Best of 2021

I didn't review records this year; I was busy writing Hearts on Fire: Six Years That Changed Canadian Music 2000-05 (out in April 2022!). But I didn't stop listening to everything I could, and I was never bored. 

Not ranked this year, other than into tiers. 

Bandcamp links where possible; please support your favourite artists.

Tidal playlist:

https://tidal.com/browse/playlist/55a29b0e-f86c-4de0-b864-4ba725e3ce41

 

Spotify playlist:

https://open.spotify.com/playlist/2TOeEJcUH4MlGPVaTV4t7W?si=6e684aee7de0486b

Tier 1: #1-10 (alphabetical)

 Arooj Aftab – Vulture Prince (New Amsterdam). This Pakistani-American singer has made a gorgeous record that’s a beguiling amalgam of Dorothy Ashby, Sheila Chandra and Owen Pallett. Dedicated to her late brother and another lost friend, the “neo-Sufi” album is beyond haunting, whether she’s singing in Urdu or English. Right in the middle she drops “Last Night,” an acoustic reggae song comparing her beloved to lunar majesty. Read a P4K profile here. 

 

Altin Gun – Yol (ATO). A Turkish-Dutch psych-pop band that lean more Talking Heads than Tame Impala? Yes, please. This band blew me away live a few years ago, and each record is better than the last. Every player is essential, the rhythm section is killer, and the new-wave synths are a nice touch alongside the Fuzzy guitars, Balkan scales and male-female vocals. In yet another bleak year, this January release was a constant source of sunshine.

 

Brandi Carlile – In These Silent Days (Elektra). I’m not ranking anything this year, but this is the album I listened to the most compulsively after it came out, the album that sent me to a piano to learn all the songs (not something I do often). I admired Carlile before, but hearing a 40-year-old woman knock it out of the park on her seventh album is beyond inspirational. This is one of the great mainstream singer-songwriter albums of the last two decades; it’s that fucking good. Opening track “Right on Time” is a total show-stopper, both as a song and a vocal performance—but she’s only warming up. Every song here is a stone-cold classic. And did you see her on SNL? Holy shit.

 

 

Cochemea – Vol. II: Baca Sewa (Daptone). His record label calls him “the Dap-Kings’ electro-sax space warrior.” Sounds about right. On this album of mostly just saxophone and percussion, with occasional help from the Dap-Kings’ rhythm section, Cochemea taps his Indigenous Mexican-American roots to create a swampy brew with faint echoes of Dr. John’s Gris Gris and the quality control that Daptone brings to everything it puts out. 

 

 

Delvon Lamarr Trio – I Told You So (Colemine). Move over, Khruangbin, there’s a new instrumental trio on the scene, and this one is not chill. This one, from Seattle, channels New Orleans legends the Meters almost effortlessly—no small feat. This is a whip-tight funk band led by an organist and featuring a jazz guitarist; miraculously, there’s no bassist. Even the cheeseball ’80s cover totally works, in part because the original material around it is so strong.

 

 

Daniel Lanois – Heavy Sun (Maker Series). The Hamilton producer goes to church: a church in Shreveport, Louisiana, specifically, where the father of drummer Brian Blade preaches. One day Lanois and Blade heard the church organist, Johnny Shepherd, and insisted on making a record with him. Praise Jesus, they did. Heavy Sun is a gorgeous, gospel-soaked album centred around Shepherd’s voice and B-3 Hammond organ playing, while masters Lanois and Blade are joined by their regular bandmates, bassist Jim Wilson and guitarist Rocco DeLuca for gorgeous harmony singing. I’ve been a Lanois fan for decades now, so trust me when I say this is his greatest solo record, second only to Acadie. One could argue, however, that Shepherd deserves equal billing.

 

Low – Hey What (Sub Pop). I listened to more Low than any other artist in 2020, their music offering the ideal mix of extremes: the beauty I craved and the discomfort I felt. Going through their whole discography made me appreciate the last three records they made with producer BJ Burton even more: 2016’s gorgeous Ones and Sixes (my favourite), the profoundly strange Double Negative in 2018, and now Hey What, which pulls back somewhere between those two poles. Every year at this time you’re likely to hear their version of “Little Drummer Boy” cutting through the usual dreck; if you haven’t checked in Low in a while, it’s never been a better time.

