I’ve read some of these lately that seem to suggest this year was a weaker one in terms of great albums. I still personally think it’s how and where you find out about great records. Either way I’ve managed to come up with 25 albums that are at least enjoyable and some you can completely fall in love with. Here’s my list of honorable mentions, as well as the Top 20 Albums of 2018. Enjoy!
LUCY DACUS: HISTORIAN
NINE INCH NAILS: BAD WITH
THE INTERNET: HIVE MIND
BEHEMOTH: I LOVED YOU AT YOUR DARKEST
SNAIL MAIL: LUSH
20. BLOOD ORANGE: NEGRO SWAN
Opening our list is the masterful soulful essence that is Dev Hynes led Blood Orange. The album is rich in texture and subcontext, and while I’m not a huge fan of the voiceover interludes, the depths of the record are enough to still make an impact. Picture a more woke version of Marvin Gaye and you’ll get Blood Orange, with his sultry voice cascading over various instruments including piano, keyboards and a variety of others. It’s a mostly smooth ride that can suck you in and make you want to make love to the aura of sound enveloping you. For that reason it opens up the countdown at number 20.
19. MOUSE ON MARS: DIMENSIONAL PEOPLE
On the German duos eleventh album, you get the sense that they’re going into uncharted territory even for a band that is known for taking risks. By utilizing the artistic gifts of members of the National and Justin Vernon of Bon Iver fame, they create a profuse array of sounds and textures throughout the records 43 minutes. I spent a lot of time listening to this while driving, and it has the kind of focus and symmetry to make the minutes fly by as fast as the road does. It’s thoughtful throughout, and with the assistance from the previously mentioned contributors, it’s a testament to Mouse on Mars and their devotion to trying new things.
18. TEYANA TAYLOR: KTSE.
Seduction can be a great theme for modern hip hop, and what Taylor does on this record is draw you in with a sultry voice that oozes heartbreak and desire all in one, and it does so effortlessly. Even beyond the vocals, the beats are infectious and easy to sway to. It’s a relaxing record that fits in nicely on a slow, lazy day, and hopefully Taylor continues to exude the strength and passion she brings forth on “KTSE.” This is only her second full length album, but given the acclaim it’s received and her seemingly limitless talent, I expect to her great things to come in subsequent years.
17. ONEOHTRIX POINT NEVER: AGE OF
Going forward, we have quite a few excellent and challenging electronic avant-garde albums filling the list, and while all of them are great, what OPN mastermind Daniel Lopatin continues to do is nothing short of rewarding and challenging. “Age Of” isn’t his most remarkable album to date, but it’s brimming with strange contributions and mixtures of instruments and elements that still make it engaging and thoughtful. It’s weird as fuck, and while only certain music fans will want to listen to it at length and on repeated listens, it’s worth a drop in if you’re the kind of person that wants a challenge.
16. DENZEL CURRY: TA1300
Late last year I saw Curry open for Run the Jewels, and frankly I wasn’t impressed. Having said that, this album completely won me over. It’s brimming with intensity while also being more sensitive than most other hip hop and rap music of the last few years. Gone for the most part are the brutal sounding screeching vocals I witnessed in the live setting, and to me it’s all for the better. The lyrics and flow are effortless, while the beats and usage of samples are pitch perfect in terms of joining everything to make a cohesive album. It’s still fundamentally a hip hop album, but Curry seems to be evolving, which is good.
15. FATHER JOHN MISTY: GOD'S FAVORITE CUSTOMER
Since “becoming” Father John Misty, J. Tillman has embraced the satirical nature of the often pretentious indie alternative to great success. Through four albums he’s captivated the fan base and continues to put out records at a pretty decent pace. That being said, “God's Favorite Customer” is at worst his best album since “I Love you Honeybear” and at best his best album under the FJM moniker. Songs like “The Palace” are sweet and soft in both lyrical content and instrumentation, whole opener “Hangout at the Gallows” has the downtempo music that makes his brand so enjoyable while still ejecting his brand of devilish commentary during the song.
14. WYE OAK: THE LOUDER I CALL THE FASTER IT RUNS
Plenty of fantastic bands from Baltimore have been gaining traction over the last decade(another great Baltimore band even makes this list a little later), and you might as well add Jenn Wasner and Andy Stacks Wye Oak to the list. “The Louder I Call the Faster it Runs” is a musical version of a kite flying dizzily through a clear blue sky overlooking a scenic lake or body of water. It weaves in and out of dreamy and centered, and Jenna voice shimmers through the synthy aspects of the song. It all works well though, and with this sixth album, the band gets even better than they were previously.
