#12 on the 2024 Bacon Top 31 — Tyler, The Creator

January 20, 2025 by Royal Stuart in Top 31, 2024

At the end of 2023, many music-related news outlets started declaring that hip-hop was dying or perhaps even dead. The genre had experienced a major surge throughout the 2010s, so great that it beat out rock-n-roll to become the #1 listened-to genre in music in 2018. It’s been able to maintain that ranking every year since, just as streaming music has become the only game in town, but the sizable lead it built up over the other genres has been declining in recent years. The number of chart topping hip-hop songs had dropped significantly while the genre became a reflection of the results of streaming on the whole: there’s less concentration on two or three huge artists while everyone finds and follows their own lane. Popular music on the whole was becoming homogenized.

Amazingly, that wasn’t the end of the story. In 2024, hip-hop saw popularity coalesce around a handful of artists (see Doechii at #18). With that focusing of excitement came the artists driving #1 songs and albums throughout the year, reinvigorating the genre. Tyler Okonma, otherwise known as Tyler, the Creator, was one of this artists that caused the turnaround of events with his phenomenal eighth studio album Chromakopia, coming in at #12.

I’ve been sleeping on Tyler for pretty much his entire career. I mean, I’ve known about him for a long time, but I’ve had very little bandwidth for hip hop on the whole, so I hadn’t paid him much attention. In past years when I’ve latched on to acts like Run the Jewels (#6 in 2020, #28 in 2014), they essentially fulfilled my hip-hop allotment for the year (I’m not proud, it’s just the truth). Not so in 2024 — I listened to more hip hop this year than I have since I first dabbled in the genre as a high school freshman trying to figure out his particular flavor of rebellion by listening to NWA and The Geto Boys in the late 80s.

There’s a few reasons I’ve listened to more hip hop in 2024 than in any previous year, and “the music just got better!” can’t be one of them, no matter how much it may feel like it’s true to me. The simple truth is I seem to have unintentionally allowed hip hop to have a bigger presence in my life. 2024 started with a birthday surprise from my wife, taking me to a listening party centered around Frank Ocean’s Channel Orange. (I’d loved his Blonde album, (#4 in 2016) but hadn’t been able to give the earlier album much love, so I re-listened to it a lot in January of 2024.)

Secondarily, the beef between Drake and Kendrick Lamar leapt over the cultural divide and became a minor obsession for me. There were other smaller beefs (Charlie XCX and Lorde, Tyler and Childish Gambino), but the rift that grew between Drake and Kendrick that began in March of 2024, or back in 2011 depending on where you draw the line, slowly filled every bit of idle time I had, with me reading articles and podcasts (such as the always wonderful Dissect) and other non-music related content. Not only was I listening to more hip hop as a result, I was reading and learning more about it, too.

And likely the biggest reason for there being more hip hop in my life in 2024: my 16-year-old child has found a new love of hip hop, and has been listening to a lot of it recently. Having your teenage child grow into their own musical tastes that are separate from (but hopefully influenced by) your own, and then feeling compelled to talk to you about what they’re finding and listening to — that’s where the magic is. As a proud father who loves music, I’ll fall over backwards to accommodate any music-related ambition from my children. If they love Tyler, the Creator, I’ll be damned if I don’t love Tyler, the Creator, too. If they love Tyler’s past albums, I’ll love those, too (I’m looking at you, IGOR, which is cued up in my earbuds to listen to next).

Thankfully, Tyler is easy to love. Chromakopia is a rich, leaning-forward-into-the-momentum album that is a compelling listen. The number of guest stars on this album is astounding, including Top 31 past favorites Childish Gambino, Thundercat, Doechii, and Inflo, as well as future favorites GloRilla, Lil Wayne, ScHoolboy Q, Santigold, Willow, Daniel Caesar, Sexxy Redd, Teezo Touchdown, and Solange, and at least 20 other people. The production on the album, done by Tyler himself, along with the songwriting and arranging, is all-encompassing.