 

 

Mustafa – When Smoke Rises (Regent Park Songs). “Stay Alive” is the opening track here—and it’s not a metaphor. When Smoke Rises is about the losses Mustafa has witnessed through gun violence in his Toronto neighbourhood, and about a resilient community awash in grief. A child prodigy who’s releasing his debut album at the age of 25. Worth the wait. Though Mustafa first made his name in Toronto as a poet, he has a gorgeous singing voice, and the music owes more of a debt to Sufjan Stevens than my inherently racist assumptions led me to expect. His first headlining hometown gig? At the newly reopened Massey Hall, where he was the third performer to take the stage after Gordon Lightfoot and Buffy Sainte-Marie. Now that’s a baller move. Too bad Toronto police deemed it a “high-security event” and installed airport-level security outside the venue, while Mustafa himself wore a backwards bulletproof vest on stage as a fashion statement. All of which is to say: This is a stunning album, an astounding debut, and something you absolutely must hear. 

 

 

Allison Russell – Outside Child (Fantasy Records). Speaking of Brandi Carlile’s mid-career excellence, this was a breakthrough year for one of Carlile’s favourites: Montreal-Vancouver-Chicago-Nashville singer/songwriter Allison Russell. Canadian folk festival attendees might know Russell from Po’ Girl in the 2000s (with Be Good Tanya Trish Klein) or with Birds of Chicago. The latter band’s JT Nero is a big part of this record, but it’s very much Russell’s story to tell: these are at-times harrowing personal stories, dressed up in the velvet glove of Russell’s luxurious voice. There are some Al Green grooves, some Lucinda Williams twang, some Norah Jones comfort, and some of Emmylou’s Wrecking Ball: this is the very definition of what’s called Americana. You can listen to this record devoid of context and find it lovely; once you listen closer, it’s profoundly moving. 

 

 

Yu Su – Yellow River Blue (Yi She Yi Se). This Chinese-Canadian world traveller made perfect music for a microdosing summer (see also: K.D.A.P.’s Influences). Opening track “Xiu” layers Chinese instrumentation over a Neu groove and Colleen-esque layers. There’s some sparse electro-dub, some Four Tet-ian psychedelia, and even some Prince-like Linn drums on “Meleleuca.” This is a fascinating sonic journey from a restless spirit.

 

 

Tier 2: #11-20 (alphabetical)

 

Godspeed You! Black Emperor – G_d's Pee at State's End (Constellation). Don’t take this band for granted. Yes, it’s largely the same bag of tricks they’ve explored for the past 25 years, but they’ve never sounded as sonically fierce as they do here, thanks mostly to engineer Jace Lasek. Godspeed is always more hopeful than they’re given credit for—even though they literally spell it out in their stage visuals—and this album arrived at the perfect moment in time. (See also: Fly Pan Am’s Frontera.)

 

 

Geordie Gordon – The Tower (Victory Pool). Perhaps you’ve seen Geordie Gordon in U.S. Girls, Islands and many other Toronto/Montreal/Guelph acts in the last 15 years. This is his first solo album, and at times he sounds like an unusually good synth-lounge act of the early ’80s. Drum machines that sound lifted from old organs, vintage keys with modern synths delivering one soft-rock gem after another, with some seriously strong songwriting at the core. Also remarkable is Gordon’s constantly developing vocal range; having seen him perform since he was a teenager, I’m never not amazed at the singer he’s become.

 

 

Arushi Jain – Under the Lilac Sky (Leaving). This Indian composer and singer, now based in San Francisco, plays ragas using only modular synths—which are helpful to get at microtonality unavailable on most Western instruments. This material was composed for a sunset performance on a rooftop near the Rajasthan desert; it sounds like it. Close your eyes and you might as well be there. More info here. 

 

 

Rochelle Jordan – Play with the Changes (Royal Mountain). This L.A.-via-Toronto singer channels vintage Neneh Cherry or what the post-drum’n’bass Brits called “garage,” but I don’t remember any of that music from more than 20 years ago sounding this good (no disrespect to Cherry, who continues to be awesome). Jordan is a wispy vocal presence, yet effective—and just in time for the Janet Jackson renaissance. This is the kind of club record lush enough to feel like a warm bath. Luxurious.

 

 

Little Simz – Sometimes I Might Be an Introvert (Awal). This rap album opens with martial drums, big symphonic brass and a choir, before breaking into a nylon guitar riff over a Questlove-worthy beat while a string section swells. Ambitious? Yep. But this British MC can do anything she puts her mind to—except, maybe, maintain our interest through way too many “interludes,” what used to be called skits (why is that still a thing?!). The production here is once again by Inflo, the man behind Sault (whose Cleo Sol appears here) and Michael Kiwanuka; he also pops up on the new Adele. If Little Simz wasn’t the charisma magnet she is (not unlike Haviah Mighty), she’d be in jeopardy of being overshadowed by Inflo. But this is a perfect meeting of the minds.

