The Underachievers Discog Tpb the Underachievers Evermore the Art of Duality

The 2010's were an incredibly of import time for me in developing my music gustatory modality, and I have many fond and important memories and associations tied to each of the albums listed.

I promise y'all enjoy and get something out of this list, and be sure to check out Will's list as well.

#50 The Underachievers – Evermore: The Art of Duality (2015)

As far every bit conceptual hip hop albums go,Evermore'southward dualistic concept is a fairly simple idea, but 1 that is brought forward effectively through Issa Gold and AK's emotive and honest lyricism, their smooth fluctuations betwixt verses, and distinct production throughout the project. On the offset half of the anthology, starting with runway "Rain Dance (Phase i Intro) and ending with "The Brooklyn Manner" the album explores spirituality and self-actualization over introspective instrumentation. Issa Gold and AK swoop deep into their pasts and confront up to the effects of depression, drug apply, and intense self-doubt. They weave a portrait of self awareness that ends with conviction and shows a map of achievement in both a physical sense, and a spiritual one. On the second half of the album, which starts with "Reincarnation (Phase ii Intro)", they move back into the physical world and speak on issues similar constabulary brutality, racism, and drug use. This part of the album takes on a more gritty artful in both the lyrics and instrumentation, and is executed effectively enough that you feel as if you're listening to a different album from the beginning. From the beginning, this album touches on sensitive issues in both a personal sense and social sense in a caring and honest manner that draws the listener in with empathy and leaves with of import perspective. It's an album that packages social and self actualization in a parcel of fascinating production and intoxicating commitment.

Listen: The Underachievers – "Chasing Faith 10 Pelting Dance x Allusions"

#49 Grizzly Carry –Shields(2012)

The ever inventive, beloved indie group Grizzly Deport may have fallen slightly short of the fanatical creativity ofVeckatimestthis decade, only they've still shown no shortage of inspiration. 2012'sShieldswas an album that both stripped the band'southward sound back to the familiar roots ofYellow Business firm and expanded further into the psychedelic realm past bringing in electronic elements that are distilled into a pure aesthetic and officially launched the group into a more expansive universe. Ed Droste'due south heavenly vocals soak through this album with purpose and passion, bringing some of his strongest performances on songs like "Speak in Rounds", "Withal Once again", and "Gun-Shy". Ambience textures bring forward some of the virtually inventive sounds that Grizzly Conduct has offered in their discography, and offer perspective and weight to the poetic lyricism. Grizzly Conduct have always been a band that is quietly taking more risks than most would dare, and take pulled off distinct and inventive albums on virtually every release. There'south a seriousness to their art, as well as a clear, relaxed temper that shows a ring satisfied with their creative output, and Shields remains a great example of that.

Listen: Grizzly Bear – "Yet Again"

#48 A Winged Victory For The Sullen – A Winged Victory For The Sullen (2011)

Melancholy is often an artful that is recognized as delicate and fleeting. Looked at as something for when singer-songwriters pause out their acoustic guitars and draw from a broken role of themselves. This type of creative output tin can exist powerful and moving in its ain right, simply it's albums like this 1, an instrumental, ambience project total of dour beauty that put the efforts of fifty-fifty the nearly accomplished Elliot Smith blazon to the examination. This album, co-created by Stars of the Chapeau composer Adam Wiltzie, and pianist Dustin O'Halloran, is a monolithic wall of symphonic melancholy that moves along with the delicateness and power of an angel. Lavish strings wash through the album while deep, droning undertones project an bounding main of sadness that the listener has no choice but to slowly drift farther and further into. The minimalism of this album is deceivingly elementary, creating an entire world of dour beauty in only a few key instruments. While this album is a gorgeous body of water of melancholy and sounds as if it is to be taken very seriously, there is still a sense of wry humor in the titling of some tracks like "Nosotros Played Some Open Chords", "Minuet for a Cheap Pianoforte", and "Steep Hills of Vicodin Tears". It shows an acknowledgement of the bleak atmosphere, and provides some subtle contrast that makes the tracks all the more human being. The track names shouldn't come up equally too much of a surprise to fans of Stars of the Chapeau. This is coming from a group that named i of their longest tracks "December Hunting for Vegetarian Fuckface". This album is a melancholic goldmine of sadness and humor, and is appropriately titled equally a "victory".