Hit play on the video above, for the song “NOID,” and you’ll get a taste of what I mean. The song, autobiographically concerned with the paranoia Tyler feels as his fame grows ironically larger, prominently features a sample of the Nambian band Ngozi Family’s song "Nizakupanga Ngozi,” from their 1977 album 45,000 Volts to great effect. Watch closely and you’ll see Ayo Edebiri from FX’s The Bear acting disturbingly psychotic with a gun. “NOID” is my favorite song on the album, so it’s convenient that it’s the only song for which Tyler made a video. “Balloon” featuring Doechii (#18 this year) is my 2nd fave, specifically because of Doechii’s appearance. That girl can do anything.

Nearing the end of the year, on Christmas Day, Tyler released “THAT GUY” – a freestyle remix of “Hey Now” from Kendrick Lamar’s 2024 album GNX, which only itself came out on November 22. Tyler seems to me that he’s mimicking Kendrick’s delivery style on the song. Or maybe my untrained ears are adding something where it’s not needed. Either way, I really like that beat, and Tyler’s verse on top of it is fantastic.

Chromakopia is wonderful. It’s still full of swears, but it’s much less than you’ll find on the Doechii album, if for some reason you found that a bit off-putting in her album. I am looking forward to giving IGOR a chance to ascend my “greatest regrets” list, for having not appeared on the Top 31 of the 2019 list when it really should have. And as for you, if you’ve not heard this new album yet, you know what to do.

Hop to it.

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#23 on the 2023 Bacon Top 31 — DJ Shadow

January 09, 2024 by Royal Stuart in Top 31

Action Adventure by DJ Shadow

Today will forever be known as the day I learned that DJ Shadow’s 1996 top-100 all-time masterpiece Endtroducing… is the Guinness World Records’ holder for “the first album to be recorded using only sampled sounds.” This feels somehow dubious / impossible, but I suppose someone had to be first, and it only adds to the greatness that is DJ Shadow’s debut. But that album is not what I’m here to talk about.

Action Adventure is DJ Shadow’s fantastic 7th studio album (his 6th album, Our Pathetic Age was #21 in 2019, and his 5th, The Mountain Will Fall, #9 in 2016). Where those two previous albums featured big-name guest vocals from the likes of Run the Jewels, Raekwon, and De La Soul, Action is almost entirely instrumental. Aside from the random vocal sample, (such as the lovely sample “All my records are tapes” repeated throughout “All My”), only “You Played Me” feels like a standalone pop song (see the video above). That vocal track, sampled from Jan Jerome’s 1990 R&B B-side “Baby, Got Me Goin,” gives the song an 80s throw-back vibe that will have you bouncing in your seat.

Lacking vocals, the rest of the album feels like it could be the soundtrack to one amazing late 20th Century movie, or perhaps the collected instrumental versions of an album that was originally released with rapping and singing on top. That’s not to say the album is not good — it is great, at being the background to your day as you go about cleaning the house, or hosting a party, or perhaps even on a run. Instead of being the soundtrack to an older movie, it can be the soundtrack to your life today. Watch the video for and listen to “Ozone Scraper,” and you’ll see exactly what I mean.

With a career nearly 30 years in length, DJ Shadow — aka Josh Davis — still has an amazing ability to tap into samples and sounds from the past and make them sound entirely new. Action Adventure fits right in with the work he did on the first U.N.K.L.E. album, 1998’s Psyence Fiction, and his 2006 album The Outsider. He remains a magician at creating beats and blending sounds, and is showing no signs of slowing down.

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#2 on the 2022 Bacon Top 31 — Beyoncé

January 30, 2023 by Royal Stuart in Top 31

RENAISSANCE by Beyoncé

There are megastar pop stars, and then there is Beyoncé. Of the pile of the musicians you could claim are “on top of the world,” from Kendrick Lamar to Taylor Swift, Queen Bey is standing atop that pile with her flag firmly planted. She has won 28 Grammys from 88 nominations across her 25 year career, making her the most honored singer ever (across both of the outdated male and female categories). As a solo artist and as part of the groundbreaking Destiny’s Child, her albums have sold a combined 260,000,000 times worldwide. That is nearly enough sales so that every American, from your 100-year-old grandma to that newborn who was just born yesterday, could have their own Beyoncé record.