 

 

Madlib – Sound Ancestors (Madlib Invazion). This producer has likely more than 100 releases to his name over the last 20 years. After the landmark 2004 Madvillain album, where to start? Right here. Combining his love of jazz and obtuse samples with his post-J Dilla beat innovation, this is an album assembled with the help of Four Tet, who brings focus to the usually scattered genius. 

 

 

Mdou Moctar – Afrique Victime (Matador). There are many artists on this list I would have loved to have seen live this year, but I do regret that I have yet to have my face melted off by the electric guitar wizardry of this Nigerien master. Especially now that he has a large North American indie behind him. Is this album better or worse than its predecessor? Who cares? Turn it up and surrender.

 

 

Serena Ryder – The Art of Falling Apart (Arthaus). It seems weird that a woman with big radio hits here in Canada would be so critically underrated. But did I read anything, anywhere about this record? One of the most naturally gifted pop singers working today, her writing keeps improving, and this record is full of affirmational earworms—“Waterfall,” “Kid Gloves,” “Better Now,” for starters—that hit me right in the gut during a most difficult year. This record should be mentioned in the same breath as Adele or Olivia Rodrigo or Brandi Carlile—it’s that good. 

 

 

Leanne Betasamosake Simpson – Theory of Ice (You’ve Changed). The first time I heard this record was walking on a frozen lake in Simpson’s general vicinity (near Peterborough, Ontario), a vivid experience I relive every time I put this on. Simpson is an acclaimed poet and writer; this is her first album. A singer, she’s not—and that’s not the point (though she’s just ever so slightly AMSR for my taste). If Laurie Anderson were an Indigenous Ontario folk musician, she might make a record like this. Musical textures from sister Ansley and producer Jim Bryson bring her words to life, giving them further depth and colour. A cover of Willie Dunn’s “I Pity the Country” is essential listening in 2021, but doesn’t overshadow anything Simpson does on her own. 

 

 

Suzie Ungerleider – My Name Is (Stella). Ungerleider recorded for almost 25 years as Oh Susanna, so this is a bit of a rebirth. And what a way to make a mark: this is easily one of her best records, if not a career high (so far). If she’s new to you, she’s a short-story lyricist with an exceptional sense of melody, not unlike a folkier Aimee Mann, writing perfect character sketches like “Mount Royal” or “Summerbaby” or the devastating “Disappear,” about a child hiding from an abusive parent. Oh, and there’s a song here with the chorus “hearts on fire” which also happens to be the title of an amazing book out next April. Just FYI. 

 

 

Tier 3: #21-30 (alphabetical)

Cadence Weapon – Parallel World (eOne). The most heartening thing about Cadence Weapon’s Polaris prize win this year wasn’t that the mid-career musician finally copped it (after two shortlists and two longlists), but that he was just as weird as he’d always been—musically, that is, which proves that the world is catching up to him. Lyrically, he’s more direct here than he’s ever been in his career, and tough times call for straight talk. 

 

 

Theon Cross – Intra-I. Theon Cross plays tuba in Sons of Kemet, a band credited with spearheading much of Britain’s current jazz revival. That band’s prolific saxophonist, Shabaka Hutchings, deservedly gets most of the attention. But Cross’s second solo album—yes, the tuba player’s solo album!—bettered his main project this year, by delving into dubby electronics, hip-hop, cinematic soundscapes and anywhere else a tuba is not normally supposed to go.

 

 

Eris Drew – Quivering in Time (independent). Very little electronic music ever makes me want to dance in a dark club packed with people—especially now. But this album does. Apparently it was crafted in a rural New Hampshire cabin where, during the pandemic, Drew would broadcast DJ sets held in a nearby clearing. With shades of Chicago house and early ’90s rave with deep bass, actual funk, and constantly intriguing samples and shifting textures, this is a dense delight. 

 

 

Equiknoxx – Basic Tools Mixtape (independent). This Jamaican production team began in dancehall but now go wherever they want, and the weirder the better: like Tricky took an American R&B artist to make a record in Kingston and only rolled tape between 2 and 4 a.m. This is murky, muggy, swampy music—and it’s glorious. The vocalists are a welcome presence, but the instrumental versions speak just as loudly. 

