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The 100 Best Songs of 2017

This is a playlist. Click on each song title to stream it, click on the artist name for their webpage.

It was tempting to pick one of the segments of the Satoko Fujii Orchestra New York’s new release, Fukushima, as the best song of the year. But the single most relevant and mesmerizing album of 2017 is best heard as a contiguous suite. Taking one of its five movements out of context would spoil the experience. And it’s nowhere to be found online at the moment, anyway.

In lieu of that, the single best song of 2017, Kitten, by Dennis Davison, is still in the embryonic stage. It wasn’t released by a record label, or even recorded in a studio. It reached this blog as a voice memo, just vocals and guitar in a practice space. The frontman of cult favorite psychedelic band the Jigsaw Seen has written a lot of great songs over the years, but this one is the most harrowing. On the surface, it’s about a homeless guy who finds a kitten. He’s in trouble: he lives by the exit sign. And this is not a sweet love-conquers-all narrative. It’s a wish song – and a portrait of terminal depression as vivid and chilling as anything Phil Ochs or Ian Curtis ever wrote. And it’s as catchy as it is depressed.

Rather than trying to rank the other 99 songs here, they’re listed in rough chronological order of when they were either received or witnessed onstage. Rather than regurgitating the Best Albums of 2017 list, this one has a lot of songs that either haven’t been officially released, or were just so amazing to see live over the past year that it wouldn’t be fair to exclude them. Same rules as last year: one song per band or artist. Otherwise, half this list would be Ward White and Amir ElSaffar, and that would be counterproductive. You can go down the rabbit hole with any of the hundred artists on this list all by yourself without any further help from this blog.

Ward WhiteCoffee Maker
A pair of accomplices grow more desperate by the hour in this catchy yet characteristically enigmatic, Charming Disaster-esque post-murder narrative. The way White caps off his guitar solo is as cruel as it is priceless. From the even more inscrutable As Consolation, best rock album of 2017.

Jack GraceGet Out of Brooklyn
The baritone Americana crooner’s somber, heartbreaking requiem for a pre-real estate bubble New York. “The place held its own ground, the rivers separated where you bothered to go – really used to try to get out of Brooklyn, now everybody’s trying to get in.” From the album Everything I Say Is a Lie.

The Dream Syndicate  – Like Mary
The most harrowing track on Steve Wynn’s recently regrouped, legendary 80s band’s new album How Did I Find Myself Here is a catchy, tensely muted, grim portrait of a woman who may be a child killer…or just an Oxycontin casualty.

Amir ElSaffar’s Rivers of Sound – Ya Ibni, Ya Ibni (My Son, My Son)
A vast, oceanic Iraqi-flavored lament from the paradigm-shifting trumpeter/multi-instrumentalist’s Middle Eastern orchestral jazz group’s latest album Not Two. 

The Sadies – The Good Years
A brisk shuffle beat beneath hypnotically lingering guitars in this chilling Nashville gothic elegy for a disastrous marriage: “She couldn’t wait to clean out the place he occupied.” From the album Northern Passages.

Alice Lee – Your Blues
A savagely lyrical, spot-on soul anthem for the era of Ferguson and Eric Garner from the ex-New York singer/multi-instrumentalist’s brilliant new album The Wheel.

Charming Disaster – What Remains
The New York noir supergroup– led by Jeff Morris of lavish, dark, latin-flavored rockers Kotorino and Ellia Bisker of parlor pop existentialists Sweet Soubrette – slink their way through this chillingly allusive post-murder narrative inspired by Flannery O’Connor’s The River. From the album Cautionary Tales.

Los WemblersSonido Amazonico
A brand-new version of the eerie, slinky national anthem of psychedelic cumbia, which the Peruvian band wrote and first recorded almost fifty years ago. This one’s a lot longer and more psychedelic than any other version in existence, Chicha Libre’s included. From their unlikely and amazing comeback album Ikaro Del Amor.

 Sofia TalvikLullaby
Catchy, anthemic and resolutely optimistic on the surface: “Still you wish you were dead.” When the Nordic Americana songwriter played this at the American Folk Art Museum this past spring, you could have heard a pin drop. From the album Big Sky Country.

Castle Black – Broken Bright Star
Guitarist Leigh Celent’s evil, spare icepick intro kicks off this slowly marauding anthem that eventually explodes in a fireball of reverb. From the album Trapped Under All You Know.

Morricone YouthClunes Town
Del Shannon mashed up with Ennio Morricone – makes sense, right? – with distantly ghostly multitracked Karla Rose vocals. From the band’s Mad Max soundtrack

LusterlitCeremony
Frontwoman/drummer Susan Hwang gives this long, creepy, ineluctably crescendoing, chromatically-charged Cormac McCarthy-inspired anthem her most luridly Lynchian vocal ever. From the album List of Equipment.

Lorraine LeckieAmerica Weeping
Leonard Cohen died the day before the fateful 2016 Presidential election. This careening psychedelic riff-rocker is the eclectic bandleader’s anguished response. Free download!

Son of SkooshnyUntold History
With Steve Refling’s keening slide guitar, this is one of the band’s harder-rocking numbers, Mark Breyer’s chillingly autobiographical account of growing up amid all sorts of familial and social Cold War-era dysfunction. From the album Matchless Gifts.

Aimee MannLies of Summer
Slow and lush, heavy like a thunderstorm, this mutedly depressed orchestral rock tale doesn’t reveal whether the narrator is addressing a prisoner or a dead person until the very end. From the album Mental Illness.

Brian Carpenter & the ConfessionsCity on Fire
The Ghost Train Orchestra trumpeter/bandleader plays keys and guitar and lends his baritone voice to this brilliantly Lynchian band, duetting with chanteuse Jen Kenneally in this slinky, bolero-tinged smash. They managed to steal the spotlight from Big Lazy on a Friday night in the East Village last month, no joke. 

Changing ModesDust
Awash in orchestral keys and troubled close harmonies from the band’s two frontwomen, this slowly crescendoing apocalypse anthem makes an apt coda to the New York art-rock band’s brilliant album Goodbye Theodora.

James Williamson and Deniz TekNo Sense of Crime
The best and most death-obsessed track from the Stooges’ immortal Kill City album, reinvented as lush, poignant, similarly opiated acoustic parlor rock. Giant Drag’s Annie Hardy adds plaintive high harmonies, with violin from Petra Haden. From the killer, wryly titled ep Acoustic K.O.