She’s achieved this level of fame and glory not by following the path of those who came before — Madonna, Janet Jackson — but rather, defining the path for those to follow. Beyond her pace-setting music, she is a vocal advocate for Black Lives Matter, going so far as to appear at the 2016 Super Bowl halftime show with back up dancers dressed up as Black Panther Party representatives. She has put her excessive cultural weight behind other groups as well, such as when she spoke out against those (including our 45th president) who would remove the rights of transgender youth throughout public schools.

RENAISSANCE, her seventh — and best — album, marries all of the above into a tour de force unlike no other. Simultaneously a “dazzling tribute to underground and under-appreciated Black culture” and “the sound of a once-in-a-generation superstar performing at her peak” (according to critics Kate Solomon from i and Vernon Ayiku from Exclaim! respectively), RENAISSANCE is the strong dose of dance-infused medicine our Covid-19 stricken society needed. This isn’t Lemonade part 2 (#6 in 2016) – there are no genre-hopping scorned lovers on this record. As Julianne Escobedo Shepherd from Pitchfork said:

“Renaissance is inherently about bodies undulating in the dark, under strobes; sexual agency; and the Black queer and trans women who are both politicized and the most endangered people among us.”

Despite oozing sex appeal throughout her career, this album is Beyoncé at her most carnal. Shepherd goes on to say “Beyoncé has never been this horny in public,” and I concur. Nor has Beyoncé ever been this vulgar. I have a staunch “no clean versions” policy in the music I listen to. My children have grown up in a house that revels in all language, from Macklemore to Run the Jewels to Lizzo. But all those are tame when placed next to RENAISSANCE, to the point that I gave pause a couple times when putting the album on. The album opens with a quickly repeated “Please, motherfuckers ain’t stopping mе.” “Might I suggest you don’t fuck with my sis” is heard prominently shortly thereafter. “We getting fucked up tonight. We gon’ fuck up the night” is the repeated chorus just a couple songs later. And we’ve only made it four songs into the 16-song, hour-long set. It’s gloriously raunchy.

At its heart, this is a dance album from the drop. Songs blend from one to the next, as if a DJ was eloquently spinning one hit after another together at the best dance night you’ve ever been to. But these aren’t existing songs — these are expertly assembled, sampled, historically-, culturally-, and musically-significant artists pulled together to represent a whole that is a million times greater than its individual parts. Grace Jones next to Skrillex, trans black television personality Ts Madison up against Right Said Fred — the whole album is a true marvel. What sounds like a glorified Girl Talk album on paper is something completely different. Just listen to “CUFF IT” blend into “ENERGY” and then bleed into the album’s first single, “BREAK MY SOUL”¹. Be sure to check out the video above — Beyoncé’s team pulled it together for when RENAISSANCE was certified platinum. The video is a quick-cut collection of TikTok and other fan-made videos of people of all shapes and sizes, genders and sexuality dancing to “BREAK MY SOUL,” and it’s so damn empowering, you’ll find yourself fighting back happy tears.

RENAISSANCE is a phenomenal record. If you’ve not heard it yet, I command you to do so. Nobody can deny the greatness of it. It’ll be surprising to my wife (and potentially others) that it’s not my #1 album this year, given how much we played it in our house. Any artist able to beat Queen Bey this year had to go to extraordinary lengths, and indeed, the artist at #1 did. You’ll read exactly how tomorrow. For now, put RENAISSANCE on repeat, crank the volume, and I’ll see you tomorrow, sweaty and exhausted.