 

 

Greg Keelor – Share the Love (Warner Canada). The Blue Rodeo co-lead has put out several solo albums; this is easily the best since his debut, Gone. Recorded and then re-recorded live for a video promo, Keelor decided to scrap the original and go with the live performance. An ace band (including drummer Glenn Milchelm and Peterborough singer/songwriter Melissa Payne) that was likely pent up from months of pandemic isolation pour their hearts into Keelor’s music, which teeters between melancholic and morose as it grapples with gratitude, death and heartbreak.

 

 

Miranda Lambert, Jack Ingram, Tim Russell – The Marfa Tapes (Sony). Note: it’s not a “campfire record” unless there’s an actual fucking campfire. Which there is here: this is as unplugged as it gets, other than the recording equipment—which may well have been a smartphone, by the sound of it. It’s like Michelle Shocked’s Texas Campfire Tapes, except instead of a young, unknown folk singer, we’re eavesdropping on three of the biggest names in modern country music. Okay, I’ll admit I was only familiar with Lambert, but Ingram has had No. 1 hits, and Russell is a hitmaking songwriter and producer. Here, the three of them pass the acoustic guitar and harmonize exquisitely. There’s offside conversation, crackling fire, and at least once you can hear Lambert say, “Beautiful!” Which it absolutely is. 

 

Salomé Leclerc – Mille ouvrages mon coeur (Audiogramme). Snowy-day franco melancholy rarely gets better than this—except when Leclerc ramps up the drama with lush strings and Velvet-y rhythms. (See also: Myriam Gendron’s Ma Delire.) 

 

 

Olivia Rodrigo – Sour (Geffen). Being a 50-year-old man, I’m not the target demo for this teenage Disney actress who sings about getting her driver’s licence. But goddammit, she’s good. She’s got a Broadway voice, co-writes a collection of earworms, and while she’s very much rooted in modern pop idioms, opening track “Brutal” betrays a lineage from Joan Jett to Liz Phair to Courtney Barnett—so, right up my alley. How good is she? Taylor Swift and Jack Antonoff show up for a co-write—and it’s one of the weaker tracks here. The rest of the album shows immense dynamic range, from big pop ballads to rockers (“Good 4 U”) to acoustic numbers (“Favourite Crime”) to Lorde-ish self-awareness (“Déjà Vu”). 

 

 

John Southworth – Rialto (Tin Angel). Stay with me here: Rialto is not just a 14-song album about an insomniac who works as a driver for a writers festival and must courier a film called The History of Jazz to its premiere: apparently, it’s also a book and an eight-episode podcast performed by a cast of 25, made by a perpetual underdog with 13 albums under his belt. I’ll admit, I have no idea what’s going on here, or if Southworth has simply constructed an elaborate ruse. But the always-ambitious, hit-and-miss artist comes out swinging hard, with a strong chamber-pop record fuelled by a muscular string quartet, arranged by Andrew Downing; guest singers include the Weather Station’s Tamara Lindeman, Rheostatics’ Martin Tielli and members of Bernice. It’s… something, to be sure. But I’m pretty sure it’s brilliant. 

 

 

Vanille – Soleil '96 (Bonbonbon). There were many moments this year when I just wanted simple pleasure, such as a French woman cooing in my ear over carefully arranged dreampop à la Alvvays. Which is what made this Vanille record such a tasty treat. 

 

 

Reissues:

Willie Dunn – Creation Never Sleeps, Creation Never Dies (Light in the Attic). I’ve been waiting years for this project, ever since Kevin Howes assembled the Native North America box in 2014. It does not disappoint. Much like the Jackie Shane reissue, it’s worth it just for the liner notes alone (both got Grammy nominations). Dunn’s rich baritone is a commanding presence, communicating painful truths through modern Canadian folk songs that deserve to be heard far and wide. Howes does exceptional archival work on all his projects; he has yet to disappoint. This is beautiful.

 

Bruce Springsteen and the E-Street Band – The 1979 Legendary No Nukes Concerts (Sony). Recorded at the arguable height of their live prowess, this is everything I could ever hope for in an archival E-Street recording, including the “Detroit Medley” that I seem to recall thrilling me on FM radio in Toronto in the early ’80s. Every time something like this surfaces I become a fan all over again.

 

Nancy Sinatra – Start Walkin’: 1965-76 (Light in the Attic). “How Does That Grab You, Darlin’?” Why, just fine, Ms. Sinatra, just fine. Come for “These Boots,” “Bang Bang,” “You Only Live Twice,” “Some Velvet Morning” and put on your go-go boots for 19 more brassy ’60s pop hits, with and without Lee Hazlewood.

 

2020 albums I listened to the most in 2021:

Eddie Chacon – Pleasure, Joy and Happiness. Reviewed here.