Miramar  – Sin Ti
A psychedelically Lynchian, allusively Middle Eastern-tinged bolero, the highlight of the Virginia group’s show at Drom back in January.

Joshua GarciaThat’s the Way You Drop a Bomb
Oldschool first-wave-style folk revival narrative as one of the crew of the Enola Gay might have heard it. Chililng beyond belief, and a staple of the New York songwriter’s live show.

Greek JudasKontrabandistas
A drug-smuggling anthem from the 1930s Greek underworld reinvented as searing, menacing, twin guitar-fueled metal. From the band’s brand-new debut album. 

The New Pornographers – High Ticket Attractions
Motorik Pulp-style new wave satire of yuppie status-grubbing. Llittle do they know how much corporations are taking advantage of them. From the album Whiteout Conditions.

Kerem Guney – Sicak Bir Sevda
Is it fair to put a haunting Turkish psychedelic rock anthem from the late 70s – like the Doors with an electric saz – on a list of 2017 songs? It hasn’t been released outside Turkey until the Uzelli Psychedelic Anadolu compilation came out earlier this year. 

MeszecsinkaHajnalban (At Dawn) – fifteen minutes of evil shamanic post-Velvets Balkan crash and wail from this phantasmagorical female-fronted Balkan group. Another band who killed it back in January at Drom.

Jaye BartellSwim Colleen
With his deadpan baritone and reverb-drenched, spare guitar hooks, nobody’s better at allusive macabre narratives than this guy. From his album In a Time of Trouble, a Wild Exaltation.

Carol LipnikMy Piano
Stately, graceful art-rock eco-disaster parable: after all, pianos are made from trees. Her vocal crescendo will give you goosebumps. She and pianist Matt Kanelos held the crowd rapt with this at Pangea back in January.

The Jigsaw SeenMy Name Is Tom
A rare successful mashup of dark Indian raga theme and American psychedelic rock, and one of the LA band’s most iconic songs. They ripped the roof off with this at Bowery Electric back in March.. From their latest album For the Discriminating Completist.

Ran Blake & Dominique Eade It’s Alright, Ma (I’m Only Bleeding)
The iconic noir pianist and the brilliant jazz singer outdo Dylan’s original. Eade’s rapidfire articulation underscores the venom and bitterness in this exasperated capitalist treadmill tirade as Blake anchors it with his signature blend of eerie glimmer and murk. From their album Town & Country.

Rev. Billy & the Stop Shopping Choir End of the World
The fearless environmental activist and his mighty, roughly sixty-member choir opened their towering Prospect Park Bandshell set this past summer with this ominous original gospel tune: “Only so many beautiful days on earth!”

The Robert Sabin Dectet – Ghost
A portrait of a house whose occupant has just died, a somber belltone pavane punctuated with artfully suspenseful use of space and moody horns. From the bassist’s album Humanity Part II with his lushly cinematic large ensemble

Gacaltooyo Band – Ninkaan Ogayn (He Who Does Not Know)
Never before released outside of Somalia, this late 70s jam is a slow, haunting mashup of noir soul, Bollywood balladry, Ethiopiques and what sounds like J-pop – Somalian pentatonic scales come across as positively Asian in places here. From the compilation Sweet As Broken Dates: Lost Somali Tapes from the Horn of Africa

The Mehmet Polat TrioEverything Is in You
Joined by kora and ney flute, the brilliant Turkish oudist shifts between otherworldly Middle Eastern modes, Asia and Africa in this pensive epic. From the album Ask Your Heart

Black Lesbian FishermenRagged Ritual
This trippy, practically fifteen-minute drone-rock dirge has subtle Indian raga allusions, moody Middle Eastern ambience and a slow build to a darkly majestically macabre, resonant swirl of organ and guitar. From the album Ectopic Apiary.

Hearing ThingsStalefish
A mashup of growling go-go funk, horror surf, Middle Eastern music and the Doors, it’s a staple of Brooklyn’s funnest band’s live show.

NO ICELeave Her Alone
Musically, it’s a bitter, fiery soul-rock anthem. Lyrically, it’s one of the year’s classiest numbers: cool guys don’t harass women. From the Brooklyn band’s amazingly multistylistic, fun debut full-length album Come On Feel the NO ICE.

Orkesta MendozaContra La Marea
The  briskly strutting noir centerpiece of the slinky psychedelic mambo/cumbia band’s latest album ¡Vamos A Guarachar!, brooding baritone sax and clarinet alongside bandleader Sergio Mendoza’s reverberating guitar multitracks.

The Trio JoubranLaytaka
The gorgeously fluttering, understatedly elegaic intro to the oud-playing brothers’ album and DVD A’Lombre Des Mots (In the Shadow of Words), their tribute to their longtime collaborator, iconic Palestinian poet and activist Mahmoud Darwish. They mesmerized the crowd with this at their Lincoln Center show this past June.

Doug Wieselman’s Trio S  Dreambox
A cello drone and flickers from the drums underpin the bandleader’s moody Balkan melismas. building to a ferocious, Macedonian-flavored dance – the high point of their new album Somewhere Glimmer.

Money Chicha – Tamborcita
The most epic number on the debut album by the Austin psychedelic cumbia monsters (a spinoff of the slightly less psychedelic Grupo Fantasma), simmering and swooshing with ominous chromatics, reverb guitar and dub tinges.

Ella AtlasLeave Me in Blue
The most darkly lingering, epically sweeping track on 2017’s best debut album, The Road to Now, the Lynchian first release by enigmatic singer Tarrah Maria and Lost Patrol guitarist Steven Masucci.

King Gizzard & the Lizard WizardOpen Water
A hash-smuggling Red Sea speedboat theme of sorts, it’s got an energetic, hypnotically shuffling, qawwali-ish groove, icepick staccato guitar and all sorts of eerie chromatic hooks. From the album Flying Microtonal Banana.

Timatim FitfitLiving in the City
A stabbing parlor pop tune, John Cale mashed up with the Handsome Family from the menacing, carnivalesque solo album The Sugar Man, a creepy side project by Orphan Jane accordionist Tim Cluff.

Omar SouleymanMawal
An uncharacteristically slow, hauntingly violin-driven refugee’s lament from the gruff Syrian-born crooner’s album To Syria With Love.