^{1. This is the first downfall I’ve seen when it comes to YouTube Music – each of these three videos has a disclaimer at the beginning regarding the dangers of flashing lights for some people. It’s a few-seconds pause at the beginning of the song, thereby preventing the listener from going seamlessly between the tracks of this album. This is a fairly significant downside, given how this album is meant to be heard as one can’t stop, won’t stop, non-stop beat.↩}

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3. This Is a Photograph by Kevin Morby
4. Lucifer On the Sofa by Spoon
5. Palomino by First Aid Kit
6. We've Been Going About This All Wrong by Sharon Van Etten
7. SOS by SZA
8. Wet Leg by Wet Leg
9. Chloë and the Next 20th Century by Father John Misty
10. Big Time by Angel Olsen
11. Ants From Up There by Black Country, New Road
12. Waterslide, Diving Board, Ladder To the Sky by Porridge Radio
13. I Walked with You a Ways by Plains
14. The Last Goodbye by Odesza
15. A Light for Attracting Attention by The Smile
16. Mr. Morale & The Big Steppers by Kendrick Lamar
17. Inside Problems by Andrew Bird
18. Laurel Hell by Mitski
19. Full Moon Project by Phosphorescent
20. Skinty Fia by Fontaines D.C.
21. I Love You Jennifer B by Jockstrap
22. Too Much to Ask by Cheekface
23. Dripfield by Goose
24. Dragon New Warm Mountain I Believe In You by Big Thief
25. And In The Darkness, Hearts Aglow by Weyes Blood
26. NOT TiGHT by DOMi & JD BECK
27. Preacher’s Daughter by Ethel Cain
28. Live at KEXP, vol. 10 by Various Artists
29. All You Need Is Time by Daisy the Great
30. Cool It Down by Yeah Yeah Yeahs
31. CAPRISONGS by FKA twigs

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#16 on the 2022 Bacon Top 31 — Kendrick Lamar

January 16, 2023 by Royal Stuart in Top 31

Mr. Morale & The Big Steppers by Kendrick Lamar

Despite it being called the best album of 2015 by Rolling Stone, Billboard, Pitchfork, and almost every other popular-music–ranking service, Kendrick Lamar’s How to Pimp a Butterfly barely made the Bacon Top 31, sneaking in at #29 that year. I ended my review of the album saying “I can’t say I love it, and I doubt I’ll listen to it a lot going forward.” That’s true, I didn’t. But I was very shortsighted in how much Kendrick Lamar.

What I didn’t understand then was that my taste in music was still maturing, still growing. I wasn’t ready for Kendrick Lamar in 2015, but it laid the groundwork for my love of Frank Ocean’s Blonde, (#4 in 2016). I still couldn’t find the right groove for Lamar’s next album, 2017’s DAMN. which came in at #22 that year, but he opened the door wide with his stellar Black Panther: The Album. My love for the form continued to grow in 2020 with Run the Jewels (#6 in 2020). And that’s how we get to today, with my and Kendrick’s relationship in much better shape.

I listened to Mr. Morale & The Big Steppers more than I have to any other Kendrick Lamar album, and I would have listened even more if it didn’t conflict with my family’s musical tastes. (There has to be a limit somewhere on the amount of cursing I can tolerate around my five year old, right?) The double album, 1 hour and 19 minutes in length, is fantastic. But that doesn’t mean the music is free of difficulty and controversy. For instance, “We Cry Together,” towards the end of the first half, is an abrasive, spoken-word, emotionally violent duet between Lamar and actress Taylour Paige. The couple in the song is arguing angrily, devolving into a yelled chorus: “[sexual expletive] you [racial slur], [sexual expletive] you [derogatory term for female]” back and forth. It’s brutal to listen to, but the video (NSFW at the very end) is highly compelling to watch because it is extremely well acted by the two.

Don’t miss the video for “The Heart Part 5” shown above. While Lamar lip-syncs the rap while standing in front of a deep-red background, the one-take video uses deepfake technology from South Park creators Trey Parker and Matt Stone’s studio Deep Voodoo to transform him into six other famous black men: O. J. Simpson, Kanye West, Jussie Smollett, Will Smith, Kobe Bryant, and Nipsey Hussle. The overall effect is mesmerizing. Each verse of the song as sung by the alter egos is written from their perspective, adding an additional meta layer to the song. “Heart” is technically not from Morale, but instead was released just prior to the album coming out as a teaser. It is included here because why the hell not.

