THE TOP ALBUMS OF 2018
Welcome to the Top Albums of 2018. This was the hardest list I've ever had to compile because....it's the longest list I've ever had to compile. Factoring in the 34 albums I didn't get to, there's 134 to consider. That's about 30 more than the previous record of 2012. I realized months ago I'd have to abandon the rule of "Only count albums I've listened to twice", because most of the countdown would disappear.
So, to narrow it down a bit, I've made some changes: Obviously, I can't rank an album I haven't heard, so that's 34 off the top. That still leaves us with 100. Last year, I said EPs shorter than 15 minutes don't make it, but that still leaves us with 95.
Back in 2016, I kind of bullshat the countdown and instead of numbering things, I piled them into several layers of strata: The worst of the worst, the ones with one or two good songs, the okay shit, the good shit and the really good shit. 2018 is muuuuuch better, but because of the sheer number of releases to talk about, I decided to take a page out of the '16 playbook and bring the strata back. The Top 20 will still get the full blog treatment, but this way I won't have to do 95 writeups. I still have some shit to say about the others, but I'll try keep it to one or two sentences.
Also, you may have noticed this isn't a podcast like the songs list. Due to a...lackluster response, I figured instead of scripting out a bunch of stuff and recording a bunch of riffs I'd have to edit and put music beds underneath, I'd just go with the script part and skip the rest. (There's over 90 albums, yo; that might be for the best.)
I'm ready when you're ready. Let's do this thing:
EPs TOO SHORT TO COUNT:
Kero Kero Bonito "TOTEP"
In Love With A Ghost "Let's Go"
In Love With A Ghost "Gay Story"
Nothing But Thieves "What Did You Think When You Made Me This Way?"
Oruko "Alambique-La Vache"
Notes:
ALBUMS THAT SUCKED THE TAINT:
Alice In Chains "Rainier Fog"
Beach House "7"
Eminem "Revival"
Jim James "Uniform Distortion"
Live "Local 717"
Nonpoint "X"
Qveen Herby "EP 3"
Onyx "Black Rock"
Notes:
ALBUMS THAT WERE PRETTY MEH:
Anna Calvi "Hunter"
The Clay People "Demon Hero And Other Extraordinary Phantasmagoric
Anomalies And Fables"
Corrosion Of Conformity "No Cross No Crown"
Father John Misty "God's Favorite Customer"
Grayceon "IV"
The Internet "Hive Mind"
John Coltraine "Both Directions At Once - The Lost Album"
Lenny Kravitz "Raise Vibration"
Mestis "Eikasia"
MGMT "Little Dark Age"
Phosphorescent "C'est La Vie"
Polyphia "New Levels New Devils"
Sevendust "All We Know Is War"
Empress Of "Us"
ALBUMS THAT WERE OKAY:
Andrew W.K. "You're Not Alone"
Beth Hart & Joe Bonamossa "Black Coffee"
Blues Traveler "Hurry Up & Hang Around"
Dead Sara "Temporary Things Taking Up Space"
Dog Fashion Disco "Experiments In Embryos"
E-40 "The Gift Of Gab"
Eminem "Kamikaze"
Eric Taxxon "Nexus Pelican"
Ghost "Prequelle"
Good Tiger "We Will All Be Gone"
Huntsmen "American Scrap"
KEN Mode "Loved"
Krelez "Random Chiptune Mix 38"
Left At London "The Purple Heart"
Louis Cole "Time"
Macross 82-99 "Sailorwave II"
MC Lars "Notes From Toontown"
M0 "Forever Neverland"
The Oh Sees "Smote Reverser"
Paul Simon "In The Blue Light"
Perfect Beings "Vier"
The Stanley Clarke Band "The Message"
Ty Segall "Freedom's Goblin"
Ty Segall "Fudge Sandwich"
Unknown Mortal Orchestra "Sex & Food"
Wild Nothing "Indigo"
Notes:
ALBUMS THAT ARE PRETTY GOOD:
Action Bronson "White Bronco"
Avenged Sevenfold "Black Reign"
Black Panther Soundtrack
Clutch "Book Of Bad Decisions"
Cypress Hill "Elephants On Acid"
Dave Matthews Band "Come Tomorrow"
Eric Taxxon "One Pop"
J Cole "KOD"
Kero Kero Bonito "Time 'n' Place"
Janelle Monae "Dirty Computer"
Jason Isbell and the 400 Unit "Live From The Ryman Auditorium"
Jazzanova "The Pool"
Judas Priest "Firepower"
Kurt Vile "Bottle It In"
Mega Ran & Bag Of Tricks Cat "Emerald Knights 2"
Minus The Bear "Fair Enough"
Night Verses "From The Gallery Of Sleep"
Open Mike Eagle "What Happens When I Try To Relax"
Paul McCartney "Egypt Station"
Pig Destroyer "Head Cage"
Plini "Sunhead"
Qveen Herby "EP 4"
Royce Da 5'9" "The Book Of Ryan"
The Sketchballs "Riverwest"
Skindred "Big Tings"
Sophie "Oil Of Every Pearl's Un-Insides"
Ultraphonix "Original Human Music"
Notes:
THE TOP 20:
I remember really liking this album on second listen. I mean like, I was considering it for the top 5. It has this sardonic whit to it that as someone about 300 yards from the barrel of 40 I can appreciate. But about two or three days after I listened to it, and I started ranking other albums around it, I realized something:
I don't remember a goddam thing about it.
Not one lyric. Not one melody. Not one song title. Nothing. Absolutely nothing. I couldn't tell you what the singer sounds like, except that it's a woman. I think there was a slight 80's influence, but I can't be sure. And considering I remember music to mental health-endangering degrees, this is kinda fucked up. Are Metric the sleeper agent with telekinetic powers that make you forget they exist after stumbling upon their spying? Oh shit! I've gotta warn...
Wait, what were we talking about? Oh yeah, it was...
Late edition, as I heard it after December 1st, but it came out in November and I knew it should probably be here. It's only four songs and one of them is a remix, but they put out a pretty kick-ass full length last year so it's a bonus to get something new at all. The remix of "Everything's New" is a fresh take on the song with a little more life, and the rest of the EP is the band going more electronic and managing to do it better than the doodoo stain that was 2015's "Vitals". Probably the best move they can make to stay viable in this market.