Listen: A Winged Victory For The Sullen – "Minuet for a Cheap Pianoforte"

#47 The National – Trouble Will Find Me (2013)

Ever since I started listening to the National in the early 2010's, they've put out solid anthology later on solid anthology and have remained one of the consequent voices in the indie rock world. Matt Berninger's lyrical content morphs in costless artful to the instrumentation which the Dessner brothers take managed to find a residuum between familiar and unique beyond each album. However, none of the albums in the 2010's by The National have come close to touching the sublime melancholy of Trouble Will Find Me.From the very start, Berninger is burning from the core well-nigh the loss of someone he cares most, driving the knife dwelling with some of the most impassioned vocal delivery we've gotten from him. Stand out tracks "Don't Swallow the Cap" and "Graceless" bring forward an aggression and urgency that is hardly matched in the band'due south discography, while "Demons" and "Heavenfaced" drop a bleak and burdensome weight on the listener. Trouble Will Find Me stands as a high watermark for The National in terms of instrumentation, aesthetic, and lyrical ability. While I've enjoyed the projects that they've put out since, there's always a longing for the desperation and joyless catharsis of this album.

Listen: The National – "Demons"

#46 Bell Witch –Mirror Reaper(2017)

When I wrote almostMirror Reaperin 2017 in my Top 50 albums of the year, it landed at #37 that year. It'south had a meteoric rise in the ranks equally the decade has gone past, and I've found my attraction to it growing stronger every time I heed. Over a unmarried 83 infinitesimal long runway, Bell Witch gnash, howl, and trudge through a thick, oppressive grief. Information technology comes from their bandmate Adam Guerra's death in 2016, and the intense emotional cost it brings. The guitars are monstrous and massive, elongating single notes, and strumming in slow, honorific rhythm with the drums to bring a titanic weight to the audio. The vocals are harsh, low, and heavy. Everything virtually this moment is filled with such dread and despair that information technology'south difficult to encounter any stop; until finally, later an hour of slow despair, the gravity eases upward, and you can stand again. Here the instrumentation and vocals are nonetheless grieving, simply at that place appears to be more acceptance. This is ane of the most beautiful metal projects that I've heard, and it carries so much emotion and thoughtful concept that it has connected to tear its way past the weaker ranking I previously gave to information technology, and make its way into beingness one of the all-time albums of this decade.

Listen: Bell Witch – "Mirror Reaper"

#45 Mitski –Be The Cowboy(2018)

Another example in this list of an album that has grown heavily on me since my initial placement of it on my 2018 list. Mitski sheds off her usual raw, tension filled art-rock for a refined disco crush style, while still retaining her heartbreaking lyricism. This juxtaposition betwixt sound and bailiwick is a concept that is familiar to many artists, but it'due south rare to encounter it done in such a nuanced way similar on Be The Cowboy. Loneliness is a core subject on this album, and Mitski expresses it in a way that is engaging, relatable, and extremely poignant. On the pb single and excellent disco fashion runway, "Nobody", Mitski wallows badly in her own self-pity in front end of upbeat instrumentation, painting an eerie, and heartbreaking scene of someone spiraling into feelings of worthlessness as the hope starts to drain out. Moments like this present themselves throughout in the form of cathartic anthems similar "Geyser", and low, tiresome ballads like "2 Slow Dancers". Equally accessible as this album sounds at first mind, upon farther examination, it becomes something as complex every bit Mitski herself. Be The Cowboystands as a watermark in mod indie pop for songwriting and self expression and continues to print me equally fourth dimension moves on.

Heed: Mitski – "Nobody"

#44 A Tribe Called Quest –Nosotros got it from Here… Thank You 4 Your service(2016)