There have been other videos from the album released: “N95,” “Rich Spirit,” and “Count Me Out,” with actually features Helen Mirren, of all people. Lamar’s video output proves he’s a master of both sound and visuals. He took his myriad talents to the top of the mountain back on on October 1, when he performed three songs from the album on Saturday Night Live. He managed to pull off a feat I don’t know that I’ve seen before on SNL – he made the live performances have an element of music-video-ness to them. See the fantastic shadow-play in “Rich Spirit + N95 - live on SNL,” and watch the walls literally move in on him in “Father Time (feat. Sampha) - live on SNL.”

The steady progression of Lamar-produced albums moving up in the ranks of the Top 31 is more an expression of my changing musical tastes than his changing production. I don’t see myself leaving behind the usual dad-rock and indie-pop albums and artists I enjoy. It just makes for a more diverse list, a wider variety of music to tap into when the mood strikes. It also makes me more excited to hear what comes next.

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17. Inside Problems by Andrew Bird
18. Laurel Hell by Mitski
19. Full Moon Project by Phosphorescent
20. Skinty Fia by Fontaines D.C.
21. I Love You Jennifer B by Jockstrap
22. Too Much to Ask by Cheekface
23. Dripfield by Goose
24. Dragon New Warm Mountain I Believe In You by Big Thief
25. And In The Darkness, Hearts Aglow by Weyes Blood
26. NOT TiGHT by DOMi & JD BECK
27. Preacher’s Daughter by Ethel Cain
28. Live at KEXP, vol. 10 by Various Artists
29. All You Need Is Time by Daisy the Great
30. Cool It Down by Yeah Yeah Yeahs
31. CAPRISONGS by FKA twigs

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#28 on the 2022 Bacon Top 31 — Various Artists via KEXP

January 04, 2023 by Royal Stuart in Top 31

Live at KEXP, vol. 10 by Various Artists

In 2022, KEXP — the radio station that broadcasts at 90.3 on the FM dial in the Seattle area and worldwide at kexp.org — turned 50. The station has recorded countless “Live at KEXP” sessions that they then post on their YouTube channel. From those sessions, they’ve produced ten “Live at KEXP” collections over the years. These are wildly varying mixes that lovingly reflect the eclectic nature of the station and all its DJs loves and influences. And that finally brings us to why we’re here: Live at KEXP, vol. 10, my #28 album of the year.

First, a bit about the history of this much-loved radio station: it started as “KCMU” when four UW students in 1972 wanted an outlet and learning environment for journalism and on-air music to students beyond what had been previously available via KUOW, the original UW station (which had been severely reduced due to university budget cuts in the early 70s). It has been through a variety of changes over the last five decades: shifting from KCMU to KEXP thanks to an agreement with Paul Allen’s Experience Music Project in the early 2000s; a formalization of format from a mix of news and DJ-led music to only music in the 90s; and a successful transformation from solvency being provided by university or investor backing to being fully listener supported.

The mission of the station has never wavered: “to enrich [listeners’ lives] by championing music and discovery. [The station’s] vision is a connected and compassionate world embracing curiosity and a shared love of music.” They mean it when they say “KEXP: Where the music matters.” While I can’t pinpoint the connection exactly, it’s safe to say that I wouldn’t have the love of music that I do without KEXP in my life. And KEXP has truly been “in my life”:

While my wife and I were in the hospital for the birth of our daughter, we made a request to the station during a quiet moment in the delivery room that was played on air by John in the Morning, along with a sharing of our story, and heard live on our personal speaker in the room
It is KEXP I think of when I think back to my personal experience around 9/11 – with my alarm going off early in the morning to the sounds of KCMU in 2001, John’s telling of the first plane hitting the Towers is as clear in my head now as it was that morning
At the start of the pandemic, the station adapted quickly to the new rules of society, figuring out how to broadcast from DJ’s homes, and the station’s secondary motto “You are not alone” became a powerful mantra to listeners worldwide, including me and my family. The support the station provided then continues today as the station digs deeper into the support that the station brings to our lives through the music and stories they share.

