencing of the album have some merit, but we enjoyed the detours into what seemed like theme songs from lost 80’s French TV shows.  Plus, Anthony Gonzalez deserves all the credit in the world for his ability to use a Steve Vai guitar solo effectively.  Danny Brown’s voice can grate on people, but if you can accept his B-Real-style vocals, then it’s easier to plumb into one of the most musically adventurous hip-hop albums in years.

6. The Besnard Lakes – A Coliseum Complex Museum; Radiohead – A Moon-Shaped Pool; The Thermals – We Disappear (11 plays)

This is the part of the list where old favorites take up residence.  The latest from the Besnard Lakes was a bit of a disappointment, though it ends on an incredible high note that makes one wonder why they didn’t build the whole album out of this song.  Radiohead returned with a much better version of what they previously attempted with the forgettable The King of Limbs, though the best song from the sessions comes only on the deluxe edition (the rejected version of their theme to Spectre).  However, we don’t need any caveats to explain how The Thermals ended up this high on the list, as we enjoyed how they were able to meld the better parts of their recent work (the energy of Desperate Ground, the insight and thoughtfulness of Personal Life).

5. Car Seat Headrest – Teens of Denial; Operators – Blue Wave (12 plays)

Come for the lo-fi guitar rocks, stay for the incisive wit and deep explorations of the young psyche with Car Seat Headrest.  Teens of Denial is an album that grows with each listen, and amazingly never feels as long as its 70-minute runtime.  Dan Boeckner never lets us down, and we were big fans of his latest side-project Operators, which brightens the sound of his previous drum machine-and-guitars outfit Handsome Furs.  The man effortlessly comes up with great melodies, and the new wave keyboards are a nice touch.

4. LVL UP – Return to Love (13 plays) 

We were excited to find a new band that apparently loves the classic Elephant 6 sound as much as we do, with the song “Hidden Driver” especially reminding us of On Avery Island-era Neutral Milk Hotel.  However, the band switches between three different songwriters, which leads to a more varied record than one might expect, though all hit in that sweet spot of classic alternative/indie rock.

3. The Avalanches – Wildflower (14 plays)

Another comeback album that a lot of people seemed to have forgotten, we immediately fell in love with Wildflower.  Yes, Since I Left You is now a classic in some circles, but this was another brilliant mix of countless samples and original music that we kept revisiting over and over again.  Also, we might argue that “Because I’m Me” was the song of last summer and of many summers to come.

2. Preoccupations – Preoccupations (15 plays)

We initially were underwhelmed by the announced name change, but we were much more impressed by this sophomore effort from this Canadian foursome.  The band built on the promise of the second half of Viet Cong and released a post-punk masterpiece.  This time the centerpiece of the album comes right in the middle, with the epic three-part “Memory”; the middle section with guest vocalist Dan Boeckner might be some of the most gorgeous music we heard all of last year.

1. Cymbals Eat Guitars – Pretty Years (17 plays)

We still believe that LOSE should be considered the band’s masterpiece, but we became serious fans of the band’s followup to that incredible album after repeated plays in our car.  It may be a step back in terms of ambition, but there are plenty of hooks throughout the record, and you may find yourself humming different songs each day of the week.  The band is still capable of packing an emotional punch as well, and the layers reveal themselves after multiple listens.  At the end of the day, this is the album we always would default to when deciding what to play, and that may be as good a reason as any to make it our album of the year.