13. VINCE STAPLES:FM
Recently few have been better than Staples when it’s comes to an excellent hip hop tracks and albums, and “FM” is no exception. This barely made the list because of its sudden appearance, but it’s easily one of the best rap albums of the year. It’s energy is unflappable and the lyrical wordplay of Vince sees him just getting better and better. It’s both party rap and thoughtful, which is a profound statement given the quality of some mainstream hip hop. Staples has been crushing it with the last two albums, simply put. Either way it’s a great record that’s fit for a night of getting “turnt up,” and it lands at number 13.
12. YVES TUMOR: SAFE IN THE HANDS
Electronic based music can be very hit or miss for the casual fan, and while “Safe in the Hands by the Tennessee native Yves Tumor isn’t likely to start filling giant arenas anytime soon, the album has its merits. It’s a lush grove of experimental ambient noise, with the ability to be dark with tension bubbling up while occasionally bringing out the beauty and inviting the listener into the creation. He’s got a fair amount of recognition in the music snob department, and with this intriguing third album out in the world, I’d keep an eye out for even further explorations in the future.
11. MGMT: LITTLE DARK AGE
MGMT is a peculiar and often intriguing band. Since blowing up a decade ago, they have some awesome albums, and some that just didn’t click. “Little Dark Age” is one of the great albums. It’s shiny and high energy at times, while still being able to get weird when the time tome calls for it. The lyrics are good, but the instrumental aspects are the real crowd pleaser here, and they deliver time and time again. “Me and Michael” is a masterpiece of a song, and with moments like that, MGMT is poised to be as big of a band as they should have been all along, if they had consistently release records that are as smart and energetic as “Little Dark Age.”
10. PUSHA T: DAYTONA
Yes Pusha had a crazy beef with Drake filled year, but what he actually did that’s important is make one of the best hip hop albums of 2018. Recording during the same period where the recent Kanye and Teyana Taylor album was created, this seven song burst of creativity (barely) knocks out all the other albums made during that period in Wyoming. It’s a fast record to get through, but that’s part of why it’s so great. His flow is top notch and groove based, and as always he continues to shine for the right reasons, mostly. He should be playing arenas by now, but I’ll settle for continually great hip hop done right.
9. APHEX TWIN: COLLAPSE EP
Unlike the “Syro” sessions from a few years ago, this incarnation of Richard D. James finds his Twin domain being a little more streamlined while accessing some pretty frantically fast paced beats. It’s perfect for a late night party or just wondering in a haze through the streets, but it’s nothing if not incentive and interesting. This guy has been a legend of the electronic scene for decades now, and while it’s likely too out there for the vast majority, his music and this album always has a built in fan base of open minded individuals who will give it a shot. Without a doubt this is an artist that simply doesn’t care what the mainstream appeal of his music might or could be, but when you’re an innovator of Electronic music, you aren’t really looking for the kind of fame that artists like the chainsmokers or deadmau5 seem to thrive on.
8. LOW: DOUBLE NEGATIVE
On the Duluth trios 12th album, the band dives headlong into a substantial world of ambient songs and pulsating soundscapes, and for newer fans like myself, I’m left wondering why I hadn’t given this band more listens throughout the years. It’s engaging and hypnotic all at the same time, and Low really push themselves to make something challenging but also rewarding. I can’t say if this is their best album, but among the four or so I’ve heard, it’s damn good and lifts their memorable career a few more steps up. It’s just a shame more music fans don’t know about them. You could call this band post hardcore to a certain extent, but any resemblance to that genre is mostly lost here, not that it makes the album less valuable. Engaging and dark, “Double Negative” lands at number 6.
7. KING TUFF: THE OTHER
Seems like a fair amount of trippy albums this year, but you can’t really do much about that if the record delivers. That being said, King Tuffs “The Other” is one of the easiest albums to sit down and delve into that I encountered this year. It’s spacey at times, proggy as hell at other moments, but it’s all wrapped in a nice package that draws the listener in. “Thru the Cracks” shimmers like it was made to be played at dusk during an outdoor music festival, while standout track “Neverending Sunshine,” draws us closer to the end of the record with a glimmering night time sky descending young the listener. At times it’s thunderous and blistering, but the music presented wraps itself beautifully in a thick layered contrast to most popular music of the year.