Having been a Gold Club member multiple times over the years, and privy to the secret stage shows the station held in the tiny Children’s Theater at the Seattle Center during Bumbershoot, I’ve been witness to many intimate and monumental musical performances thanks to the station. It’s those types of performances that fill out the Live at KEXP releases, and Volume 10 is no exception. There’s “En La Front” from a 2022 performance by Argentinian singer/songwriter Barbi Recanati next to “Lump” from a 1995 performance by The Presidents of the United States of America, a 1997 Modest Mouse performance of “Dramamine” (that will simply bring you to tears due to the recent untimely passing of MM drummer Jeremiah Green due to cancer) next to “Legend Has It” from the 2017 Run the Jewels set linked in the video above. My personal favorite from the album is “Süpürgest Yoncadan” from the 2019 performance by (new to me and the Bacon Review) Turkish psych-rock band Altin Gün shown at the top of this post.

I am (we are) so lucky to have an outlet as consistently strong as KEXP to introduce me (and you) to new music from around the world that I (we) would never hear otherwise. I mentioned earlier that the station is listener supported, and consequently the album is not available to hear on the streaming services. You’ll need to go to your local (Seattle) record store to pick up the vinyl, or you can pay (minimum $10) to download the album from Bandcamp. Or of course you can just peruse the full library of performances on KEXP’s Youtube channel. All proceeds from the vinyl and from the album go directly back to the artists featured. And then when you’re done buying the album, why don’t you head over to kexp.org and throw the station a few bucks as well — without them we would not be talking here, today.

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29. All You Need Is Time by Daisy the Great
30. Cool It Down by Yeah Yeah Yeahs
31. CAPRISONGS by FKA twigs

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#6 on the 2020 Bacon Top 31 — Run The Jewels

January 26, 2021 by Royal Stuart

RTJ4 by Run The Jewels

In the summer and latter half of 2020 when I needed a non-destructive way to take out my pent-up anger and mad-at-the-world rage (times of which were plenty), I would turn to RTJ4. Throughout the year, the hard hitting, nail-on-the-head music on Run The Jewels’ fourth full-length was my perfect go-to album. On top of that, Killer Mike, whose real name is Michael Santiago Render, is one-half of Run The Jewels, an outspoken politically-savvy voice in Atlanta, an ardent supporter of Bernie Sanders, and consequently someone whom I followed quite intently leading up to the 2020 election. I even bought a “Killer Mike for President 2020” tee. Run the Jewels were welcome MCs to the world in 2020.

Killer Mike and his partner El-P (born Jaime Meline), who produced the album in full, met via the Cartoon Network’s Senior Vice President and Creative Director of On-Air at Adult Swim Jason DeMarco (of all things) in 2011. El-P then produced Mike’s fifth studio album, R.A.P. Music in 2012, which sealed their partnership for good. Together they’ve released three self-titled numerical albums and finally the acronymed, (and best of the bunch) RTJ4. Run the Jewels 2 appeared on the Top 31 at #28 in 2014, and I ashamedly overlooked Run the Jewels 3 in 2016 (but have since listened and love it, too). All this is to say, these two have built up quite a resume, and the music they produce shows it.

RTJ4 is far from “toddler friendly.” This is the most vocal minority: dark, vulgar, and (rightfully so) angry. As I didn’t leave the house all that much in 2020, I had to really work at finding opportunities to listen to the album. I would look forward to those times when I could take a short drive to run an errand, cranking the volume inside my car. Nothing feels more cutting and raw and confusing and perfect to my middle-aged, caucasian, suburban, male and oh-so-privileged body than blowing out my ear drums and singing loudly along to the chorus of a song like “JU$T,” which repeats “Look at all these slave masters posin’ on yo’ dollar.” I feel energized and called-out all at once, which is exactly what I wanted and needed to feel in 2020.

The album was released 2 days ahead of schedule, on June 3. The murder of George Floyd, whose neck was pinned under Minneapolis Police Officer Derek Chauvin’s knee for 8 minutes and 46 suffocating seconds on May 25, 2020, and the subsequent protests that were set off worldwide through focused outrage at his death, pushed the duo to get their music out as quickly as possible. Their statement (via a now-deleted El-P Instagram post) says it all:

Fuck it, why wait. The world is infested with bullshit so here's something raw to listen to while you deal with it all. We hope it brings you some joy. Stay safe and hopeful out there and thank you for giving 2 friends the chance to be heard and do what they love. With sincere love and gratitude, Jaime + Mike.