Clint Mansell – Wheatfield With Crows
With its shivery violins, lustrous long tones and darkly ambient washes, this is where the film composer’s score to the Van Gogh movie Loving Vincent breaks into a scream.

 What Cheer? Brigade Black Cannon
Sort of a swaying Balkan brass Hawaii 5-0; the stampeding doublespeed bridge and the breathless charge on the way out are the high points of the East Coast’s largest brass band’s album You Can’t See Inside of Me.

The Legendary Shack Shakers  – White Devil
“White is the color of hipsters,” frontman JD Wilkes snarls as this noir blues stomps along, flickering with out-of-tune piano and Rod Hamdallah’s screaming distorted guitar. From the album After You’ve Gone.

BobtownMagilla Lee
New York’s best folk noir band blend their charming voices for this blithely bouncy narrative about “true meditation through medication” with dire consequences. They slayed with this at this year’s Brooklyn Americana Festival.

Nicole Atkins  I Love Living Here
A slow-simmering, crushingly sarcastic, angst-driven piano-and-horns anthem set in 2017 Brooklyn gentrifier hell. From the noir soul singer’s latest album Goodnight Rhonda Lee.

Anbessa OrchestraNagatti Si Jedha
The Israeli-American Ethio-jazz band jam the hell out of this uneasily catchy, slinky, reverb guitar-driven anthem, a mashup of vintage soul and ancient African riffs, when they play it live. From their most recent ep.

Red Baraat – Gaadi of Truth
Fiery, chromatic horn-driven live bhangra with a little hip-hop flavor: like an Indian Slavic Soul Party. From the album Bhangra Pirates.

The Sirius QuartetSpidey Falls!
This high-voltage microtonal string epic is part Big Lazy crime jazz, part Bernard Herrmann, part Piazzolla and part turbocharged tarantella.

Rahim AlHajChant
The Iraqi-born oudist and his trio entertained the crowd at Lincoln Center this past spring with an intimate version of this uneasily bouncy, subtly sardonic theme inspired by his mom trying to keep her kids out of trouble. This video link above is the full orchestrated version

Dos Santos Anti-Beat Orquesta – Red
Slinky, luridly organ-driven psychedelic cumbia mixed up withChicano Batman-style psychedelic soul. From the album Fonografic.

Nina Diaz – Star
Towering, angst-fueled noir punk cabaret, like a mashup of Vera Beren and Nicole Atkins. From the Girl in a Coma’s excellent debut album The Beat Is Dead.

Kalyani SinghEllis
An allusively grisly Ellis Island scenario set to a soaring Indian carnatic melody recast as gothic Americana – told from the point of view of a ghost. Or is she? You could have heard a pin drop when Singh sang this at the American Folk Art Museum last year. 

The NYChillharmonicBlumen
A lush, hypnotic, uneasily circling Radiohead-inflected epic from singer Sara McDonald’s mighty 22-piece New York band, who mash up big band jazz and symphonic rock. They raised the roof with this at Joe’s Pub last spring.

Dalava – The Bloody Wall
A murder victim haunts the crime scene over almost imperceptibly crescendoing art-rock in guitarist Aram Bajakian and singer Julia Ulehla’s reinvention of this old Moravian folk tune from their latest album The Book of Transfigurations.

Electric YouthIt’s Them
The Canadian duo’s enveloping, slowly crescendoing take on a classic Lynch film theme – in this case, for a movie that never came out. From the album Breathing.

Mulatu AstatkeYekatit
The godfather of Ethio-jazz, backed by an impressively tight pickup band including keyboardist Jason Lindner and trumpeter Adam O’Farrill, kept the uneasy, brassy groove going for almost fifteen minutes with this classic in Central Park back in August.

Los Crema Paraiso – Shine On You Crazy Diablo
The cinematic Venezuelan psychedelic trio have been playing their deadpan version of the Pink Floyd epic all the way through in concert. for more than a year now. They didn’t extend it all the way through at Barbes back in July, but it was still amazing how they can recreate it while adding wry dub tinges. This is a similar, relatively brief eight-minute studio version.

Melissa & the MannequinsCan’t Let Go
The latest deliciously catchy, jangly single from New York’s best new band of 2017; bittersweetly coy vocals, ringing guitars and a little vintage soul too. 

BrigaBela Sum
Mesmerizing singer Eva Salina and Balkan accordionist Sergiu Popa join the Quebecoise violinist on this broodingly gorgeous ballad from the album Femme.

Funkrust Brass Band – Dark City
The title track, and most distinctively chromatic, Balkan-flavored anthem from the debut album by New York’s largest and most explosive brass band.

 Sofia Rei – Arriba Quemando El Sol
The stark Violeta Parra peasant’s lament reinvented as relentless, marching art-rock fueled by Marc Ribot’s unhinged guitar. From the album El Gavilan.

Kelly GreenCulture Shock
A bustling, epic noir jazz theme that eventually descends into dissociative Sketches of Spain allusions, flutters loosely and then jumps back into the rat race again. Centerpiece of the album  Life Rearranged.

David Smooke & the Peabody Wind Ensemble – Nutshell Studies of Unexplained Death
The epic, sixteen-minute title track to the toy pianist’s new album is a real cinematic showstopper. Horrified tritone cadenzas, thunderous swells, unexpectedly dusky microtonal banjo, and then toy piano plinking and clicking mutedly under extreme duress.

Mike Neer’s Steelonious – Off Minor
Smoking steel guitar, organ and a rhythm section take Thelonious Monk’s classic to the next Lynchian level. From the band’s debut album.

Vigen HovsepyanGulo
The most haunting track on the powerful Armenian singer and multi-instrumentalist’s new album Echoes: Revived Armenian Folk Music is this slowly swaying 6/8 piano ballad.

La Mar EnfortunaAman Minush
Elysian Fields guitarist Oren Bloedow and singer Jennifer Charles’ Sephardic art-rock side project made entrancing psychedelic rock out this darkly bouncy old tune at their November show at the Jewish Museum

Noura Mint SeymaliSoub Hanak
A microtonal duskcore anthem, the most straight-up rock number from the fearless jamband leader’s album Arbina.

Hilary DownesSecrets of Birds
The art-rock songwriter’s band take their deepest plunge into noir on the album’s title track: “Save me from these thoughts, divebomb every part,”…yet, “I am not afraid of the  darkness in my way.”