2016 was no doubt a shocking twelvemonth. We saw legendary artists like Prince, Leonard Cohen, and David Bowie laissez passer away, Britain voted to leave the Eu, and to cap it off Donald Trump unexpectedly won the presidency past storming along with a hate filled campaign. This yr was a harsh enkindling for some, and things felt unfamiliar. So go out it to known legends A Tribe Called Quest to not only put out one of the best hip hop albums of the decade in that same twelvemonth, but also release it non 2 days after Trump'due south election. In the midst of all the uncomfortable new, Tribe came in with a familiar sound, and a familiar message. Information technology was relevant in the ninety's, it was relevant in 2016, and information technology is just every bit relevant yet in 2020. Q Tip's vocal delivery and flow has aged merely as gracefully every bit he has, with his rhyme patterns sounding fresh and quick as ever. His uncovering of intolerance, self-devastation, social disparity, and racism is profound and witty, oft taking an empowering tone. Instrumentally this anthology finds a fashion to nonetheless sound distinct, even amongst Tribe's legendary catalogue, with songs like "Solid Wall of Sound" interpolating "Benny and The Jets" in an unexpected and refreshing way, and "Nosotros the People" standing out as ane of the all-time protest songs of the decade. Nosotros Got it from Here is a powerful artistic statement of resistance, from a group that has ever pushed confronting the expected. While the sound may exist familiar to long time fans of Tribe, in the iv years since it's come out, familiar never sounded so fresh.

Listen: A Tribe Called Quest – "Dis Generation"

#43 milo –who told you to think??!!?!?!?! (2017)

Rory Ferreira has been one of the virtually quietly prolific and talented voices in hip hop for a few years now. In the 2010s he put out multiple albums, eps and mixtapes under multiple monikers. Nether milo alone he released iv studio albums, 3 mixtapes, and 2 EPs. Under Scallops Hotel, he put out 4 mixtapes and nether Nostrum Grocers he put out an fantabulous album likewise. While his work is wide ranging, and there are distinctions and varying qualities betwixt each moniker, milo is far and away the most consequent and popular, and for adept reason. On this anthology, milo takes his poetry to a new level of precision, delivering lines like mantras and distorting his phonation to the signal of destruction. There are themes of existential searching that notice milo diving deep into his own psyche and artistically uncovering musings and revelations that sound magnificent and subtle simultaneously. Instrumentally it offers much of the same introspective aesthetic as the lyrics propose, but at that place is a impact of urgency that washes through and brings the listener into a plane of thoughtful reflection. This anthology is one that has grown on me equally the years have passed, and I hope will proceed to grow the more I listen to it.

Listen – milo – "Magician (Suture)"

#42 Sunn O))) –Life Metal(2019)

I wrote about this monstrous endeavor from the Drone Metal gods recently, and the praise that I gave it holds upwards against the wave of quality music from the past decade. The guitar tones are ominous and thick, pouring slowly over one some other and creating a dense sludge of ever enveloping sound. In that location is a spacial atmosphere to this project, like Sunn O))) is searching relentlessly for answers in the deepest parts of the universe. As you push through the glacial ability of audio, specks of light and color occasionally grant a moment of quiet in the course of bells and chimes, and calorie-free synthesizers. While the majority of this anthology may be a crushing experience, information technology does hold immensely beautiful moments that slowly change the management of audio into something ominous, nonetheless admirable, like a catholic construction. Information technology is mysterious, dangerous, beautiful, and unfeeling. Life Metal offers up a variety of explorative sounds and textures, but continues building and destroying itself dispassionately. This is a monolithic album that is existentially charged, and though it offers no directly clues every bit to how you are supposed to enjoy information technology, you'd be difficult pressed not to find your own way.

Listen: Sunn O))) – "Troubled Air"

#41 M83 –Hurry Up, We're Dreaming (2011)

M83 fully broke out from the indie underground in 2011 with this spectacular, massive double anthology that is chock full of cinematic tracks that proved accessible and exciting plenty for uses in video games, commercials, and movie trailers. At the forefront of these tracks was the unequalled "Midnight City" which opened the flood gates for waves of angst ridden electronic anthems. Hurry Up, Nosotros're Dreamingis an album that is only about dreams. Through hazy, ethereal interludes and psychedelic sounds, it explores the REM cycle of dreaming, and through hopeful lyricism and grandiose displays of instrumentation information technology explores day dreams about our futures. Dreams are also explored through a sense of fourth dimension, by referencing the way we await at ourselves and the world in our childhood, our teenage years, and into adulthood. There's some sense of naive optimism to the concept, but in context with the fabled and heartbreaking instrumentation, it ends upwardly being empowering. It's an exploration of yourself in a potent mixture of past, present, and future. From the angelic opening of "Intro", to the heartbreak of "Look", onto the ferocious breakdowns of "Year One, One UFO", and finally through the gates of heaven on "Outro", this album is a journey in a fantasy globe that reflects our own real lives. For equally much praise and attention that this album has gotten over the years, it deserves information technology all, and continues to prove to be a source of emotional tranquillity for its fans.