We didn’t need to look hard for reasons to get incensed about all the injustice and negativity and horror in the world in 2020. But now, in late January 2021, if you find that you need a blatant reminder to actively and purposefully struggle against the cozy blanket of privilege you find yourself buried under now that the excess weight of the Trump regime has been shed, look no further. RTJ4 will have you up out of your seat, angrily punching the air and looking for ways to shake things up in no time.

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1. Saint Cloud by Waxahatchee
2. Fetch The Bolt Cutters by Fiona Apple
3. Punisher by Phoebe Bridgers
4. folklore + evermore by Taylor Swift
5. Untitled (Black Is) + Untitled (Rise) by Sault
6. RTJ4 by Run The Jewels
7. Shore by Fleet Foxes
8. Serpentine Prison by Matt Berninger
9. The Ascension by Sufjan Stevens
10. Making a Door Less Open by Car Seat Headrest
11. Dreamland by Glass Animals
12. A Hero’s Death by Fontaines D.C.
13. Song Machine, Season One: Strange Timez by Gorillaz
14. Mordechai + Texas Sun EP by Khruangbin
15. Introduction, Presence by Nation of Language
16. Free Love by Sylvan Esso
17. Miss Anthropocene by Grimes
18. 3.15.20 by Childish Gambino
19. Women In Music Pt. III by HAIM
20. The Third Mind by The Third Mind
21. Superstar by Caroline Rose
22. Impossible Weight by Deep Sea Diver
23. We Will Always Love You by The Avalanches
24. Ultra Mono by IDLES
25. Visions of Bodies Being Burned by clipping.
26. Thin Mind by Wolf Parade
27. The Loves of Your Life by Hamilton Leithauser
28. Palo Alto (Live) by Thelonious Monk
29. color theory by Soccer Mommy
30. Fall to Pieces by Tricky
31. Quarantine Casanova by Chromeo

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#21 on the 2019 Bacon Top 31 — DJ Shadow

January 11, 2020 by Royal Stuart

Our Pathetic Age by DJ Shadow

It’s hard to believe that, despite having released his first album in 1996, Our Pathetic Age, DJ Shadow’s double-album epic from this year, is only his sixth studio album. Each of those six albums have been fantastic, starting with the groundbreaking Endtroducing....., the album that woke everyone to the potential of sampling and songbuilding. Since that seminal release, Shadow, whose real name is Josh Davis, has been building soundscapes and championing underground, has-been, and up-and-coming hip hop artists with great aplomb.

Our Pathetic Age is not a perfect album, but as it’s a double-length LP, it’s easy to set aside the imperfect to let the stellar shine. The album is split into two distinct halves, the first of which is fully instrumental, and the second the more predictable Shadow-type album. The Mountain Will Fall, Shadow’s 2016 album (#9 that year), saw him doubling down on his ability to take his great ear for beats and cadence and pairing that with well-known hip hop artists like Run the Jewels. RTJ reappears on the second half of Our Pathetic Age, along with a litany of other big hip hop names, such as Nas, Ghostface Killah, Raekwon, Gift of Gab and Leteef the Truthspeaker.

The video above, for “Rocket Fuel,” has Shadow teaming up with De La Soul. It’s a great song, and an even better video (directed by Sam Pilling, who also directed the great video I featured in my 2016 The Mountain Will Fall review). The song’s lyrics are top of the line, as written by the De La Soul crew. “People wanna know where Mase, Pos, and Dave went” goes the song. “Still here, still in your ear.” Later on in the song, the second verse has a mind-blowing rhyme that I can’t get out of my head:

Aced all quizzes, A-plussed the final
Vocals we align, we move it all simul-
-taneously over joints we rock
We earned thirty years, so you can say that we got
Three turns, live off the board, unlike you and your chessmen
We install doubt in you and your yes-men

That rhyming of “final” with the first two syllables of “simultaneously” and managing to keep the rhyme going is so so great. Check out this new album by DJ Shadow. You can set the first half aside, I won’t think anything less of you. But pay attention to the second half. It’s as great as anything Shadow has released to date, and you won’t be disappointed.