Trina Basu & Arun RamamurthySindhu Bhairavi
Haunting, edgy, hypnoticallly dueling Indian violins – since this live recording from their amazing Noguchi Museum show in September is an audio-only clip, it’s tantalizingly hard to figure out who’s playing what.

The Hooten Hollers – Scrapper’s Lament
An amusing, amped-up oldschool country ballad about the joys of scrounging for scrap metal – a perfect job in these new depression times. From the band’s 2017 album.

Borbely Mihaly Polygon2/1
A bouncy, uneasy, staccato Hungarian bass clarinet/cimbalom/drums theme, one of the highlights of the trio’s amazing show at Drom back in January.

Tomas Fujiwara’s Triple DoubleLove & Protest
Mournful, spacious blues trumpet over a twin-drum stampede spiced with burns and scrapes from guitarists Mary Halvorson and Brandon Seabrook: Wadada Leo Smith clarity and Amir ElSaffar majesty. From the group’s debut album.

River CultShadow Out of Time
Epic Daydream Nation-era Sonic Youth slides into galloping post-Sabbath in this careening live track from the heavy psych band’s latest ep Live at WFMU.

Bridget KibbeyToccata in D
This is the famous J.S. Bach organ piece that’s been used in a million horror movies…played solo, matter-of-factly and celestially, on the harp. It’s as funny as it is subversive, but ultimately it’s still arguably the creepiest piece of music ever written. A downtown crowd at the Times Arrow Festival earlier this year didn’t know what to make of it. 

Dawn ObergNothing Rhymes With Orange
The most bleakly hilarious song of the year is this sharp, literary middle finger raised at “Putin’s little bitch” in the Oval Office. Title track from the parlor pop pianist’s latest ep.

Kacy & Clayton – A Certain Kind of Memory
A dead ringer for Jenifer Jackson in wounded dark country mode circa 2007, down to the slow, lingering, Richard Thompson-esque arrangement. From the album The Siren’s Song.

Super Yamba BandControl Per Capita (C.P.C.)
One of the Brooklyn psychedelic Afrobeat band’s most lavish, funky jams. They got a packed house at Barbes boiling over with this last summer. 

 Chicano BatmanThe Taker Story
A anti-imperialist broadside, part Isaac Hayes hot butter, part Gil Scott-Heron, with a hazy latin tint from the psychedelic latin soul stars’ latest album Freedom Is Free.

Marcellus HallStill in Range
The ex-White Hassle frontman treated a Williamsburg crowd to an unexpectedly slashing take of this deviously allusive, pouncingly catchy, sardonic social media-era critique last spring. From the album Afterglow.

The Klezmatics – The Yoke
A crushingly bitter Catalan dirge told from a slave’s point of view, the highlight of NYC’s original klezmer punks’ latest album Apikorsom/Heretics. They held a Central Park crowd rapt with this last summer. 

Agnes ObelTrojan Horses
Creepy horror-movie piano and dark low strings anchor the evil, whispery harmonies of this moody Nordic art-rock waltz from the album Citizen of Glass.

 Pokey LaFargeSilent Movies
An offhandedly stinging, sarcastically swinging oldschool soul anthem for an era of selfie overkill. He and his band motored through this at Bowery Ballroom back in July. From the album Manic Revelations.

Algiers – Cleveland
A fierce yet enigmatic anti-police violence anthem, part noir gospel, part postrock, part postapocalyptic film theme from the band’s second album The Underside of Power.

Paris ComboBonne Nouvelle
Big bustling noir swing tune with a bitter undercurrent from a darker, more lyrically hilarious French counterpart to the Squirrel Nut Zippers. From the album Tako Tsubo.

Bridget KearneyLiving in a Cave
Orbison noir through the prism of 2017 new wave revival. From the Lake Street Dive bassist’s excellent, catchy debut album Won’t Let You Down.

Gold DimeDisinterested
The side project by Talk Normal’s Andrya Ambro punctuates this surreal drone-rock epic with all kinds of delicious, darkly explosive riffage. From the band’s debut album Nerves.

The Dirty Bourbon River ShowPoor Boy, Rich Girl
A sly steamboat-soul slap upside the head of an easy target – but some targets deserve to be hit upside the head. From the album The Flying Musical Circus.

 Meaghan BurkeGowanus
A swirling, theatrical orchestrated rock lament from the charismatic cello rock songwriter’s new album Creature Comforts.

The Ed Palermo Big BandOpen Up Said the World At the Door
A wry big band jazz cover of the haphazardly careening Jeff Lynne cult favorite from the Move’s 1970 Looking On album that perfectly crystalizes the angst-fueled bustle the original was shooting for. From the album The Great Un-American Songbook Volumes 1 & 2.

Touched By GhoulMurder Circus
The title track from the darkly enigmatic, female-fronted Chicago punk/postrock band’s debut album works artfully cynical variations on a familiar carnival theme. 

 Marta SanchezScillar
The jazz pianist and her band artfully shift roles in this broodingly modal, looping, haunting elegy of sorts. From her new quintet album Danza Imposible.

Seun Kuti & Egypt 80African Dreams
“Conscious capitalism doesn’t exist,” the torchbearer of the original Nigerian Afrobeat legacy remarked at his Central Park show this past summer before launching into this pouncing, undulating cautionary tale for those who might want to play that game.  

Ensemble Mik Nawooj Gin & Juice
A deadpan, operatic orchestral cover of the Snoop Dogg driving-while-wasted classic. For real. They killed with this in Harlem back in March.

NehedarThe Grudge
Broodingly punchy 60s psych pop with coy 80s new wave tinges and a deliciously vengeful lyric. “Wanna step on me so you can rise to a better pedigree?…Put the claws back in your kitty paws.”

 Ani Cordero – Culebra
Growling surf bass contrasts with spare Spanish guitar and ominously reverberating electric riffage in this kinetic number from the fearless protest song specialist. From the album Querido Mundo.

Maximo ParkWork and Then Wait
A defiant 99-percenter singalong anthem, sort of a cross between mid-90s Blur and an artsy dance act like the Cat Empire. From the album Risk to Exist.

The PorchistasMr. Chump
Which raises a middle finger to the American Boris Yeltsin. This orange-wigged creep is a “draft-dodging scum” who “beats on little girls and cheats on Monopoly.” Then the girlie chorus chimes in: “Eats shit!” From the album Axis & Allies.