Listen: M83 – "Wait"

#forty Death Grips –The Money Store (2012)

Across the board, Death Grips may not exist the most experimental group out there. Even so Entering in the early 2010s, There was cipher quite like them, and especially nothing similar The Money Shop. From the very showtime of "Become Got" MC Ride'southward vocals deliver a sadomasochistic mantra that breaks into a swirling psychedelic trip of harsh synths and frenetic rhythms. MC Ride stays on course throughout this album, giving a dystopian view of our globe through imagery of violence, drug corruption, corruption, and racism. It's a reflection of the horrors that occur on a daily basis in reality, only amped upwards to 11 and delivered with a closed fist. Songs like "Hacker", Double Helix", "The Fever", and "Organisation Blower" still prove to be some of the most inventive and cathartic tracks in the world of experimental hip hop while songs similar "I've Seen Footage", and "Cage" tackle terrifying themes of violence and paranoia both in a personal and social sense. The Money Storeis worth the hype. It's an album that is then self bodacious and confident that to effort and think of whatever negative aspects about it only seems to brand it stronger. So stop resisting and go noided.

Listen: Decease Grips – "The Fever (Aye Aye)"

#39 Ryuichi Sakamoto –async(2017)

Reflecting on your own bloodshed is an exercise that at times brings well-nigh anxious emotional responses, impulsive conclusion making, and sometimes pure existential despair. Withal the procedure of examining your life as a fleeting phenomenon can bring clarity and focus. Worries of material nature get trivial, and emotions such as jealousy, acrimony, and greed are melted in the face of death. All of these will fade from this world, some with, and some without you lot. Ryuichi Sakamoto battled a serious bout with throat cancer during an eight year hiatus in between his final album and async.In this time, he clearly took some time to call back well-nigh life and death, the duality of both making their way heavily into this album. Life is present through field recordings of people walking in cities like Tokyo, New York, and Paris. Information technology is nowadays in the sound of crunching leaves and sticks, and singing birds in the runway "walker". It is also nowadays in the course of chaos. This anarchy arises in the the instrumentation to reflect cultural dissonance between humans and strives to achieve respect for one some other despite clashing viewpoints. Death is also reflected in this chaos, only in a more natural course. On "Zure" Sakamoto used a piano that was drowned in a tsunami to reflect the unrelenting force of the natural world, and how truly powerless nosotros are against it. This anthology was born out a tumultuous time for both Sakamoto and Japan, as the country was going through multiple earthquakes and tsunamis in the early 2010s. Despite the somber tone that this projection conveys, at the end the truthful bulletin is to convey an appreciation for life, while also recognizing its fragility. Sakamoto pours himself into every meticulously crafted aspect of the instrumentation and shows a shining reflection of life in a terrifying and hauntingly gorgeous manner.

Heed: Ryuichi Sakamoto – "andata"

#38 William Basinski –A Shadow In Time(2017)

For Ambient fans, Basinski is a saint. In 2002The Disintegration Loops was released and established him as a savant of emotive ambience pieces. Since then he'due south remained prolific and released great projects such every bit Melancholia,and92982,as well every bit collaborating and exploring obscure ideas such as Selva Oscura with Lawrence English, andOn Time Out of Time; a collaboration with LIGO that uses the sounds of gravitational waves emitted from blackness holes. This guy is ambitious to say the to the lowest degree. OnA Shadow In Fourth dimension Basinski uses the aforementioned objective level of compassion and heartbreak that madeDisintigration Loops, and focuses it primarily on one private; David Bowie. The first runway, "For David Robert Jones" is a clear testament to David Bowie, and begins with a signature Basinski loop of celestial atmosphere that has an aching sadness to it. Nigh halfway through the first twenty minute track, a muffled saxophone breaks through the static and creates a dissonance that is simultaneously haunting and comforting. The saxophone is reminiscent of the i that is used oft on Bowie's last anthology,Blackstar.From in that location, the the album falls into a restful state on the title track, and brings a shimmery, watery finish to an otherwise heartbreaking effort. Though this album may be defended mostly to the belatedly David Bowie, it's an affecting project that deals with decease and loss through a healing soundscape of texture and looping tune. It may take a while to get used to, but then again, so does all healing.