If Paramore had a ukulele, swearing and a more abrasive, sarcastic attitude, you'd get The Sonder Bombs. What puzzles me is how the lyrics are so clever for the first six songs but get so brain dead for tracks seven and eight. Seriously, I wrote better lyrics as a high school freshman. Then the last song gets super real and dark, and you kind of forgive them. It's one of those songs you hear and think "I hope they're okay..." but it leaves you too stunned to actually ask.
Released on December 31, 2017, "Gumboot Soup" was the fifth album King Gizzard put out last year. They delved into microtonal music with "Flying Microtonal Banana" in February, they dropped a psychedelic prog concept album in June called "Murder Of The Universe", they did a collaborative jazz-jam session with the Mild High Club in August called "Sketches Of Brunswick East", slammed a Genesis-based, 90's alternative-tinged prog rock album into the public domain in November known as "Polygondwanaland", and came through at the last second on their promise of five albums in a year with "Gumboot Soup".
It has songs that didn't fit on any of the other projects, but if you didn't know about them you wouldn't say it was a B-Side record. It's a collection of songs that go together and kick some ass. It's got flavors of each other project to be sure, but "Gumboot" stands on its own. (I briefly considered "Polygondwanaland" for the countdown as well, since a physical release came out in 2018 (which, because it's in the public domain, I could press up my own if I wanted to), but decided against it since my plate is buried under a mountain this year.)
One man. One twenty-two and a half minute song. Several overdubs. Each done as one continuous take. Not all of them were the first take either. If the big four grunge bands got together and tried to write a Rush tribute, this is probably what it would sound like. I don't think of the Foo Fighters as a Seattle band; they kind of transcend location, so when I hear Seattle-ish sounds in this, it's like "DUH!" Dave Grohl was in Nirvana. Of course he's gonna have that in his mind somewhere. It's a pretty good song, but it definitely helps to think of the separate movements as their own songs. That's a trick I've learned to appreciate classical music more: A symphony's an album, the movements are tracks.
Neko Case plays a different game than everybody else. She's not out to write brilliant songs, she's out to paint pictures with lyrics and music. She's out here to show you some shit. And show she does. Whether it's the wistful lament of "Halls Of Sarah", the bitter remembrances of "Curse of The I-5 Corridor", the desiccated husk of "Dirty Diamond" or the otherworldly potential of "Oracle Of The Maritimes", her distinct voice and knack for production are more vibrant than many a master's brush. (The only misstep is "Sleep All Summer", but she didn't even write that one, so fuck it.)
Look, I have no idea why I like this shit. I didn't even like trap before I clicked play on this, and I don't even remember why I did. Maybe I felt like hearing something worth clowning on? That's what I can tell myself to sleep better at night, but the deal is I paid actual money for a physical copy of this album. Which didn't even have any credits in the book. It's just an extra picture and the copyright date on the back of the cover. What the fuck is with me?
Anyway, I'm not going to defend "Nuthin' 2 Prove". It's not the kind of music you defend. It's kinda shit. But...that's part of the charm? I think? I'm still not sure. I've been missing dumb, fun music in my life because it seems like everything is incredibly calculated and intensive to detail. There's not nearly as much room for personality, but Lil Boat comes through with some dumb, fun shit that I have no business enjoying, but I'm going to anyway because life is too short and isn't very fun anymore, so I'll take what I can.
(And playing true to type, I'm getting into an artist after the peak of their popularity. The critics that loved the "Lil Boat" mixtape declared Yachti's career D.O.A. on this one. I haven't gone back and tried to listen to his other shit yet, so I have no basis for comparison. I'm not in this for clout. I like what I like. And, God help me, I like this.)
So one of the biggest artists in African music history covered an entire Talking Heads album. It's about as killer as you'd imagine. If you see that cover art and aren't at least intrigued, I don't get you.
This weird hippy collective fronted by an 18 year old Japanese girl is laid back, textured, bass-y, sardonic and aesthetically on point. "Everybody Wants To Be Famous" made my top songs list, but you should also look out for "Nobody Cares", "Something For Your M.I.N.D." and "Prawn Song". Shit is hella vibey.
Literally just five songs dude made for background music on his YouTube channel. Kinda chiptune-y, kinda proggy, definitely jazzy, and oh yeah. BASS. (Not an overwhelming amount, he...just plays bass is all. It's the stinger at the end of his videos. Check his shit out if you wanted to know more about music theory but didn't know where to start.)
One half of the Game Grumps is one half of this band. Danny Sexbang and Ninja Brian are back to kick your ass, fuck your lass and make you laugh when they fall on their face attempting to do so. "First Date" and "Courtship of the Mermaid" made me laugh so hard I couldn't breathe. Other gems include the title track, "Eating Food In The Shower" and the funny yet relatable "Danny Don't You Know", a song from the singer to his younger self to encourage him to stay strong.
Kinda surprised this ranked so high. "Holiday"'s technically the only song on here I really like. The other four are okay, but...then I realized this is the thing I've listened to most frequently all year. Probably because it's fifteen minutes, and even at home that's all the time I seemed to have to listen to something at any given point. I hate life sometimes.
It flows well as a project. I've grown to like the song "Bank" in spite of cringing the first time I heard it, mainly on the strength of the chorus. The beat for "Well Dressed" saves it from the banal as fuck lyrics. I'd still put "EP 1" head and shoulders above this one, though. It only ranked #11 last year, but 2017 might have been the best field of albums I've ever done a countdown on, so it had stiff competition. The familiarity factor is really the only reason that, upon playing it next to other releases in this field, this still instinctively lands in my top 10.
Lil Yachty is an album I'm not going to bother to defend because it seems like it would take it as an insult; this EP is something I almost feel like I shouldn't defend...
Slower-paced indie rock is usually not my cup of tea, but Courtney Barnett's personality won me over. Songs like "City Looks Pretty", "Charity", "Nameless, Faceless" (which when you listen to the lyrics changes from a bouncy indie rock song to a horrifying portrayal of what it's like to be a woman in public), "Help Your Self" (which gives me Pretenders flashbacks) and the magnificently titled "Crippling Self-Doubt And A General Lack Of Confidence" are all my kind of clever, neurotic and groovy. I feel this shit, yo.
I had this queasy feeling on second listen to "Chime" that I would have no choice but to make it number one. Queasy because I didn't feel like it was quite at the level a number one should be, like I'd give it a 3 & 7/8ths stars out of 5, but I knew then I hadn't heard anything else that connected as well. Then I listened to a bunch of other things, and my opinions changed, but it's still a damn fine album just the same.