GalanosFeel Good
Echoey and surreal, this macabre, whispery, reverb-drenched noir theme slowly coalesces out of a Lynchian spoken word interlude laced with evil guitar flickers. From the album Deceiver Receiver.

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The 50 Best Albums of 2017

Scroll down for links to stream each of the albums here…except for the very newest one, which happens to be #1.

The best and most relevant album of 2017 was Fukushima, by the Satoko Fujii Orchestra New York. This haunting, epic five-part suite is not a narrative of the grim events of March 11, 2011, but rather the Tokyo-born pianist/bandleader’s reflection on personal terror and horror in the wake of the worst nuclear disaster in world history.

Fujii’s stock in trade is not political music. Her vast catalog – over eighty albums as a leader or co-leader since the 90s – encompasses everything from epic improvisational soundscapes, to dark, acerbic piano compositions, rainy-day Japanese-flavored jazz-folk and collaborations with a global cast of artists. This may be her greatest achievement to date, as lush and sweeping as it is anthemically tuneful. And as a response to greed-fueled attempts to cover up the deadly environmental damage caused by the meltdowns, it’s as savage as Shostakovich’s greatest symphonies or Charles Mingus’ political broadsides.

It’s not streaming anywhere at present (end of December 2017), but it’s just out and available from Fujii’s Libra Records. Watch this space for a link! 

Vast research and triage went into the rest of this list. If you count multitasking as listening, an extremely ambitious listener can digest maybe three new albums a day. That’s about 1200 albums a year. An extremely ambitious music blogger can sample several thousand and then attempt to make sense of the very best. As in previous years, these albums are listed in rough chronological order considering when they were received here, rather than in any kind of hierarchical ranking. Which would be absurd, anyway – if an album’s one of the year’s fifty best, it’s got to be pretty damn good.

Ran Blake & Dominique Eade – Town & Country
Protest jazz, icy Messiaenic miniatures and luminous nocturnes from the noir piano icon and his brilliant longtime singer collaborator. Listen at Spotify 

Ward White – As Consolation
The best rock record of 2017 is a surreal, twistedly psychedelic, ferociously literary masterpiece, from the guy who also put out the album ranked #1 here in 2013. Listen at Bandcamp 

The Dream Syndicate – How Did I Find Myself Here
Iconic noir songwriter Steve Wynn regrouped his legendary, influential 80s band, who picked up like they never left off with a mix of psychedelia, dreampop and volcanic jams. Listen at youtube

Amir ElSaffar’s Rivers of Sound – Not Two
The paradigm-shifting trumpeter/santoorist/singer’s latest large-ensemble recording, blending elements of Middle Eastern, Indian music and jazz is an album for our time: turbulent, restless and packed with poignant solos from a global lineup. Listen at New Amsterdam Records 

Son of Skooshny – Matchless Gifts
Wickedly lyrical songwriter Mark Breyer, longtime leader of powerpop cult favorites Skooshny, carries on with this richly jangly magnum opus, which collects his best songs of the last ten years or so. Listen at Bandcamp 

Phil Ochs  – Live in Montreal 10/22/66
What’s the iconic 1960s political firebrand doing on a list devoted to new music? This is new – a never-before-released set of many of his most shattering songs. It’s probably the definitive solo acoustic Ochs album. Listen at Spotify 

Charming Disaster – Cautionary Tales
The New York noir supergroup – led by Jeff Morris of lavish, dark, latin-flavored rockers Kotorino and Ellia Bisker of parlor pop existentialists Sweet Soubrette – expand their palette from murder ballads to apocalyptic anthems, spy themes and a novelty song that had to be written. Listen at Bandcamp 

Alice Lee – The Wheel
The long-awaited new album by one of the most brilliantly lyrical, sardonically insightful, captivating soul singers and songwriters to emerge from this city in this century. Listen at Bandcamp 

Changing Modes – Goodbye Theodora
Postapocalyptic art-rock, noir surf and snarling dreampop are just the tip of the iceberg on the keyboard-driven, female-fronted cult favorite New York band’s seventh album. Listen at Spotify

The Mehmet Polat Trio – Ask Your Heart
Serpentine, uneasily picturesque, dynamic Middle Eastern, African and Balkan themes from the virtuoso oud player and his eclectic group. Listen at Spotify 

NO ICE – Come On Feel the NO ICE
The Brooklyn What’s Jamie Frey continues as part of this careeningly diverse group, arguably the best band to come out of Brooklyn in the past five years. Fearless soul-rock, unhinged post new wave and loud, enigmatic anthems with a killer, spot-on sense of humor. Listen at Bandcamp

Aimee Mann – Mental Illness
Morose, muted, characteristically slashing acoustic waltzes and orchestral pop from the perennially relevant psychopathologist. Listen at Spotify 

The New Pornographers – Whiteout Conditions
Sardonic, bitingly insightful new wave for an age of greed and narcissism from this era’s preeminent powerpop supergroup. Listen at Spotify 

Orkesta Mendoza – ¡Vamos A Guarachar!
The world’s darkest and slinkiest southwestern gothic psychedelic cumbia noir mambo band. Listen at Bandcamp 

Los Wemblers – Ikaro Del Amor
That a four-song ep could make this list testifies to how genuinely incredible, and improbable it is. Legendary in their native Peru, where they started almost fifty years ago, this psychedelic cumbia family band jam as eerily and otherworldly as they did when they first emerged from the jungle. Listen at Spotify 

The Uzelli Psychedelic Anadolu compilation
Spanning from 1975 to 1984, this collection of kinetic Turkish psychedelic rock and funk seems even more current in this era of surreal cross-cultural mashups, comprising songs by artists including Erkin Koray, Asik Emrah, Ali Ayhan, Deniz Ustu Kopurur and others. Listen at Spotify 

The Sadies – Northern Passages
The moodily jangly Canadian gothic cult favorites’ hardest-rocking and most psychedelic album. Listen at Bandcamp 

Morricone Youth – Mad Max
The iconic New York noir cinephiles’ first release of the year – one of a planned fifty recordings of scores for films they’ve played live to over the years – is far darker and more southwestern gothic-oriented than the road warrior film’s plot. With a Karla Rose vocal cameo, too. Listen at Spotify 