Sam Roberts – All of Us. Yes, I’m in my dad-rock years, and this is as good an example as any. I’ll admit I’m not a big Roberts fan outside of the occasional single, but this album really hit home and had nary a dud track—but plenty of dad tracks! (Maybe it helped that he’s one of my favourite interview subjects in my last two books.)

 

Lists I always read (but I didn’t before making this list):

Sean Michaels’s Said the Gramophone has been doing this for 16 years now.

Aquarium Drunkard’s list usually takes me a couple of weeks to get through and I always find fascinating new things

Same with Bandcamp’s extensive lists, this year broken into four pieces.

Dominionated is always on top of interesting new Canadian music. Here’s their fave 50.

CBC leans more to the R&B side these days on their list.

Exclaim is my alma mater. They went with Little Simz this year.

Pitchfork: congrats to the Weather Station for being the only Canadian on this year’s list

NPR: congrats to Allison Russell for being the only Canadian on this year’s list

Venetian Snares x Daniel Lanois

Venetian Snares x Daniel Lanois – s/t (Planet Mu)

For most of his career, Daniel Lanois has been known for making evocative, atmospheric music. Sure, he rocks out occasionally and flirts with abrasive tones, but generally speaking, listening to a Lanois record is an immersive, soothing experience.

Not this one.

Venetian Snares is the work of Winnipeg’s Aaron Funk, a wildly prolific electronic producer whose work is full of skittering beats, sometimes seemingly arrhythmic, which underscore often harsh tones that are sculpted into unusual melodies. It’s immersive, all right, but it’s far from soothing.

Both men are sonic innovators several generations apart. The idea of a collaboration is certainly intriguing. Except that they don’t appear to be working together at all. We hear Lanois’s sonically treated pedal-steel guitar throughout, but, with rare exceptions, it usually fades into the background underneath Funk’s punishing musical maelstroms, which can feel like being slapped upside the head with an old videogame console. There is little to no interplay, no sense that Lanois is responding to the chaos around him, no sense that Funk is even beginning to adapt his uncompromising vision to play well with others.

There’s a bit of a rich irony in that: Lanois’s detractors will argue that the legendary producer subdues the sound of every artist he works with—arguably, records like Bob Dylan’s Time Out of Mind or Emmylou Harris’s Wrecking Ball are more Lanois records than they are the work of the two greats in question—so it’s somewhat satisfying to see him get pushed around by some young whippersnapper (which, come to think of it, is a good descriptor for Funk’s approach to beatmaking). The tension rarely produces results, but when it does it simply hints at larger possibilities (“Bernard Revisit P81,” “Best P54).

Otherwise, it sounds like grandpa is playing meditatively by himself in the attic while the toddler trashes the kitchen. (May 4)

Stream: “HpShk5050 P127,” “Bernard Revisit P81,” “Best P54”

September 2016 reviews

Highly recommended this month: Nels Cline

Highly recommended, reviewed earlier: A Tribe Called Red

Well worth your while: Nick Cave, Tami Nielson

As always, these reviews ran in the Waterloo Record.

Streaming is great for sample purposes, but please find a way to support your favourite artists financially.

In case you missed it, my piece about Kaytranada winning the Polaris Music Prize ran in Maclean's.

Nick Cave & the Bad Seeds – Skeleton Tree (Sony)

There is no greater anguish, no more unimaginable horror than losing a child. And so while many a man has made a career of writing about the dark side of humanity, about murder and loss and depravity in ways both chilling and cartoonish, what does it mean when that man suffers the loss of a child? Can the listener rectify reality with the artifice of art?

Nick Cave’s 15-year-old son Arthur died after falling off a 60-foot cliff while on LSD in July 2015.

The songs on Skeleton Tree had already been written, and Cave had plans to go into the studio shortly. In part because he knew he didn’t want to face the press once the album came out, he invited a filmmaking friend to document the process. The result is the new film Once More With Feeling, in which Cave and his family and his band talk about their grief, and he says, “Everything is not OK, but it’s also OK. The records go on and the work goes on.” He’s certainly not the first person to use their work ethic and/or their creativity to process grief. We should perhaps expect nothing less from an artist who, in one of his most beloved songs, penned the chorus: “This is the weeping song / A song in which to weep.” That was 26 years ago.