The songs on "Chime" are powerful: "Ride" turns from small talk to threat by the end of the second verse, "Fire Drills" rightly calls bullshit on women "having to know their place", "Velodrome" illustrates discontent in the angelic choir. Even songs like "Good Grief" and even "Boy Crazy", which are both slow chamber pop ballads for lack of a better description, like fourth single off an adult contemporary album style joints, got me in the end. (Still kinda pissed that "Shrimp" quits after 40 seconds though; that could've been a cool song.) The album has emotional gut punches and definitely connects with me on a very human level, but it's kind of stilted in its songwriting, and a bit too polished. But those are nitpicks; I'd still recommend this one if you're looking for something a little left of center.
I heard the shit out of "Girlfriend" this year between 88nine, a mix I made around July and my own head getting it stuck in there. So much so it dragged the song out of my top ten and into the teens, but it's still a fuckin' banger. This is 80's pop done with a thick French accent and the vocal harmonies of a restrained Florence Welch. "Girlfriend" and "The Stranger" placed on my top 20, but "Goya Soda" came damn close too; that chorus is butter. "Feel So Good" slaps as well. It feels weird saying slaps, but I'm on page nine, I haven't written in awhile and I'm running out of superlatives. This album is some moody synth pop to nod your head to.
The through line with this album is emotional vulnerability. I like it because it's honest. It's not flattering, but it's not leaning into garishness to make up for it. Songs that tackle subject matter that make the singer seem...less than optimal tend to lean into either "Uh...but not really, though. That'd be dumb, right? Ha ha. That's not really me of course" or "Oh yeah? Well fuck you! I am what I am!" territory to overcompensate. Laura Jean lets the subtleties of the experience play out and with a delicate touch she is able to make me feel so much more than someone who is either pumping it out at the top of their lungs or trying to obfuscate it in pert purple prose.
The reason "Girls On The TV" slams me to the emotional concrete every time I hear it is because it makes me feel the loss. It builds up through the second verse why the relationship between her and her sister is important, then everything suddenly and subtley comes apart, unable to be helped. And the reason I end up a puddle every time is self-pity. The person I've grown apart from and can never reconnect with again is myself. And it's a feeling I will never shake.
Even on songs that sound accusatory like "Which One Are You" have wrenching empathy to them, and again, it's a simple addition: She adds the word "baby" after singing the titular question. It's one simple, overused word, but it gives the feeling like she cares about the person she's asking the question of. The title track paints a dour picture of a passionless relationship that has not yet become loveless, and Laura Jean is wrestling with whether this is enough. The answer winds up being "I...think it is...?" and often times in life, that's the best we'll get.
Much like Kesha last year, this album is so human it hurts, and that's why it belongs in the top five.
Kilgore was my favorite band junior year in high school. The album "A Search For Reason" is still one of my favorites of all time. And I get it, anyone who's into heavy music would listen to it and scoff. They weren't on anybody's radar, they weren't technical wizards, it was 1998 and a lot of bands from that era got lumped together and forgotten. But dammit, they were my band. I listened the SHIT out of that album, to the point where I could sing the whole thing to you on the spot right now, complete with mouthing the guitar riffs.
So when they broke up in 1999, it was a fucking bummer. And aside from one or two reunion shows at dive bars in their local Providence, Rhode Island, that was it. Until I fell down an internet rabbit hole one night in early 2017, and found their Facebook page.
Kilgore was writing new music for the first time since 1997.
And it fucking shreds.
From jump, "Death On The Installment Plan" lets you know they're not here to fuck around. They've been gone too long not to go for the throat out the gate. "The Laws Of Gods & Men" tackles the conflict of interest and cognitive dissonance inside the heads of the biggest proponents of the second amendment, the majority of which are conservative Christians (a religion of "Judge not lest ye be judged", a God preaching forgiveness, and "Thou shall not kill"). "Ask The Dust" is a showcase of Jay Brendt's harmonic capabilities behind the mic, which were always what set the band apart from their contemporaries for me. "Run With The Hunted" is a no frills, hard charger which has a melancholy turn in the chorus, only to set up the barreling rush that follows. "Grinder" is an acidic, angry attempt at processing grief. And "Stalemate"...Okay, "Stalemate"'s not that great. It's a Godsmack song with a meatheaded chorus, but it's an anti-Trump song, so I can get on board because fuck that guy.
This is only a six song EP, but I think that might've been the perfect move for the time, since albums are getting shorter, my attention span is getting shorter, and it left me wanting more, so I listened to it more. This is a moment I never thought I would live to see: another Kilgore project. And it sure as fuck didn't disappoint.
3. Florence + The Machine "High As Hope"
The POWER of this woman! Most critical response to this record has been it's her most "just another album" album she's ever done, but nothing could be further from the truth. This is the one that got me fully invested in Florence and her Machine. I think because this one walks the best balance between belting the fuck out of everything like a force of nature and being able to control that force, buffering it with moments of subtlety and tenderness. I never actually listened to her 2015 album because the singles reminded me too much of Fleetwood Mac (a band I've finally come around on in the last year and a half), but I feel like that might be the missing piece of the puzzle in the evolution, because the first two felt like a vocal firehose at times and it took me out of it.
It all started with "Hunger" which is one of the most life-affirming things I've ever heard. That song was what I needed to get through this year, and I'll be leaning on it for years to come, believe you me. That had me like: "You had my interest. Now you have my attention." Then "Big God" dropped, and I was like "I need to hear this album". That song is dark and gritty in a way Florence has never really approached before. Plus it has a bomb video to go with it. Always a plus.
I think what makes me rank this album so high is the reassurance I feel. Yes, the world is scary and emotions can skewer you with barbed spikes of paralysis, but Florence comes through as the voice in the darkness that tells me I'll get through it. She's there to get me off the prongs. And she's there to tell me that it's not stupid to aspire. Nor to care. I had put that so far out of my mind, I'm struggling to remember how to do those things. This helps me remember, if only for thirty minutes. But it helps me feel like I could get there again.
This album sounds like it's from another dimension. Esperanza Spalding is playing such a different game here than anyone else it's not even funny. The skeletons of these songs are simple: their rhythmic framework and conceptual bedding are that of chamber pop and R&B, but they use choirs full of flowing, lyrical "out" jazz harmonic phrasing over the top, and it sounds like it should never work in a million years, but she finds just the right notes every time to make it sound as weird and as beautiful as possible.