6. THEE OH SEES: SMOTE REVERSER
If you know anything about this band hailing from San Francisco, you’re likely we’ll aware that although they’ve made over ten albums, the name of the band has changed quite often. On “Smote Reverser” the band stick with just “Oh Sees,” but the energy and cohesion is stronger than ever. The record has a lo-fi reverb happening to it that makes it all the more heavy, and the vocals are mixed in the way that make the entire album seamless. I got a chance to see them a few times throughout the years, and I always thought it was kind of hit or miss, but with “Smote Reverser” they’ve fully embraced their slowish drudgy psych rock ambition, and it excels at being a record that repeatedly delivers.
5. KHRUANGBIN: CON TODO EL MUNDO
I discovered this band during the early months of the year, and frankly I was floored by the wondrous sounds emanating from the speakers. It’s leisurely paced and doesn’t just speed it at random times, instead deciding to ride the wave that the music has provided. It’s mostly instrumentally driven also, which somehow never gets old. Songs like “Lady and Man” are best enjoyed with company lingering and chatting in the background, as joy and laughter fill the air, but so much of the album is like that that you can take your pick really. It’s refreshing and groove heavy in a way that none of the other records on this list are, and for that reason “Con Todo El Mundo” by Khruangbin opens up our top five albums of the year.
4. BEACH HOUSE: 7
As Beach House, Victoria Legrand and Alex Scally have proven that a deep, darkly polished synth pop sound can work and can even get the attention it deserves. On the seventh, appropriately titled record, the duo continues doing what has given them so much success in the first place. The album is dark for sure, but with added soundscapes combing through the proceedings, it’s clear that they haven’t lost any of the vigor and attention to detail. “Lemon Glow,” while mesmerizing and eery, stands out as one of the better songs on “7,” and it’s slow pulse reverberates through your brain like a nighttime glow party watching a creepy movie. While Beach House hasn’t taken some huge artistic leap in how the albums sound, they haven’t really had to because all of the outputs are often amazing and engaging in all the best ways. The same can be said for “7.”
3. KASEY MUSGRAVES: GOLDEN HOUR
Even I can be surprised by myself sometimes. When I first heard this record, I was stunned by how much I found to enjoy. On “Golden Hour,” Musgraves bridged the gap of country music in a way that even alternative music fans can find something to chew into it. Country music is hugely popular to a certain core group, but often times that popularity doesn’t translate to mass success. This is where Musgraves shines. She transcends the stigma of what a country artist is and creates a gorgeous record that’s as good as anything I heard this year. It’s a refreshingly easy record to listen to, especially if you find yourself outside enjoying some drinks and relaxing company. It’s the type of album that’s just easy, which isn’t meant in anyway as a put down. On this, her third proper album Kacey ventures over varied paces, sounds and concepts, but it all fits in to make this “Golden Hour” truly special.
2. DEAFHEAVEN, ORDINARY CORRUPT HUMAN LOVE
Picking the best album of the year can be difficult, and this year it proved to be just as hard as previous years. For the last two weeks I’ve gone back and forth on the top two, and now finally, I can present the second best album of the year: the fourth record from the George Clark led Deafheaven, the California based purveyors of a style of black metal that is both evil and engrossingly beautiful, depending on which segments you here. With this record they’ve proven that the early signs of their greatness were accurate, and they’ve created an album that is steeped in true human emotions, while clashing those ideas with driven, pinpoint accuracy chord progressions and poignant undertones and segues. Tracks like “Canary Yellow” are spellbinding, while album closer “Worthless Animals” has a guitar section that’s so in tune with vulnerability that it’s impossible to not be engrossed in it. As the final vocals “ All who have forgotten Remember now, Remember now, Now, Now” bellow from Clark’s throat, it serves as reminder that Deafheaven aren’t simply a black metal band, but are in fact so much more.
1. MITSKI: BE THE COWBOY
The first thing you hear sung in the mesmerizing “Be the Cowboy” is the line “You’re my number one,” and while Mitski is talking about a romantic entanglement, that statement is true also in regards to her placement on this list. Over the last few years, with her “Puberty 2,” and now this record, Mitski has emerged as one of the most interesting artists to watch of the last few years. This album feels very much to me like a spiritual successor to “Masseduction” by St Vincent in that it sees the artist Mitski trying her hand at a shade of pop music not often heard, but it’s also very raw and open about the struggles we as people can face. A track like opener “Geyser” has an ominous background instrumentation that works well while Mitski and her silky, seductively open voice reign you in for a ride that’s as enjoyable as it is mature and direct about emotional states. Many of the songs here simply work, like “Washing Machine Heart,” and “Remember My Name” with its pure vocals and walloping drum section, but as the minutes close on the sadly beautiful closer “Two Slow Dancers,” you’re left with a void. The album, and this track especially embraces the profound highs and lows an average human being has to go through, and how those events help to shape our art, ideas and our impact our futures. As she says in “Be The Cowboy” and it’s conclusion, “To think that we could stay the same” is a beautiful, yet heartbreaking sentiment, but it’s fleeting all the same. Still, Mitski tries to stay in that perfect place, and the album is better for it. The best album of 2018, “Be the Cowboy” by Mitski.