James Williamson and Deniz Tek – Acoustic K.O.
Two iconic guitarists who largely defined the uncompromising Detroit proto-punk sound of the 1970s flip the script with an acoustic ep of lushly orchestrated Stooges classics. Listen at Spotify 

Andina: Huayno, Carnaval and Cumbia – The Sound of the Peruvian Andes 1968-1978
Seventeen trebly, reverby, even rarer tracks than the psychedelic cumbia unearthed by Barbes Records on the iconic Roots of Chicha compilations. Los Walker’s are the best-known group here; Los Compadres del Ande, Los Jelwees and Huiro y su Conjunto, among others, are also included. This isn’t just chicha, either: there are horn bands and cha-cha groups here too. Listen at Bandcamp

Melange – Viento Bravo
The Spanish Nektar jangle and swirl and spiral through one brooding, psychedelic art-rock mini-epic after another. Listen at Bandcamp 

The Legendary Shack Shakers – After You’ve Gone
Unstoppable after twenty years on the road, the iconic ghoulabilly/noir Americana band dive deeper into their twisted, swampy roots. Guitarist Rod Hamdallah makes a furiously triumphant return. Listen at Spotify 

Mames Babegenush – Mames Babegenush With Strings
Dynamic, lush, soaring, swooping brass-and-reed-fueled original klezmer dance numbers and anthems from this powerhouse Copenhagen unit. Listen at Spotify

Briga – Femme
The Montreal-based violinist’s eclectic, incisive mix of Romany, Balkan and klezmer sounds, with a little psychedelic and hip-hop flavor. Listen at Bandcamp

Saffron – Will You
Magical singer Katayoun Goudarzi and sitarist Shujaat Khan team up with Rolling Stones saxophonist Tim Ries, pianist Kevin Hays and others for this hypnotic, otherworldly reinvention of centuries-old Indian carnatic themes. Listen at Rockpaperscissors 

Sweet As Broken Dates: Lost Somali Tapes from the Horn of Africa
Newly digitized, rare, otherworldly 1970s and 80s Somali psychedelic rock, funk and Afrobeat from cassettes and master tapes buried to hide them from bombing raids. Amazing stuff. Listen at Bandcamp 

Arthur Lee & Love – Coming Through to You: The Live Recordings 1970-2004
Four sprawling discs comprising most of this psychedelic rock legend’s best songs, which he rocks the hell out of in concert. Most of this stuff is previously unreleased, and further proof that Lee’s career was far from over by the time he was done with Forever Changes. Listen at Spotify 

Steelism – Ism
Friends of Dean Martinez meets Morricone Youth in this surreal, catchy mix of keening steel guitar-driven instrumentals. Powerhouse soulstress Ruby Amanfu guests on a track. Listen at Spotify 

Neotolia – Neotolian Song
Pianist Utar Artun’s acerbic, moodily cinematic, sometimes jazz-inspired Turkish ensemble with the great Jussi Reijonen on guitar and oud. Listen at Soundcloud 

Dalava – The Book of Transfigurations
Slashingly eclectic ex-Lou Reed guitarist Aram Bajakian and his singer wife Julia Ulehla join forces and reinvent haunting, often harrowing Moravian folk songs with a psychedelic edge.Listen at Bandcamp 

Vigen Hovsepyan – Echoes: Revived Armenian Folk Music
The evocative singer/guitarist’s brooding, eclectic ballads and anthems from decades past, featuring the great oudist Ara Dinkjian. Listen at Spotify 

Money Chicha – Echo in Mexico
This is psychedelic south-of-the-border funk band Grupo Fantasma proving how deeply they can go into heavy psychedelic cumbias. Listen at Soundcloud

Castle Black – Trapped Under All You Know
Layers of reverb guitars flickering and roaring through the shadows, Leigh Celent’s power trio put out the best short rock album of 2017. Listen at youtube 

The Sweetback Sisters – King of Killing Time
Hard country, early 50s style from the eclectic, purist, badass duo of Emily Miller and Zara Bode with a great band behind them. Listen at Bandcamp 

Clint Mansell – Loving Vincent soundtrack
A classic 21st century horror film score. It’s not a horror film per se, but you can see the madness coming a mile away. Listen at Spotify 

Ella Atlas – The Road to Now
Enigmatic, allusively torchy singer Tarrah Maria’s band put out one of the most Lynchian releases of the year, joining forces with Lost Patrol guitar mastermind Stephen Masucci. Listen at Bandcamp 

Kelly Moran – Bloodroot
Enigmatically glistening, baroque-tinged multi-keyboard instrumentals inspired by many species of woodland greenery. Listen at Bandcamp 

King Gizzard and the Lizard Wizard – Flying Microtonal Banana
On which the well-loved Aussie psychedelic band took their initial leap into eerie, Middle Eastern-tinged microtonal music. Listen at Bandcamp 

Nina Diaz  – The Beat Is Dead
The Girl in a Coma bandleader gets ornate and cinematic with this dark, 80s new wave-style collection. Listen at Spotify 

Funkrust Brass Band – Dark City
High-voltage, rat-a-tat original Balkan brass anthems from this huge Brooklyn ensemble fronted by Charming Disaster’s Ellia Bisker. Listen at Bandcamp 

The Warlocks – Songs from the Pale Eclipse
Jangly, punchy, catchy 60s Laurel Canyon-style psychedelic rock – in lieu of a new album by the Allah-Las, this one will do fine. Listen at Bandcamp 

Galanos – Deceiver Receiver
With a gutter blues influence, some Thee Oh Sees dark garage-psych and some Black Angels ambience, this group are sort of the X of creepy 21st century rock. Listen at Bandcamp

Chicano Batman – Freedom Is Free
Organist Bardo Martinez and his shapeshifting band swing kaleidoscopically between latin soul, Zombies-style psych-pop, hard funk and Isaac Hayes-style epics. Listen at Bandcamp

Bridget Kearney  Won’t Let You Down
One of the year’s catchiest albums features Lake Street Dive’s killer bassist playing most of the instruments, through a mix of powerpop and new wave-flavored sounds. Listen at Bandcamp  

Algiers – The Underside of Power
Politically-fueled punk soul meets postrock meets postapocalyptic film score in gritty singer Franklin James Fisher’s ominously smoky narratives. Listen at Spotify 

Eric Ambel – Roscoe Live Vol. 1
One of the most distinctively brilliant, entertaining rock guitarists of the last couple of decades at the top of his game at an upstate outdoor festival with a killer band. Listen at Bandcamp 