The title is apt, because this sounds like the kind of magic that opens portals. It eases enough that it takes care to not damage the fabric of the space/time continuum, which is a trick I haven't really heard music this warped be able to pull off before. This magic is weaved with incredible care. If you are looking to hear something unlike anything else you've heard in 2018, if you're ready to be transported on a journey but also don't want to be destroyed by the trip, I cannot recommend this highly enough.
(P.S.: Is it weird that the production makes me feel like this is one of the best rock records of the year? I like how crisp and direct everything sounds; it's not hidden beneath fuzztone or reverb or some other novel fuckery. It wants to be what it is.)
(P.P.S.: The song titles form a poem:
12 Little Spells
To Tide Us Over
'Til The Next Full
Thang
Touch In Mine
The Longing Deep Down
You Have To Dance
Now Know
All Limbs Are
Readying To Rise
Dancing The Animal
With Others)
Now, my pick for number one is a bit controversial. Not because the artist is known for being problematic, nor is it an album panned by critics. (I can guarantee you damn near nobody has ever listened to this because it just came out on most streaming services. The physical release and Bandcamp were back in October, so it still counts.) No, the controversial nature stems from a bit of bias on my part. Because you see:
IF YOU WANT SOMETHING DONE RIGHT, YOU'VE GOT TO DO IT YOURSELF.
1. The Night Howls "Ferocious"
This is the eighteenth time I've written a year-end music review blog, and the thirteenth time I've published it. In that time, I've been on 23 albums that I put on the countdown. None of them ever hit number one before. And I didn't think this year would be any different: In my mind, Kilgore, Janelle Monae, Royce Da 5'9", Dessa and Esperanza Spalding all took turns being number one, but when I sat down to listen to all the albums I thought had a shot in close proximity to one another, I knew.
I knew "Ferocious" was my favorite album of the year.
What gives it the edge over the magic of an Esperanza, the power of a Florence, the nostalgia bomb of a Kilgore or the emotional rawness of a Laura Jean is these are songs I've lived with for four years making this record. (Hell, in two cases even longer: "Stick To Your Guns" was written in April of 2013 and "School" was written in April of 1996.) They will always be a part of me. I've had to play them so many times to get ready to track them, to get ready for a show, to stay in shape, to get back in shape (I got weight issues and drumming is pretty good cardio; especially this batch of tunes).
But what I think is the real clincher is these songs make me feel the most alive. They make me remember what being Nick Nutter is like when I've largely lost what that means. I like to shred behind a drum kit. (Just listen to "Give Blood", "Hot Pursuit", "Caffeine" or "Stick To Your Guns" and you'll know what I mean.) I used to like to bang my head (I'm kinda too old for that now, but I still enjoy the shit that makes me want to do that).
But it would all be flailing cacophony without my man Mike to bring songs that have musical density, catchy hard rock hooks and clever, if dad-jokey lyrics (that's supposed to be part of the charm; your mileage may vary). I know what you're thinking: A hard rock band not heavy enough to be real metal and too technical to be punk wants to add in quirky humor on top? How can that be any good? It's like a a chili-cheese and chutney sandwich (so I've heard): The ingredients: all wrong. But when you put them together...so right.
Or something.
I'm not really here to sell you on this. If you want to listen, listen. If not, I'm still going to keep making this music with my dudes Mike and Rick. And I'm going to love it. (Though if you want to listen, we'll really appreciate it! Here's the links for Spotify, Apple Music, Bandcamp, Napster, Deezer, Google Play, and Pandora. Join the Wolf Pack, yo!)
Well, I think 5,730 words will do just nicely. Thanks for reading/skimming this countdown; I do really appreciate it. Now I'm gonna go soak my aching fingers, kick back and try to figure out what the hell to do next in the face of an unpredictable 2019. Stay safe, keep cool, but most of all, don't be afraid to be yourself. Life's too fucking short to be anything else.
So, to narrow it down a bit, I've made some changes: Obviously, I can't rank an album I haven't heard, so that's 34 off the top. That still leaves us with 100. Last year, I said EPs shorter than 15 minutes don't make it, but that still leaves us with 95.
Back in 2016, I kind of bullshat the countdown and instead of numbering things, I piled them into several layers of strata: The worst of the worst, the ones with one or two good songs, the okay shit, the good shit and the really good shit. 2018 is muuuuuch better, but because of the sheer number of releases to talk about, I decided to take a page out of the '16 playbook and bring the strata back. The Top 20 will still get the full blog treatment, but this way I won't have to do 95 writeups. I still have some shit to say about the others, but I'll try keep it to one or two sentences.
Also, you may have noticed this isn't a podcast like the songs list. Due to a...lackluster response, I figured instead of scripting out a bunch of stuff and recording a bunch of riffs I'd have to edit and put music beds underneath, I'd just go with the script part and skip the rest. (There's over 90 albums, yo; that might be for the best.)
I'm ready when you're ready. Let's do this thing:
EPs TOO SHORT TO COUNT:
Kero Kero Bonito "TOTEP"
In Love With A Ghost "Let's Go"
In Love With A Ghost "Gay Story"
Nothing But Thieves "What Did You Think When You Made Me This Way?"
Oruko "Alambique-La Vache"
Notes:
- Nothing But Thieves missed the cutoff by a mere nine seconds. But rules are rules.
- Oruko put out a two song single and called it an EP. They were nice enough to give it to me for free, which is why I felt like shouting it out. It's good, but it's not an album, so no placement on the countdown.
ALBUMS THAT SUCKED THE TAINT:
Alice In Chains "Rainier Fog"
Beach House "7"
Eminem "Revival"
Jim James "Uniform Distortion"
Live "Local 717"
Nonpoint "X"
Qveen Herby "EP 3"
Onyx "Black Rock"
Notes:
- Alice In Chains needed to retire in 2013. This is so much worse than their last one. (Which means of course it's up for a Best Rock Album Grammy.)
- Beach House had an interesting single and a bunch of novocain-soaked cotton masquerading as songs surrounding it. Snooze.
- "Revival" came out on December 15th, 2017, but my music review year goes from Dec 1st to Dec 1st, so it's on here. I haven't listened to this album since it came out, so that's a bad sign. I remember thinking it was severely "meh" but not the "worst Eminem album ever". Maybe it's because I can't remember much about it and I don't feel like rediscovering it. An artist like Eminem should never engender such apathy, but here we are.