Lots of songs moved music fans this year, so today we’re going to be going over what I consider to be some of the best. This list has everything from alternative rock, metal. To hip hop and even some mainstream rock pop, if that’s even what it’s called. Either way, enjoy!
10. PARQUET COURTS
BEFORE THE WATER GETS TOO HIGH, WIDE AWAKE!
Recently in the last year I got into this band, and well, I was easily converted. This song especially has that indie weird niche that latches itself to my liking more often than not. The instrumentation is somewhat upbeat, but the lyrics display a darkness of surrender under unimaginable difficulties and setbacks. It’s very end of the world and gloomy, but it’s still a great, albeit simple song. It’s unnerving among other things, and that aspect of memorability gives it the 10th spot in our year end countdown.
9. LET’S EAT GRANDMA
IT’S NOT JUST ME, I’M ALL EARS
Plenty of parallels exist between Let’s Eat Grandma, the British pop indie duo featuring Rosa Walton and Jenny Hollingworth, and the Scottish electro phenoms CHVRCHES. Its hard to resist and overlook, but Let’s Eat manages to stay afloat on their own merit. Songs like “It’s Not Just Me” help in that path. It’s one of the best, most darkly danceable songs of the year, and while the album has plenty of different sounds and styles coming from it, this track is the shining star among all of them. Honestly, vulnerability and rhythmic energy make the song great. Expect to hear more about this band in the coming months and years.
CANARY YELLOW, ORDINARY HUMAN CORRUPT LOVE
With their fourth album plowing ahead aggressively in their pursuit of brutality demonstrated in beautiful tones and energy, San Francisco based Deafheaven continue to raise awareness and momentum. The crowning jewel of their latest and brilliant album,”Canary Yellow” might be the best song they’ve recorded thus far. The opening is poignant and shines like a cloudless day spent under a shady tree, but it’s eventual evolution into darkness laden with meaningful lyrics and heavy construction make it all the better. There’s no band currently making music this seamless and varied right now, and it’s a testament to what George Clarke and company are capable of.
7. PANIC! AT THE DISCO
HIGH HOPES, PRAY FOR THE WICKED
For the record, I am not a fan of the Brendon Urie led Panic! at the Disco, but a great song is a great song. It’s super positive(which is something we can all use from time to time), but it’s also honest about the struggles of finding your own path. It’s hard not to resist that. The opening horns and the general upbeat energy joining up while Urie belts out great encouraging messages make for a truly unforgettable track. You just can’t not smile and want to dance when you hear it. For those reasons it lands at number 7.
6. KING TUFF
NEVERENDING SUNSHINE, THE OTHER
Much of Subpop artists King Tuff discography has left me wanting more, but finally on their breakout record “The Other,” the band seems to finally worked all their elements into an ingenious mix of psyche rock, funk and rhythm heavy instrumentation. The best example of this is “Neverending Sunshine,” with its lustful glimmer of magnetism and whimsy. The vocals are laid a little bit behind all the music, but the mix works well to ensure that all the elements of sing feed effortlessly and play off one another. If this band can keep amazing tracks like this a thing of the future, I’ll be keeping a much closer eye on their soon to be major stardom.
5. COURTNEY BARNETT
CHARITY, TELL ME HOW YOU REALLY FEEL
A few years ago I put Barnett’s “Pedestrian at Best” as my song of the year, and while “Charity” doesn’t quite make it to the top of the heap, it doesn’t lessen the greatness of the artist and this song. It’s a jingly indie rock track through and through, and Barnett’s honesty and trepidation burrow itself into the heart and soul of the track. It’s a high point for an album that isn’t as groundbreaking as her earlier offerings, but Courtney still has the gift of guitar playing, not to mention the very much biographical feel of her songs that make her so special in the first place.