As with the Tragically Hip’s Man Machine Poem—written and completed before Gord Downie was diagnosed with terminal brain cancer—the songs here are not about the tragedy in question. Yet because they were recorded in the darkest of shadows, the tone is beyond sombre. It’s not unusual to hear Cave sing lyrics like, “If you want to bleed, just bleed,” or, “All the things we love, we lose.” He’s never been a cheery chap. But here he can be heard mourning, “Nothing really matters since you’ve gone / I need you / just breathe.” Or: “I used to think that when you died you kind of wandered the world in a slumber until you crumbled, absorbed into the Earth. I don’t think that anymore.” Yet the mourning is really all in the music; Skeleton Tree is not, as some reviews claim, “a document of grief.”

The music is more of one long tone poem than a collection of songs. They’re all a similar tempo, all sad synths and strings and plaintive piano. Churning drones and slowly surging bass notes underscore the soundscapes above. Longtime backing band the Bad Seeds has rarely sounded so sparse and restrained—or more effective. Opening track “Jesus Alone” finds Cave crooning, “With my voice I am calling you” while a whistling synthesizer emulates the sound of a child’s cry. Hard to separate the art and artist here.

Reviewing the film, the Montreal Gazette noted that it “never approaches voyeurism or misery porn.” Having not seen the film, this is hard to believe. Skeleton Tree is haunted, in as literal a sense as possible. It’s also a beautiful piece of music that should be judged on its merits independent of context—though that’s highly unlikely for a long, long time. In the meantime, it’s hard to listen to Nick Cave as we once did. (Sept. 15)

Stream: “Jesus Alone,” “I Need You,” “Distant Sky”

Nels Cline - Lovers (Blue Note)

Best known as the lead guitarist in Wilco, Cline has a long and storied history in punk, experimental and jazz circles. Rarely, however, has his solo work ever sounded this pretty. It is his debut for legendary jazz label Blue Note, so it shouldn’t be surprising that squalls of noise didn’t really make the cut. Instead, this double album combines Cline originals with covers of Broadway (Rodgers, Hart, Hammerstein and Kern, in their various permutations), Henry Mancini, peers like Sonic Youth and Arto Lindsay, jazz innovators like Jimmy Giuffre and Annette Peacock, and obvious influences like Gabor Szabo.

Cline’s guitar work is sublime; we would expect nothing less. What really elevates this record, however, are the arrangements by trumpet player Michael Leonhart, who not only leads a four-piece brass section, but also a six-piece woodwind section (including two people both credited with playing C, alto and bass flutes), a six-piece string section and more, mostly drawn from John Zorn’s circles in New York City’s avant-garde scene. For all that power, Lovers is deliberately an easy-listening record, albeit one that challenges as often as it caresses. (Sept. 1)

Stream: “Cry,Want,” “It Only Has to Happen Once,” “Snare, Girl”

De La Soul – And the Anonymous Nobody (Sony)

Full disclosure: I haven’t listened to a De La Soul album in 20 years, since 1996’s Stakes is High. I’m guessing that you haven’t either. But in a genre with a paucity of “legacy artists,” De La Soul never went away: the innovators continued to explore and evolve, their only brushes with the mainstream coming through their appearances on Gorillaz records. Their early records are out of print and not available on streaming services, due to licensing issues that inevitably plague the sample-heavy recordings.

While they’re far from an “anonymous nobody,” De La Soul do face an uphill struggle to get attention: hence this crowdfunded ninth album, with a diverse guest list with some A-listers on it, almost all of them incongruous. One doesn’t associate Snoop Dogg or 2Chainz with the hip-hop lineage that descends from De La Soul, but they show up here and fit in seamlessly. Friend and collaborator Damon Albarn (Gorillaz, Blur), on the other hand, seems lost. Things get really weird when Justin Hawkins of the Darkness shows up on a song with huge, Queen-size choirs and raging guitar solos. I’d like to say that the collaboration with David Byrne makes a semblance of more sense—but it doesn’t. The one collaboration here that really clicks is with Usher, on a rarity in De La Soul’s catalogue: a straightforward narrative track.

Anonymous Nobody is sprawling and ambitious, but succeeds most when De La Soul push within (the loosely defined) boundaries of hip-hop rather than trying to prove they can be everything to everyone—a trait that can most likely be chalked up to Albarn’s bad influence. (Sept. 1)

Stream: “Pain” feat. Snoop D., “Greyhounds” feat. Usher, “Nosed Up”

DJ Shadow – The Mountain Will Fall (Universal)

Yes, it’s been 20 years since DJ Shadow’s debut and his masterpiece, Endtroducing. What better way to celebrate its longevity than to listen instead to what’s probably Shadow’s finest new album since then? (But of course, there is also yet another reissue of that album out shortly.) Being the musically curious person he is, Shadow has been confounding expectations for decades now: though he excels at experimental soundscapes rooted in sample-based, downtempo hip-hop, Shadow always wants to try a bit of everything. Why most of his albums have failed since Endtroducing—despite plenty of great tracks interspersed between them—is that he wants to do it all at the same time, and the effect can be jarring, especially when he toys unsuccessfully with rock music.