- "Uniform Distortion" has my 3rd favorite song of the year and ten terrible helpings of bullshit. The quality gap is kinda astonishing.
- "Local 717" contains the worst lyrics of the year on "Waterfall". Live have always had...questionable lyrical quality, but this makes "Rattlesnake" look tolerable by comparison.
- Nonpoint hasn't tried since "To The Pain". Full stop. (No, really, they need to stop.)
- "EP 3" has one okay song and four ass pulls trying to do something different while maintaining a brand.
- "Black Rock" was complete toilets. The only good song was "Lighters" and that was for the beat. I think I need to do a full review of this one, because there's quite a bit to talk about. Look for it in January.
ALBUMS THAT WERE PRETTY MEH:
Anna Calvi "Hunter"
The Clay People "Demon Hero And Other Extraordinary Phantasmagoric
Anomalies And Fables"
Corrosion Of Conformity "No Cross No Crown"
Father John Misty "God's Favorite Customer"
Grayceon "IV"
The Internet "Hive Mind"
John Coltraine "Both Directions At Once - The Lost Album"
Lenny Kravitz "Raise Vibration"
Mestis "Eikasia"
MGMT "Little Dark Age"
Phosphorescent "C'est La Vie"
Polyphia "New Levels New Devils"
Sevendust "All We Know Is War"
Empress Of "Us"
ALBUMS THAT WERE OKAY:
Andrew W.K. "You're Not Alone"
Beth Hart & Joe Bonamossa "Black Coffee"
Blues Traveler "Hurry Up & Hang Around"
Dead Sara "Temporary Things Taking Up Space"
Dog Fashion Disco "Experiments In Embryos"
E-40 "The Gift Of Gab"
Eminem "Kamikaze"
Eric Taxxon "Nexus Pelican"
Ghost "Prequelle"
Good Tiger "We Will All Be Gone"
Huntsmen "American Scrap"
KEN Mode "Loved"
Krelez "Random Chiptune Mix 38"
Left At London "The Purple Heart"
Louis Cole "Time"
Macross 82-99 "Sailorwave II"
MC Lars "Notes From Toontown"
M0 "Forever Neverland"
The Oh Sees "Smote Reverser"
Paul Simon "In The Blue Light"
Perfect Beings "Vier"
The Stanley Clarke Band "The Message"
Ty Segall "Freedom's Goblin"
Ty Segall "Fudge Sandwich"
Unknown Mortal Orchestra "Sex & Food"
Wild Nothing "Indigo"
Notes:
- I actually considered Unknown Mortal Orchestra and The Oh Sees for the top 20, but on second listen, found the shock had worn off. They're all right, but what I found refreshing about them evaporated once I paid full attention.
- I need to do a follow-up review on "Kamikaze", because if not for the technical dazzle of his delivery, this one might be worse than "Revival".
- I happened to look at Google Play the literal minute "Kamikaze" came out because I wanted music to edit to, and it wound up derailing the 3,000 word group of reviews on deck because I had to tackle late-breaking news. (Since that was one of the only blogs I've done to break 3-digits in four years, I made the right call.) Why do I bring it up? Wild Nothing's "Indigo" is the one I wound up bumping while editing the 3,000-worder instead. It was fine.
ALBUMS THAT ARE PRETTY GOOD:
Action Bronson "White Bronco"
Avenged Sevenfold "Black Reign"
Black Panther Soundtrack
Clutch "Book Of Bad Decisions"
Cypress Hill "Elephants On Acid"
Dave Matthews Band "Come Tomorrow"
Eric Taxxon "One Pop"
J Cole "KOD"
Kero Kero Bonito "Time 'n' Place"
Janelle Monae "Dirty Computer"
Jason Isbell and the 400 Unit "Live From The Ryman Auditorium"
Jazzanova "The Pool"
Judas Priest "Firepower"
Kurt Vile "Bottle It In"
Mega Ran & Bag Of Tricks Cat "Emerald Knights 2"
Minus The Bear "Fair Enough"
Night Verses "From The Gallery Of Sleep"
Open Mike Eagle "What Happens When I Try To Relax"
Paul McCartney "Egypt Station"
Pig Destroyer "Head Cage"
Plini "Sunhead"
Qveen Herby "EP 4"
Royce Da 5'9" "The Book Of Ryan"
The Sketchballs "Riverwest"
Skindred "Big Tings"
Sophie "Oil Of Every Pearl's Un-Insides"
Ultraphonix "Original Human Music"
Notes:
- "Come Tomorrow" features the dirt worst vocal performance Dave Matthews has ever done on "That Girl Is You". Think of his falsetto, but have him push hard like he's trying desperately to shit. This was the second single, but the way. Rest of the album is decent, approaching really good toward the end, but it takes awhile to get going, and also "That Girl Is You" is a thing.
- Eric Taxxon puts out an album a month. Check his YouTube and/or Bandcamp; he has 30 joints since 2015. This is one of the three or four I managed to hear some of this year.
- I'm fucking shocked "Dirty Computer" and "The Book Of Ryan" failed to make my top 20. At varying points of the year I had them pegged for number one.
- "Book Of Ryan" fell victim to first impression syndrome. I listen to an album once, hype it up in my head, get back to it six months later and...it's okay, I guess. It's probably better than okay, but I put it on a pedestal and it didn't live up.
- Janelle Monae suffers from the opposite problem: The songs are too catchy for their own damn good. First two listens (which were at least six weeks apart), I loved it. I was fully on board. It came out in April, so when I cued it up on the 4th of July to sync up with the fireworks, I...wasn't into it this time. I have what I call a "phonographic" memory; I remember music pretty much as the recording is, and can recall it in my brain, play the song back and listen to it as if I was streaming it. Songs get stuck in my head for weeks at a time, and about four or five from "Dirty Computer" did just that. So even though it was my third listen in three and a half months, I'd burnt the album out, probably for life. I just listened to "Crazy, Classic Life" yesterday and yes, it's stuck in my head on a fucking loop just from thinking about it. I don't need to ever hear these songs again, because they won't leave me alone. They're great, but I can never go back to them. Maybe in like five to ten years I can give it a try, but anything before that would be foolish.
- Jason Isbell's song "Elephant" is the realest shit I've ever heard.
- "The Pool" would've made my Top 5 if it came out in 2007.