4. PUSHA T
HARD PIANO, DAYTONA
Of all the best hip hop songs of the year, “Hard Piano” is without a doubt the one I went back to more than all the others. The introductory beat is infectious and worth of many heavy bobs, but there’s so much more to this song that makes it memorable. The brutal honesty on his feelings of the unfortunate need of the Me Too Movement splinter like an explosion. Pusha T delivers a meaningful, lyrically heavy track that shreds 90% of other hip hop artists in the world. Simply put he’s a genius of the English language, and this song is perfect example of why he deserves to be just as known as all the other blockbuster rappers making formulaic music these days.
TWO SLOW DANCERS, BE THE COWBOY
Oh Mitski how your voice and melodies soothe me so. Among all the incredible songs on “Be the Cowboy,” the most unrelentingly beautiful track finds itself at the very end of the record. “Two Slow Dancers” is a sad track full of remembrance, in which the two souls intertwined in a beautiful arrangement share a moment that will live in their minds and hearts forever. Many songs make me think long and hard, but few songs can convey just how real emotions can make art transcendent and meaningful. That’s what Mitski accomplishes in this song, and it’s masterfully done, to say the least. It’s capability to bring joy and memories from a dark sad place is remarkable, and it’s an instant classic.
2. MIDDLE KIDS
MISTAKE, LOST FRIENDS
Middle Kids is likely to blow up in the very near future, and if I’m right, a large part of it will have to do with the amazing qualities presented on “Mistake.” The indie rock trio from Sydney manages to be rock and roll that’s effortless but also thought provoking. We’ve all been in positions of desperation and uncertainty, which is why this song touches chords with the listen so much. The loud guitar work towards the final bridge of the song is also great. With Hannah Joy bellowing her unsure lyrics throughout, this song was never not gonna be a smash. It’s a remarkable first blow to the bands smaller fanbase, and if they haven’t earned a bigger audience from this song , I don’t know what will do the trick.
ME AND MICHAEL, LITTLE DARK AGE
For many of us, MGMT have fallen and regained their vision and popularity several times over, but with “Me and Michael” the duo of Andrew VanWyngarden and Ben Goldwasser have delivered what I think is the best album perhaps since their first album over a decade ago. The best song on the album, and the best song of the year is a triumphant mixture of bullish loyalty and synchronized mindsets that the band has always needed to make their best and most profound songs. I’ve listened to this hundreds of times this year, and it still fills me with hopefulness and optimism. Many bands aren’t capable of this, but Andre and Ben blow that away with a truly memorable song. It’s up there in my eyes with some of their early mega hits, and for that reason “Me and Michael” stands at number one on my countdown of 2018’s Song of the Year. I hoped you enjoyed this list. I’ll be back in a few days with my Top Twenty Albums of 2018. Thanks For reading!
Let’s just jump right into this, all of these shows were amazing!
10. WAR ON DRUGS, SHAKY KNEES
On day two at the Atl based Shaky Knees, a brief rain shower slowed the festival down for a little while. After it concluded, the opening of War On Drugs greeted the fresh aired, hazy aftermath of an afternoon shower. The colors in the sky were incredible, with blue and pink hues flowing through the air. The band sounded marvelous as the field opened up and the crowd truly gave themselves to the band for the duration of their hour long set.
9. THE NATIONAL, SHAKY KNEES
I’ve seen them four times now, and this was by far the best. The closing band of the fest, it was a departure from the bombast of the previous night, yet the members of the band truly showed that they can viably close and headline for a festival. The brothers Dessner, Devendorf and single Matt Berninger all delivered their best, and with humble moments like “Fake Empire” not to mention the closing beautiful two song combo of “Terrible Love” and the haunting “Vanderlyle Crybaby Geeks,” made for a truly moving end to a night, and a weekend.
8. SLEEP, CIVIC
When the chance came to be able to witness Matt Pike and his Sleep cohorts, it seemed like a no brainer. It turned out to be just the right choice. Minutes before the show, NASA messages were plugging away, but by the time the band opened with their magnum opus “Dopesmoker,” the crowd was fully exposed to the power of the trio. For nearly two hours they plugged away, and the let up never ceased. It was easily the heaviest show I saw I saw this year and it lands at number eight on the Ten Best shows of 2018.
7. MUMFORD AND SONS, VOODOO FEST
Mumford is a band that often gets a bad rap, but this hit after hit set that drove into a field of thousands on the opening night of Voodoo was stiff even cynics couldn’t deny. These guys know how to put on a rock show. Hits like “The Wolf” soared while newcomers “Guiding Light” only set the stage for the rock festival powerhouse that is “The Wolf.” Sure it’s somewhat cheesy at times, but they believe it wholeheartedly and that enjoyment from the band sells it like few can.