Red Baraat – Bhangra Pirates
Wave after wave of undulating, crescendoing, cinematic, insanely danceable original brass-fueled live bhangra jams. Listen at Spotify 

Olcay Bayir – Neva/Harmony
Quietly intense new versions of ancient Turkish ballads and Balkan songs from the nuanced Turkish singer’s debut album. Listen at Spotify 

Gogol Bordello – Seekers & Finders
Amazing how fresh and energetic the original Eastern Bloc punks sound after all these years. Tight, catchy, never boring. Listen at Spotify

Ihtimanska – Yuz Yuze
A low-key but bouncy duo album of biting, minor-key Turkish and Bulgarian tunes from the duo of reedwoman Ariane Morin and accordionist Yoni Kaston. Listen at Bandcamp 

Daniel Ruiz – Purple Bird and Other Strange Songs
A haunting mix of of Doors and Nick Cave-influenced dark psychedelic rock and pop  from this Spanish songwriter. Listen at Bandcamp

The Legendary Shack Shakers Validate Their Legend in Brooklyn

Saturday night in downtown Brooklyn, the Legendary Shack Shakers lived up to their legend with a marauding, macabre performance. How does frontman JD Wilkes stay in such great shape? By playing shows like this one. Midway through the set, he left his feet for the umpteenth time, spun in midair and did a full 360 with a perfect Olympic landing. And this was after he’d really worked up a sweat. Athletic stage moves go back long before Chuck Berry, but the Colonel still pushes himself as hard as he did twenty years ago.

When he wasn’t spinning across the stage or frisbeeing a heavy-duty red wooden tambourine into the crowd, he was blowing feral but wickedly precise, Little Walter-ish blues on a chromatic harp, or burning through similarly menacing chromatics on his banjo. He ran his vocals through two separate mics, one straight into the PA along with an old ribbon mic turned up to the point of distortion for a bullhorn effect. Somewhere Lux Interior is stewing with jealousy.

But while the Cramps seem to be one obvious influence on this band, the Shack Shakers are a lot wilder, a hell of a lot faster – they sped up several of their numbers past breaking point – and a lot of the time they sound a lot more Middle Eastern than American. Then again, Wilkes – a respected musicologist and historian of Kentucky mountain music – would probably cite a lesser-known strain of Irish music that made its way to the Bible Belt without losing any of its creepy edge.

And the rest of the band are phenomenal. Drummer Preston Corn kept the express-train-to-hell shuffle going at full throttle, bassist Fuller Condon provided a cool serpentine slink and guitarist Rod Hamdallah burned through the ominous changes with a calm, precise savagery, letitng the blasts from his vintage hollow-body model linger and resonate before firing off another volley of twisted rockabilly or blues.

The Shack Shakers have a new album, After You’ve Gone, out recently, and Wilkes and his conspirators drew heavily on it. Their witheringly cynical, allusively political new take of Worried Man Blues came across like CW Stoneking on crank, while the rapidfire War Whoop gave Wilkes a platform for some extra snazzy stage moves. And like so much of the rest of the set, the dirty blues of Curse of the Cajun Queen were packed with the surreal fire-and-brimstone imagery that’s been Wilkes’ signature since the 90s. You’ll see this show listed on the best New York concerts of 2017 page here at the end of the year.

The Legendary Shack Shakers’ tour continues; the next stop is Dec 1 at around 10:30 PM at the Outland, 322 South Ave. in Springfield, Missouri; cover is $12. 

The Hooten Halllers Bring Their Funny, Edgy Southern Soul and Americana to Town This Weekend

Columbia, Missouri band the Hooten Hallers play purist southern soul and Americana with a sense of humor. On one hand, the growling baritone sax and grooves are totally retro. On the other hand, their songs are completely in the here and now. If there’s any group who can get the gaggles of tourists stuffing their faces at Hill Country to shut up and listen, it’s this crew. They’re there this Saturday night, Oct 28 at 10 PM and then at the restaurant’s much more listener-friendly upstairs room at the downtown Brooklyn branch on Monday the 30th at 9. Let’s hope the PA there is working because it’s been a mess lately.

The Hooten Hallers’ latest album  is streaming at Spotify. As the opening track, Charla, gets underway, frontman/guitarist John Randall rasping away over Kellie Everett’s ever-present, smoky bari sax, it could be the latest in a long line of Dr. John ripoffs. But as this twisted tale set in Lupus, Missouri (population 29) unwinds, it’s clear it’s not. Somebody rolls “The biggest smoke I’ve ever seen…I’ll pas out on the floor and sleep until the  morning light.” And it gets better from there.

The second track, Dig, is a biting minor-key blues that goes after the kind of money-grubbing smalltown boss we’ve all had to deal with at some point. Ryan Koenig, moonlighting from Pokey LaFarge’s brilliant pan-Americana band, bolsters the snarling guitar edge in Further From Shore, a tale of drifting a little too far out. Knew You’d Come Around is more optimistic, a wry stoner’s attempt at seducing a girl with soul food and booze.

Rhythm and Blues is a Texas boogie as the Sideshow Tragedy might do it, with the bari sax (of course), rippling minor-key blues harp and a little ghoulabillly. Drummer Andy Rehm’s leadfoot stomp propels Albatross, a noir blues stomp that wouldn’t be out of place in the Legendary Shack Shakers catalog, spiced with some creepily spiraling electric piano.

Everett’s devious sax takes centerstage in the go-go instrumental Garlic Dream. The band hint at doom metal in Gravity, a terrified stoner’s realization of the way objects with varying degrees of mass interact in the cosmos.

The album’s most epic track is Scrapper’s Lament, an amped-up oldschool country ballad, snide testament to the fact that one man’s trash could be something else completely. The album winds up with Staying Away From Joe, an unfashionably uncaffeinated country soul tune spiced with mandolin and fiddle. You’ve heard the tempest in a teaspoon about film and tv characters needing to be likable? It’s hard to imagine anybody not liking this band – anyone with a sense of humor, anyway. And they go well with waffles at two in the morning – it’s true!