- Paul McCartney can write good songs, but no one should ever let him write lyrics again. EVER.
- Sophie was going to be #20 before I listened to the new Mutemath EP. The album is deserving of recognition, so I'll shout it out here. It's highly experimental noise pop so it's uneven, but it has enough interesting shit going on that it's worth your attention.
- Shout out to The Sketchballs. Mil-Town represent!
THE TOP 20:
20. Metric "Art Of Doubt"
I remember really liking this album on second listen. I mean like, I was considering it for the top 5. It has this sardonic whit to it that as someone about 300 yards from the barrel of 40 I can appreciate. But about two or three days after I listened to it, and I started ranking other albums around it, I realized something:
I don't remember a goddam thing about it.
Not one lyric. Not one melody. Not one song title. Nothing. Absolutely nothing. I couldn't tell you what the singer sounds like, except that it's a woman. I think there was a slight 80's influence, but I can't be sure. And considering I remember music to mental health-endangering degrees, this is kinda fucked up. Are Metric the sleeper agent with telekinetic powers that make you forget they exist after stumbling upon their spying? Oh shit! I've gotta warn...
Wait, what were we talking about? Oh yeah, it was...
19. Mutemath "Voices In The Silence"
Late edition, as I heard it after December 1st, but it came out in November and I knew it should probably be here. It's only four songs and one of them is a remix, but they put out a pretty kick-ass full length last year so it's a bonus to get something new at all. The remix of "Everything's New" is a fresh take on the song with a little more life, and the rest of the EP is the band going more electronic and managing to do it better than the doodoo stain that was 2015's "Vitals". Probably the best move they can make to stay viable in this market.
18. The Sonder Bombs "Modern Female Rockstar"
If Paramore had a ukulele, swearing and a more abrasive, sarcastic attitude, you'd get The Sonder Bombs. What puzzles me is how the lyrics are so clever for the first six songs but get so brain dead for tracks seven and eight. Seriously, I wrote better lyrics as a high school freshman. Then the last song gets super real and dark, and you kind of forgive them. It's one of those songs you hear and think "I hope they're okay..." but it leaves you too stunned to actually ask.
17. King Gizzard & The Lizard Wizard "Gumboot Soup"
Released on December 31, 2017, "Gumboot Soup" was the fifth album King Gizzard put out last year. They delved into microtonal music with "Flying Microtonal Banana" in February, they dropped a psychedelic prog concept album in June called "Murder Of The Universe", they did a collaborative jazz-jam session with the Mild High Club in August called "Sketches Of Brunswick East", slammed a Genesis-based, 90's alternative-tinged prog rock album into the public domain in November known as "Polygondwanaland", and came through at the last second on their promise of five albums in a year with "Gumboot Soup".
It has songs that didn't fit on any of the other projects, but if you didn't know about them you wouldn't say it was a B-Side record. It's a collection of songs that go together and kick some ass. It's got flavors of each other project to be sure, but "Gumboot" stands on its own. (I briefly considered "Polygondwanaland" for the countdown as well, since a physical release came out in 2018 (which, because it's in the public domain, I could press up my own if I wanted to), but decided against it since my plate is buried under a mountain this year.)
16. Dave Grohl "Play"
One man. One twenty-two and a half minute song. Several overdubs. Each done as one continuous take. Not all of them were the first take either. If the big four grunge bands got together and tried to write a Rush tribute, this is probably what it would sound like. I don't think of the Foo Fighters as a Seattle band; they kind of transcend location, so when I hear Seattle-ish sounds in this, it's like "DUH!" Dave Grohl was in Nirvana. Of course he's gonna have that in his mind somewhere. It's a pretty good song, but it definitely helps to think of the separate movements as their own songs. That's a trick I've learned to appreciate classical music more: A symphony's an album, the movements are tracks.
15. Neko Case "Hell-On"
Neko Case plays a different game than everybody else. She's not out to write brilliant songs, she's out to paint pictures with lyrics and music. She's out here to show you some shit. And show she does. Whether it's the wistful lament of "Halls Of Sarah", the bitter remembrances of "Curse of The I-5 Corridor", the desiccated husk of "Dirty Diamond" or the otherworldly potential of "Oracle Of The Maritimes", her distinct voice and knack for production are more vibrant than many a master's brush. (The only misstep is "Sleep All Summer", but she didn't even write that one, so fuck it.)
14. Lil Yachty "Nuthin' 2 Prove"
Look, I have no idea why I like this shit. I didn't even like trap before I clicked play on this, and I don't even remember why I did. Maybe I felt like hearing something worth clowning on? That's what I can tell myself to sleep better at night, but the deal is I paid actual money for a physical copy of this album. Which didn't even have any credits in the book. It's just an extra picture and the copyright date on the back of the cover. What the fuck is with me?
Anyway, I'm not going to defend "Nuthin' 2 Prove". It's not the kind of music you defend. It's kinda shit. But...that's part of the charm? I think? I'm still not sure. I've been missing dumb, fun music in my life because it seems like everything is incredibly calculated and intensive to detail. There's not nearly as much room for personality, but Lil Boat comes through with some dumb, fun shit that I have no business enjoying, but I'm going to anyway because life is too short and isn't very fun anymore, so I'll take what I can.
(And playing true to type, I'm getting into an artist after the peak of their popularity. The critics that loved the "Lil Boat" mixtape declared Yachti's career D.O.A. on this one. I haven't gone back and tried to listen to his other shit yet, so I have no basis for comparison. I'm not in this for clout. I like what I like. And, God help me, I like this.)
13. Angelique Kidjo "Remain In Light"
So one of the biggest artists in African music history covered an entire Talking Heads album. It's about as killer as you'd imagine. If you see that cover art and aren't at least intrigued, I don't get you.
12. Superorganism
This weird hippy collective fronted by an 18 year old Japanese girl is laid back, textured, bass-y, sardonic and aesthetically on point. "Everybody Wants To Be Famous" made my top songs list, but you should also look out for "Nobody Cares", "Something For Your M.I.N.D." and "Prawn Song". Shit is hella vibey.
11. Adam Neely "Gig Vlog Mixtape Vol. 1"
Literally just five songs dude made for background music on his YouTube channel. Kinda chiptune-y, kinda proggy, definitely jazzy, and oh yeah. BASS. (Not an overwhelming amount, he...just plays bass is all. It's the stinger at the end of his videos. Check his shit out if you wanted to know more about music theory but didn't know where to start.)