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22. Juice B Crypts by Battles
23. Pony by Orville Peck
24. Hyperspace by Beck
25. Eraserland by Strand of Oaks
26. Dogrel by Fontaines DC
27. You’re the Man by Marvin Gaye
28. Big Wows by Stealing Sheep
29. 1000 gecs by 100 gecs
30. In the Morse Code of Brake Lights by The New Pornographers
31. Radiant Dawn by Operators

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2009-2018 Top 31s

#9 on the 2016 Bacon Top 31

December 23, 2016 by Royal Stuart

The Mountain Will Fall by DJ Shadow

I’ve been a fan of DJ Shadow from the beginning. Endtroducing…… his 1996 debut, sits somewhere in my Top 10 of the 90s, and each of his albums since have had something fantastical about them. (Side note: I can’t for the life of me figure out why I didn’t include The Less You Know, the Better, his last album before this new one, in the 2011 Bacon Top 31. It probably has to do with the fact that the album came out in October. I must have missed it until 2012 had begun. Either way, huge misstep there.)

This new album, The Mountain Will Fall, is the closest he’s gotten to the magic of his debut. Throw in the fantastic Run the Jewels (who made the Top 31 themselves back in 2014), who appear on the album featured in the perfect song “Nobody Speak” shown in the video above. Take a moment to watch and listen to that video. This is music and music-video making at its greatest.

If you’re not familiar with DJ Shadow, it’s time for you to crawl out of that hole you’ve been in for the last 20 years. If you know him, then you like him, and you’ll like this album. Highly recommended.

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10. Junun by Shye Ben Tzur, Jonny Greenwood & The Rajasthan Express
11. The Hope Six Demolition Project by PJ Harvey
12. Amen & Goodbye by Yeasayer
13. Sea of Noise by St. Paul & The Broken Bones
14. You Want It Darker by Leonard Cohen
15. Painting Of A Panic Attack by Frightened Rabbit
16. Why Are You OK by Band Of Horses
17. Not To Disappear by Daughter
18. Sunlit Youth by Local Natives
19. I Had a Dream That You Were Mine by Hamilton Leithauser + Rostam
20. ★ by David Bowie
21. Farewell, Starlite! by Francis and the Lights
22. This Unruly Mess I’ve Made by Macklemore & Ryan Lewis
23. LNZNDRF by LNZNDRF
24. Puberty 2 by Mitski
25. Light Upon the Lake by Whitney
26. A Corpse Wired for Sound by Merchandise
27. Away by Okkervil River
28. case/lang/veirs by case/lang/veirs
29. Love Letter for Fire by Sam Beam & Jesca Hoop
30. Barbara Barbara, We Face a Shining Future by Underworld
31. Preoccupations by Preoccupations

#28 on the 2014 Bacon Top 31

December 04, 2014 by Royal Stuart

Run The Jewels 2 by Run The Jewels

[Above video is NSFW] I listen to rap music sparingly, finding it rarely holds my attention long enough to warrant multiple plays in a row. And I write about rap music even less: once a year, tops. Consequently, I find myself ill-equipped to describe the fantastic album at #28 in anything but simple platitudes. I really like this album.

Run The Jewels is a hip-hop duo consisting of New York City’s El-P and Atlanta’s Killer Mike. El-P also produced the album, which is available for free download at the band’s website, runthejewels.net. It’s a dark, angry, and heavy trip for your headphones. You can’t help but bounce your head along to the beat, while Killer Mike speed-raps deep inside. There are a number of notable guest appearances on the album, too, with Rage Against the Machine’s Zack de la Rocha and drummers Travis Barker (Blink 182) and Diane Coffee (Foxygen) making appearances.

The album is free. You literally cannot afford to miss it.

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29. Cosmos by Yellow Ostrich
30. Teeth Dreams by The Hold Steady
31. With Light & With Love by Woods

2009-2013 Top 31s