The Legendary Shack Shakers Bring Their Expertly Menacing Party to the Bell House

The Legendary Shack Shakers are at the peak of their long career in creepy, sometimes macabre, cynical Americana party music. Frontman JD Wilkes has never sounded more in command of the dark side of every roots rock style ever invented: ghoulabilly, southwestern gothic, garage rock, punk and blues. They’re one of the few bands alive who can match the offhandedly savage minor-key intensity of Australian legends Radio Birdman. a band they often resemble. They’ve been hitting New York regularly over the last couple of years; their next gig is a headline slot at the Bell House on April 7. Raucous southern roots/jamgrass/honkytonk band the Pine Hill Haints open the night at 9; $15 advance tix, available at the venue box office, are your best bet.

The Shack Shakers’ latest album is The Southern Surreal, out from Jello Biafra’s label, Altenative Tentacles and streaming at Spotify. The first track, Mud, is a scampering, banjo-driven ghoulgrass shuffle. Its funniest number is Misamerica. 60s noir garage as Stiv Bators would have done it circa 1979, or Radio Birdman at three-quarter speed. “Bloody lipstick all over her teeth…the queen of idiocracy…from the party line to the tv screen,” Wilkes intones.

Cold, a loping gothic cowboy ballad, wouldn’t be out of place in the Mark Sinnis catalog; then guitarist Rod Hamdallah fires off a Birdman riff as the chorus kicks in. Gloomy lyrics soar over snarling Stonesy guitars on The One That Got Away, which looks back to a classic Grateful Dead anthem. Let the Dead Bury the Dead blends tongue-in-cheek noir cabaret and punked out Tex-Mex, while Young Heart, Old Soul represents the lighter side of the band, a carefree, stomping ska number, like the Slackers with distorted guitars

Fool’s Tooth, a brief blues vamp with honking harmonica sets things up for Down to the Bone, a southern psych-soul vamp. They really mix things up here: Christ Almighty, a lickety-split update on the Yardbirds or early Pretty Things, gets followed by Demon Rum, a snidely nonchalant honkytonk piano number.

Buzzard & the Bell, by drummer Chris Whitacre, makes a creepy shuffle out of a 1920s style Greek gangster tune, like Greek Judas in English. The album closes with a similarly menacing, slinky take of the Albert King blues classic Born Under a Bad Sign. The tracks are punctuated by fragmentary, sardonic samples including a really grisly roadkill story.

Their 2003 album Cockadoodledont also got a welcome reissue recently and is up at Spotify as well. Its first track, Pinetree Boogie is dirtier than the Yardbirds but tighter than, say, Knoxville Girls. The swamp-rock CB Song offers a darker take on a silly novelty genre. Help Me From My Brain spices frantic World Inferno circus-rock with eerie Romany and Balkan riffs

Shakerag Holler welds a slyly shuffling oldtimey blues to a split-second detour into hardcore punk. Hunkerdown bounces along on a familiar Doors riff, while Clodhopper goes in a sardonic jug band direction. Bullfrog Blues mashes up Radio Birdman and an Otis Rush classic, with more of that honking blues harp.

Blood on the Bluegrass foreshadows punkgrass bands like the Devil Makes Three. Devil’s Night Auction is your basic rockabilly dressed up in a flickering Halloween costume. Wild Wild Lover offers a nod to the haphazard shuffles of the early Gun Club, while the cover of Slim Harpo’s ShakeYour Hips improves on than the Stones version, although it’s not as feral as Randi Russo’s. The album winds up with the punkabilly Hoptown Jailbreak It’s good to see this back in print: you will probably get some of both albums and a lot more in Gowanus on the 7th.

JD Wilkes Brings One of His Great Bands to the Knitting Factory

Isn’t it cool when a band lives up to the name they have the balls to call themselves? From the early zeros through about the turn of the past decade, high-voltage Nashville gothic band the Legendary Shack Shakers became a cult favorite and a popular draw on the midsize club circuit. Lately frontman JD Wilkes, one of the real mavens of punk blues and Americana, has concentrated on his other, more blues-oriented project the Dirt Daubers. Wilkes’ latest Cheetah Chrome-produced recording, Wild Moon, features that appropriately named band (a dirt dauber is a particularly vicious wasp native to the Bible Belt), but most recently he’s been back with the Legendary Shack Shakers for a couple of tours, with an upcoming show on 9/11 at around 10 at the Knitting Factory. Tix are $14.

The new Dirt Daubers album – which other than a single Youtube clip of the title track, isn’t due out til Sept 24 – opens with a brief, brisk instrumental, Rod Hamdallah’s frenetic guitar intertwining with Wilkes’ Little Walter-style chromatic harp. Wilkes’ wife Jessica sings the swinging, snarling, noir gutter blues Apples & Oranges, with its Iggy Pop references and vernacular lyrics:

You can follow me down, hold my feet to the fire
Turn my pockets inside out
You know I’m in for a penny, down for a pound …
I’m taking my debts to the afterlife

With its screaming, bent-note Hamdallah guitar and twisted fire-and-brimstone imagery, the album’s title track continues in a careening noir blues vein. Drive brings to mind New York gutter blues band Knoxville Girls, but with better production values, another droll Iggy quote and a brief, gritty Wurlitzer solo from the frontman. His wife sings the shuffling No Rest for the Wicked, her seductive lyric contrasting with all the creepy guitar chromatics.

Wilkes’ low, haphazard minor-key piano adds to the doomed ambience on the suicide ballad No More My Love. Angel Crown brings to mind early Jon Spencer in simmering, low-key mode, with a creepy lyric about a dead baby underscored by echoey chromatic harp and Hamdallah’s broodingly rustic series of chords. Let It Fly is much the same but faster, followed by the torchy, lurid Clairy Browne-ish shuffle You Know I Love You, with more of that red-neon piano and smoky baritone sax from Tom Waits sideman Ralph Carney.

The macabre stomp Hidey Hole is the album’s creepiest track – what’s down in that hidey hole, anyway? – an appropriate place for Hamdallah to fire off his most memorable, menacing guitar solo. Throughout the album, there’s more than a hint of hypnotically unwinding Mississippi hill country blues, especially on Don’t Thrill Me No More, which is basically a long, moody one-chord jam.

River Song brings back a punk blues bounce, like a more lo-fi take on what Dylan did on Love & Theft. The album winds up with God Fearing People, which sounds like Smokestack Lightning at triplespeed. Dark, offhandedly savage, lo-fi electric blues doesn’t get any better than this. It wouldn’t be out of the question to hope for some of this stuff at Wilkes’ show at the Knit with his old band.