10. Ninja Sex Party "Cool Patrol"
One half of the Game Grumps is one half of this band. Danny Sexbang and Ninja Brian are back to kick your ass, fuck your lass and make you laugh when they fall on their face attempting to do so. "First Date" and "Courtship of the Mermaid" made me laugh so hard I couldn't breathe. Other gems include the title track, "Eating Food In The Shower" and the funny yet relatable "Danny Don't You Know", a song from the singer to his younger self to encourage him to stay strong.
9. Qveen Herby "EP 2"
Kinda surprised this ranked so high. "Holiday"'s technically the only song on here I really like. The other four are okay, but...then I realized this is the thing I've listened to most frequently all year. Probably because it's fifteen minutes, and even at home that's all the time I seemed to have to listen to something at any given point. I hate life sometimes.
It flows well as a project. I've grown to like the song "Bank" in spite of cringing the first time I heard it, mainly on the strength of the chorus. The beat for "Well Dressed" saves it from the banal as fuck lyrics. I'd still put "EP 1" head and shoulders above this one, though. It only ranked #11 last year, but 2017 might have been the best field of albums I've ever done a countdown on, so it had stiff competition. The familiarity factor is really the only reason that, upon playing it next to other releases in this field, this still instinctively lands in my top 10.
Lil Yachty is an album I'm not going to bother to defend because it seems like it would take it as an insult; this EP is something I almost feel like I shouldn't defend...
8. Courtney Barnett "Tell Me How You Really Feel"
Slower-paced indie rock is usually not my cup of tea, but Courtney Barnett's personality won me over. Songs like "City Looks Pretty", "Charity", "Nameless, Faceless" (which when you listen to the lyrics changes from a bouncy indie rock song to a horrifying portrayal of what it's like to be a woman in public), "Help Your Self" (which gives me Pretenders flashbacks) and the magnificently titled "Crippling Self-Doubt And A General Lack Of Confidence" are all my kind of clever, neurotic and groovy. I feel this shit, yo.
7. Dessa "Chime"
I had this queasy feeling on second listen to "Chime" that I would have no choice but to make it number one. Queasy because I didn't feel like it was quite at the level a number one should be, like I'd give it a 3 & 7/8ths stars out of 5, but I knew then I hadn't heard anything else that connected as well. Then I listened to a bunch of other things, and my opinions changed, but it's still a damn fine album just the same.
The songs on "Chime" are powerful: "Ride" turns from small talk to threat by the end of the second verse, "Fire Drills" rightly calls bullshit on women "having to know their place", "Velodrome" illustrates discontent in the angelic choir. Even songs like "Good Grief" and even "Boy Crazy", which are both slow chamber pop ballads for lack of a better description, like fourth single off an adult contemporary album style joints, got me in the end. (Still kinda pissed that "Shrimp" quits after 40 seconds though; that could've been a cool song.) The album has emotional gut punches and definitely connects with me on a very human level, but it's kind of stilted in its songwriting, and a bit too polished. But those are nitpicks; I'd still recommend this one if you're looking for something a little left of center.
6. Christine and the Queens "Chris"
I heard the shit out of "Girlfriend" this year between 88nine, a mix I made around July and my own head getting it stuck in there. So much so it dragged the song out of my top ten and into the teens, but it's still a fuckin' banger. This is 80's pop done with a thick French accent and the vocal harmonies of a restrained Florence Welch. "Girlfriend" and "The Stranger" placed on my top 20, but "Goya Soda" came damn close too; that chorus is butter. "Feel So Good" slaps as well. It feels weird saying slaps, but I'm on page nine, I haven't written in awhile and I'm running out of superlatives. This album is some moody synth pop to nod your head to.
5. Laura Jean "Devotion"
The through line with this album is emotional vulnerability. I like it because it's honest. It's not flattering, but it's not leaning into garishness to make up for it. Songs that tackle subject matter that make the singer seem...less than optimal tend to lean into either "Uh...but not really, though. That'd be dumb, right? Ha ha. That's not really me of course" or "Oh yeah? Well fuck you! I am what I am!" territory to overcompensate. Laura Jean lets the subtleties of the experience play out and with a delicate touch she is able to make me feel so much more than someone who is either pumping it out at the top of their lungs or trying to obfuscate it in pert purple prose.
The reason "Girls On The TV" slams me to the emotional concrete every time I hear it is because it makes me feel the loss. It builds up through the second verse why the relationship between her and her sister is important, then everything suddenly and subtley comes apart, unable to be helped. And the reason I end up a puddle every time is self-pity. The person I've grown apart from and can never reconnect with again is myself. And it's a feeling I will never shake.
Even on songs that sound accusatory like "Which One Are You" have wrenching empathy to them, and again, it's a simple addition: She adds the word "baby" after singing the titular question. It's one simple, overused word, but it gives the feeling like she cares about the person she's asking the question of. The title track paints a dour picture of a passionless relationship that has not yet become loveless, and Laura Jean is wrestling with whether this is enough. The answer winds up being "I...think it is...?" and often times in life, that's the best we'll get.
Much like Kesha last year, this album is so human it hurts, and that's why it belongs in the top five.
4. Kilgore "Someday This War Is Going To End"
Kilgore was my favorite band junior year in high school. The album "A Search For Reason" is still one of my favorites of all time. And I get it, anyone who's into heavy music would listen to it and scoff. They weren't on anybody's radar, they weren't technical wizards, it was 1998 and a lot of bands from that era got lumped together and forgotten. But dammit, they were my band. I listened the SHIT out of that album, to the point where I could sing the whole thing to you on the spot right now, complete with mouthing the guitar riffs.
So when they broke up in 1999, it was a fucking bummer. And aside from one or two reunion shows at dive bars in their local Providence, Rhode Island, that was it. Until I fell down an internet rabbit hole one night in early 2017, and found their Facebook page.
Kilgore was writing new music for the first time since 1997.
And it fucking shreds.
From jump, "Death On The Installment Plan" lets you know they're not here to fuck around. They've been gone too long not to go for the throat out the gate. "The Laws Of Gods & Men" tackles the conflict of interest and cognitive dissonance inside the heads of the biggest proponents of the second amendment, the majority of which are conservative Christians (a religion of "Judge not lest ye be judged", a God preaching forgiveness, and "Thou shall not kill"). "Ask The Dust" is a showcase of Jay Brendt's harmonic capabilities behind the mic, which were always what set the band apart from their contemporaries for me. "Run With The Hunted" is a no frills, hard charger which has a melancholy turn in the chorus, only to set up the barreling rush that follows. "Grinder" is an acidic, angry attempt at processing grief. And "Stalemate"...Okay, "Stalemate"'s not that great. It's a Godsmack song with a meatheaded chorus, but it's an anti-Trump song, so I can get on board because fuck that guy.