6. KING GIZZARD AND THE LIZARD WIZARD, REPUBLIC
This being my second time seeing this fearsome prog rock titans, I knew some of what to expect, but it was still great. Choosing to focus most of the evening on their insane discography (Even if you just count last years 5 albums) the set delivered on the ridiculously heavy and trippy King Gizzard showed they’re ready for even bigger shows in the near future. I believe they can get there sooner rather than later. My lady might hate this band, but to see them play classic heavy prof rock like “Rattlesnake,” “Crumbling Castle” And “Vomit Coffin,” continues to be a joy.
5. ODESZA, VOODOO FEST
As the bubble of EDM continues to burst, we’ve not only found our way back to great electronic music, but also groups of artists that are able to cut into the mainstream and deliver something more than what we have been accustomed to. Odesza's Saturday night set at Voodoo was nothing short of spectacular, with high energy lasers, fire and guests vocalists showing up to energize the crowd. It was both refreshing and energetic, and comes in at number five on the list of the best shows of the year. It’s the type of music you might not always be down for, but in a festival setting they absolutely dominate.
4. NINE INCH NAILS, SAENGER THEATER NIGHTS
Having recently just spent two nights seeing Reznor and his cohorts, the shows are still fresh in my mind. Because both shows were so different and great though, I’ve combined them into one jumble. Both shows delivered plenty of tracks that aren’t in the normal rotation, but standouts like night 1’s “All the Love in the World,” “And All That Could Have Been” And the in your face “Last” from day #3 all helped to showcase that these middle age men can still blow away the younger bands in terms of sheer intensity. It’s not every day you get to see Reznor, Ross, Fink, Cortini and Rubin mix it up in an intimate venue, which makes it even more awesome and memorable.
3. ARCTIC MONKEYS, VOODOO FEST
Over the last ten years, Alex Turner has transformed himself and his band mates into an undeniable rock staple capable of pulling in big crowds. As the closing act on the final day of Voodoo, Turner and his Arctic Monkeys showcased their British tinted rock act, with plenty of smiles and rocking out to go around. Tracks like the blindingly fast paced “Brainstorm” mesmerized the crowd, with a shaven headed Turner eating it up throughout the over ninety minute set. It was my second time seeing them, but when you get virtually every song you were hoping for like “Crying Lightning,” “R U Mine?” And “Don’t Sit Down ‘Cause I’ve Moved the Chair,” it’s hard to walk away not being utterly blown away.
2. ST. VINCENT, CIVIC
The last year for Annie Clark has been nothing if not engaging and experimental. It’s a testament to how great this show was seeing as it happened in only the second month of 2018 and is still filling my brain with excitement. She captivated the crowd with older tracks like “Actor out of Work,” “Cheerleader” and the mammoth “Digital Witness” for the first half of the show, then set forth to spellbound the crowd with a full performance of “Masseduction,” which actually topped my year end albums list in 2017. So many songs were incredible it’s hard to pick one, but surrounded by friends dancing the night away proves to be a memory that is still filling my brain. High concept for sure but her conquering of the alternative music scene is nearly complete. It’s also rare to see a 90 minute one woman show captivate and deliver as well as this did, but she’s incredible so it’s to be expected.
1. QUEENS OF THE STONE AGE, SAENGER THEATER
Shows featuring my favorite bands are always a hard thing to judge, but when a band is this good, it’s hard to deny its enjoyment. Playing Nola about 8 days before their Shaky Knees show, Homme, Jon Theodore, Dean, Troy and Mikey proves why they continue to be one of the best rock bands on earth. Sticking around on stage for two and a half hours also ensured that the sold out crowd was left with nothing left to beg for. Taking tracks from all of their eight studio albums, the band poured through a magnetic set that you couldn’t turn away from. I’ve seen them several times now, but this was by far the best, deep cut heavy set I’ve ever seen the band play. When you get delivered rare tracks like “Lost Art of Keeping a Secret,” and the raucous newer track “Head like a Haunted House,” it’s hard to walk away unsatisfied. Simply put, it was the best show of the year, and because of that, they secure the number one spot on the “Top Ten Shows of 2018.” I hoped you’ve enjoyed this and I’ll be back with Best songs of the year, as well as the Top 20 Albums of the year in a few days time. Thanks for reading!
Landon Murray is a music connooisseur who craves sounds of all shapes and textures. He's seen over 2000 bands and looks forward to welcoming you into his world of sound,
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