So yes, there’s still some old-school hip-hop on The Mountain Will Fall, including guest spots from Ernie Fresh and Run the Jewels, which jump out of this mix, for better and worse, respectively. But there is also plenty of evidence that Shadow is a man of his time, looking to modern electronic innovators for inspiration (shades of Arca, Haxan Cloak). At the same time, instead of sampling old David Axelrod records, he’s employing modern jazz figures like British trumpeter Matthew Halsall. He’s using drum machines not just for rigid rhythms, but as elastic, improvisatory tools (“Three Ralphs”).

If he keeps this up, maybe 20 years from now we won’t still be talking only about his debut album. (Sept. 8)

Stream: “Bergschrund” feat. Nils Frahm, “Pitter Patter” feat. G. Jones and Bleep Bloop, “Ashes to Oceans” feat. Matthew Halsall

The Frightnrs – Nothing More to Say (Daptone)

Canadians spent the summer watching a terminal cancer patient triumph on stage during a cross-country tour. The singer of this New York City roots reggae band didn’t have the option of performing with his ALS, but he was intent on finishing the album he started just before the diagnosis. He died three months before its release date this week, just after seeing a Sharon Jones show in Central Park. The album’s title is quite literal.

That knowledge informs our reading of many seize-the-day lyrics here, but the real appeal is Dan Klein’s voice itself, a falsetto that aspires to the otherworldly appeal of Horace Andy or the Congos; it’s hard to top those angelic aliens, but Klein certainly comes close. His backing band—like all other Daptone acts, whether they’re rooted in soul, gospel or Afrobeat—don’t bother with modernizing their sound in the least: this record sounds exactly like it was transferred from dusty master tapes that were rescued from a fire at Lee “Scratch” Perry’s studio. It sounds all the better for it. (Sept. 1)

Stream: “All My Tears,” “Gotta Find a Way,” “Trouble in Here”

Daniel Lanois – Goodbye to Language (Anti)

Goodbye to Language! It’s an instrumental album, get it? Yes, Daniel Lanois is now of the age where he can make punny grandpa jokes. Not that there’s anything amusing about his ninth solo release (depending on how you count them), which amounts to Lanois and recent collaborator Rocco DeLuca alone in the studio late at night, beaming themselves into space on sound waves emanating from heavily treated steel guitars. It’s haunting psychedelic ambient music, best appreciated loud and in headphones—befitting a man who is still better known as a producer (one who started under Brian Eno’s tutelage) than a solo artist. It’s impossible to discern how much of this is played live and run through effects versus what might be studio edits of jams, but Lanois and DeLuca definitely share a psychic connection of some sorts here. There’s zero sign of Lanois the songwriter here—sorry, Acadie fans. This is purely Laonis the interstellar sonic adventurer. (Sept. 8)

Stream: “Low Sudden,” “Deconstruction,” “Heavy Sun”

Tami Neilson – Don’t Be Afraid (Outside)

This Canadian is a star in her adopted nation of New Zealand, where she’s racked up plenty of country music awards and songwriting accolades. Don’t Be Afraid is only her second album to be released in her motherland, and we’d be fools to ignore this powerhouse voice any longer—a voice that could front an amplified band without the use of a microphone.

Her last album, Dynamite!, was cut from the Patsy Cline mould, very much rooted in country music from the late ’50s, early ’60s. This time out the vibe is still decidedly old school, but Neilson gets bluesier and bolder, touching on torch songs and rockabilly and soul. Informed by the death of her beloved father—with whom she was in a family band when she was a kid—Don’t Be Afraid is considerably darker in tone, which gives her vocals even more of a chance to dig in deep. On the title track, she goes for full-out gospel-style projection over a slow blues, sounding more like Aretha Franklin that one would ever expect from this country belter. (Sept. 22)

Tami Neilson plays the Starlight in Waterloo on Oct. 4, and the Rivoli in Toronto on Oct. 6.

Stream: “Holy Moses,” “Bury My Body,” “Don’t Be Afraid”

Dolly Parton – Pure and Simple (Sony)

Is it weird that a 70-year-0ld woman has written a new song called “I’m Sixteen”? It’s actually about feeling 16 again: which apparently she does, having renewed her vows this year to her husband of 50 years (who she met when she was 18, in 1964, but who’s counting?).