This is only a six song EP, but I think that might've been the perfect move for the time, since albums are getting shorter, my attention span is getting shorter, and it left me wanting more, so I listened to it more. This is a moment I never thought I would live to see: another Kilgore project. And it sure as fuck didn't disappoint.
3. Florence + The Machine "High As Hope"
The POWER of this woman! Most critical response to this record has been it's her most "just another album" album she's ever done, but nothing could be further from the truth. This is the one that got me fully invested in Florence and her Machine. I think because this one walks the best balance between belting the fuck out of everything like a force of nature and being able to control that force, buffering it with moments of subtlety and tenderness. I never actually listened to her 2015 album because the singles reminded me too much of Fleetwood Mac (a band I've finally come around on in the last year and a half), but I feel like that might be the missing piece of the puzzle in the evolution, because the first two felt like a vocal firehose at times and it took me out of it.
It all started with "Hunger" which is one of the most life-affirming things I've ever heard. That song was what I needed to get through this year, and I'll be leaning on it for years to come, believe you me. That had me like: "You had my interest. Now you have my attention." Then "Big God" dropped, and I was like "I need to hear this album". That song is dark and gritty in a way Florence has never really approached before. Plus it has a bomb video to go with it. Always a plus.
I think what makes me rank this album so high is the reassurance I feel. Yes, the world is scary and emotions can skewer you with barbed spikes of paralysis, but Florence comes through as the voice in the darkness that tells me I'll get through it. She's there to get me off the prongs. And she's there to tell me that it's not stupid to aspire. Nor to care. I had put that so far out of my mind, I'm struggling to remember how to do those things. This helps me remember, if only for thirty minutes. But it helps me feel like I could get there again.
2. Esperanza Spalding "12 Little Spells"
This album sounds like it's from another dimension. Esperanza Spalding is playing such a different game here than anyone else it's not even funny. The skeletons of these songs are simple: their rhythmic framework and conceptual bedding are that of chamber pop and R&B, but they use choirs full of flowing, lyrical "out" jazz harmonic phrasing over the top, and it sounds like it should never work in a million years, but she finds just the right notes every time to make it sound as weird and as beautiful as possible.
The title is apt, because this sounds like the kind of magic that opens portals. It eases enough that it takes care to not damage the fabric of the space/time continuum, which is a trick I haven't really heard music this warped be able to pull off before. This magic is weaved with incredible care. If you are looking to hear something unlike anything else you've heard in 2018, if you're ready to be transported on a journey but also don't want to be destroyed by the trip, I cannot recommend this highly enough.
(P.S.: Is it weird that the production makes me feel like this is one of the best rock records of the year? I like how crisp and direct everything sounds; it's not hidden beneath fuzztone or reverb or some other novel fuckery. It wants to be what it is.)
(P.P.S.: The song titles form a poem:
12 Little Spells
To Tide Us Over
'Til The Next Full
Thang
Touch In Mine
The Longing Deep Down
You Have To Dance
Now Know
All Limbs Are
Readying To Rise
Dancing The Animal
With Others)
Now, my pick for number one is a bit controversial. Not because the artist is known for being problematic, nor is it an album panned by critics. (I can guarantee you damn near nobody has ever listened to this because it just came out on most streaming services. The physical release and Bandcamp were back in October, so it still counts.) No, the controversial nature stems from a bit of bias on my part. Because you see:
IF YOU WANT SOMETHING DONE RIGHT, YOU'VE GOT TO DO IT YOURSELF.
1. The Night Howls "Ferocious"
This is the eighteenth time I've written a year-end music review blog, and the thirteenth time I've published it. In that time, I've been on 23 albums that I put on the countdown. None of them ever hit number one before. And I didn't think this year would be any different: In my mind, Kilgore, Janelle Monae, Royce Da 5'9", Dessa and Esperanza Spalding all took turns being number one, but when I sat down to listen to all the albums I thought had a shot in close proximity to one another, I knew.
I knew "Ferocious" was my favorite album of the year.
What gives it the edge over the magic of an Esperanza, the power of a Florence, the nostalgia bomb of a Kilgore or the emotional rawness of a Laura Jean is these are songs I've lived with for four years making this record. (Hell, in two cases even longer: "Stick To Your Guns" was written in April of 2013 and "School" was written in April of 1996.) They will always be a part of me. I've had to play them so many times to get ready to track them, to get ready for a show, to stay in shape, to get back in shape (I got weight issues and drumming is pretty good cardio; especially this batch of tunes).
But what I think is the real clincher is these songs make me feel the most alive. They make me remember what being Nick Nutter is like when I've largely lost what that means. I like to shred behind a drum kit. (Just listen to "Give Blood", "Hot Pursuit", "Caffeine" or "Stick To Your Guns" and you'll know what I mean.) I used to like to bang my head (I'm kinda too old for that now, but I still enjoy the shit that makes me want to do that).
But it would all be flailing cacophony without my man Mike to bring songs that have musical density, catchy hard rock hooks and clever, if dad-jokey lyrics (that's supposed to be part of the charm; your mileage may vary). I know what you're thinking: A hard rock band not heavy enough to be real metal and too technical to be punk wants to add in quirky humor on top? How can that be any good? It's like a a chili-cheese and chutney sandwich (so I've heard): The ingredients: all wrong. But when you put them together...so right.
Or something.
I'm not really here to sell you on this. If you want to listen, listen. If not, I'm still going to keep making this music with my dudes Mike and Rick. And I'm going to love it. (Though if you want to listen, we'll really appreciate it! Here's the links for Spotify, Apple Music, Bandcamp, Napster, Deezer, Google Play, and Pandora. Join the Wolf Pack, yo!)
Well, I think 5,730 words will do just nicely. Thanks for reading/skimming this countdown; I do really appreciate it. Now I'm gonna go soak my aching fingers, kick back and try to figure out what the hell to do next in the face of an unpredictable 2019. Stay safe, keep cool, but most of all, don't be afraid to be yourself. Life's too fucking short to be anything else.
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