The country music legend has 42 albums behind her, and many of the last 20 years have been highly acclaimed. This one, on the other hand, is pleasant but hardly noteworthy. It feels rushed in order to promote her biggest tour in years, which was far more memorable than this collection. (Sept. 1)

Stream: “Pure and Simple,” “Can’t Be That Wrong”

Prophets of Rage – The Party's Over EP (Universal)

That’s a pretty funny title for a debut EP. It’s also entirely apt.

Prophets of Rage are the supergroup comprised of the former members of Rage Against the Machine fronted by Chuck D of Public Enemy and B-Real of Cypress Hill—all groundbreaking artists, revolutionary even (certainly true of PE; the others less so). For anyone who came of age in the ’90s and remembers the Public Enemy/Anthrax collaboration, or how explosive Rage Against the Machine was in 1992, expectations are considerably high.

For whatever reason, it doesn’t work at all. Like, not in the slightest. The band sounds the same, for better or worse; Chuck D is still a formidable force on the mic; B-Real, on the other hand, sounds a bit out of his depth. Nothing gels. Chuck can’t find his groove. What was once innovative about Rage has been diluted ever since Limp Bizkit hijacked the concept of rap-rock and flicked it to the frat crowd.

What’s worse is the fact that on this slight EP they’ve chosen to announce their arrival by, um, murdering their back catalogue. So we have infinitely inferior versions of the PE song from which they take their name and “Shut ’Em Down,” a completely unnecessary version of “Killing in the Name” that should stay on the stage; and a ridiculous mash-up of “Fight the Power” and the Beastie Boys’ “No Sleep Til Brooklyn”—mysteriously titled “No Sleep Til Cleveland,” apparently a reference to the recent Republican convention there, although they don’t bother changing the chorus until the final seconds. The one new song, the title track, doesn’t begin to approach the social critique that these artists once excelled at—which is downright shocking, considering the headlines of the last few years. Even worse, the track is a total dud.

The band’s merch cheekily appropriates Donald Trump’s campaign hats, with the slogan, “Make America rage again.” But the Prophets of Rage inspire rage of a different sort: rage that this is all that these giants could come up with. (Sept. 8)

Stream: Nah, don’t bother

Wilco – Schmilco (dpm/Anti)

“I always hated those normal American kids,” sings Jeff Tweedy, a man who has led Wilco through a series of left turns that confounded anyone who wanted them to be a classic rock band with an alt-country bent. So even here, on what is largely a quiet, acoustic record, Wilco doesn’t offer retreads of “California Stars” or “How to Fight Loneliness.” Instead, avant-garde guitarist Nels Cline bends notes and appears to crawl inside his instrument to extract soundscapes to colour the songs. Drummer Glenn Kotche, whose brilliance normally gets obscured when this band plays it straight, comes alive here in ways I haven’t heard him do for a while in Wilco. Everyone else takes cues from the third Velvet Underground record, where a band capable of fury and chaos distilled their energy into quiet, delicate material. Tweedy’s love of cult hero Bill Fay also shines through. As with all late-period Wilco, there are several clunkers here (“We Aren’t the World”), but this is their most satisfying record in years. (Sept. 22)

Stream: “Normal American Kids,” “Cry All Day,” “Someone to Lose”

Jenny Whiteley – The Original (Black Hen)

Jenny Whiteley was born into a family that is Ontario folk music royalty: father Chris, uncle Ken, brothers Dan and Jesse, and cousin Ben. She grew up at folk and bluegrass festivals, and her first professional gig was at age eight. Here, she revisits traditional songs she played with her elders and her peers earlier in her career, as well as three new songs and a cover of Toronto songwriter Chris Coole. That song, “$100,” is about the near-impossibility of being a working musician when “people don’t pay for music anymore.” It has all the hallmarks of a modern standard, and the more people who cover it the better—though it’s hard to imagine someone bettering Whiteley’s version. Sam Allison’s bare-bones production and arrangements are pitch perfect, particularly on the bass harmonica and whistling choir on “In the Pines.” Fans of Sarah Harmer’s acoustic recordings will find plenty to love here, as will anyone who didn’t get enough finger pickin’ on the festival circuit this year. Recorded at the home studio of Hugh Christopher Brown on Wolfe Island, outside Kingston, The Original sounds like the best front porch concert you never heard this summer. (Sept. 29)

Stream: “$100,” “Banjo Girl,” “Higher Learning”