Listen: William Basinski – "A Shadow In Fourth dimension"

#37 Dr. Dre –Compton(2015)

During this decade, at that place's been some monumental breakthroughs in the earth of hip hop. Kendrick Lamar outburst onto the scene and put out 2 certified classics and a pulitzer prize winning album. Kanye West fabricated ane of the most lauded albums always with MBDTF, and and so did a complete backflip with Yeezus and TLOP, both remaining inventive and critically successful projects. Frank Ocean went and converted an entire generation to a new sound that has become the watermark for modernistic day hip hop; and yet, amongst all this creation and success, one veteran hip hop legend released a project that was shockingly fresh, socially relevant, and instrumentally bonkers. Aye you guessed information technology. This is that project, it'south Dr. Dre. Comptonwas an anthology that was non expected but is welcomed nonetheless. Later waiting over a decade for Dr. Dre to release his elusiveDetox,what fans received instead was an album that was billed equally a soundtrack to the film "Directly Outta Compton". While there are tracks that are present in the movie, much of the project is not, making for a cohesive, album like heed. It begins with notes of grandiosity, and social awareness, something that doesn't permit up throughout. Dr. Dre brings his A game to the product, especially on tracks like "Genocide", "Darkside/Gone", and "Animals", and if you were wondering how the rapping holds up, well Dre thankfully lets the features exercise most of the heavy lifting there, and boy practice they deliver. This anthology basically spring-boarded the multi talented Anderson .Paak into the music globe with his fantastic and charismatic features, and brought some of Kendrick'south most aggressive verses yet. Other legends similar Snoop Dogg, Ice Cube, Xzibit, and Eminem too make fantastic guest appearances on hither, save for one very questionable lyric from Em. This album is slick, thoughtful, cool, and ambitious, and it holds its ain against some of the all-time that hip hop has to offer today.

Listen: Dr. Dre – "Animals"

#36 Nicolas Jaar –Infinite Is Only Noise(2011)

Nicolas Jaar seem to accept the Midas Touch. Over the past x years everything he's touched has been successful and innovative. Be it his nifty 2016 albumSirens, his work as Against All Logic on2012-2017or even a fantastic single he released in 2013 remixing the works of Brian Eno'sLuxand Grizzly Deport's "Sleeping Ute". None of these however are quite equally brilliant and casually inventive every bitSpace Is Simply Noise.Jaar ventures into an abstract earth of disquieting ambient, thick basslines, and quirky vocals that bring nigh equal parts humor, beauty, and mystique. Techno elements support the foundation of this project, most notably showcased on the championship rails, and "Problem With The Dominicus" which features Jaar in a slightly deadpan vocal construction delivering terrible news over a jaunting and weirdly danceable groove. These parts of the album maintain a level of humour that is also uncanny and freakish. It feels like watching an onetime MGM cartoon trip the light fantastic toe number that'southward had the weirdness cranked upwardly 5 levels. Across some of the entrancing weirdness of this album, in that location's also a fascinating level of serenity. The get-go two tracks "Être", and "Colomb" beginning the album off in a placid, albeit melancholic land of listen. Soft piano drifts in over rippling water, while Jaar's vocals disintegrate once they attempt to make their way in. The mood rises and falls, moving into corners of dark techno firm on "Keep Me At that place" and then displacing them with natural ambience on "Near Fell". It maintains a water-like quality by remaining formless, yet full of potential and reactive to the sounds that are thrown in. It courses with beauty, sadness, and humor yet always returns to a resting place of neutral calm, unbothered by the changes it's endured.

Listen: "Go along Me There"

#35 Slowdive –Slowdive(2017)

During the decade nosotros've seen the gap for releases between albums shrink pretty dramatically. In 2010 it was typical that nosotros would wait at to the lowest degree two-3 years for an artist to release their next projection. This shrunk to ane-2 years, and now information technology's not uncommon to expect at to the lowest degree 2 projects a year from popular artists. Well Slowdive doesn't adhere to those rules in any course, since this album was the result of a 22 yr hiatus. Fans may take had to wait an entertainment lifetime for this project, but the results are stellar and cap off a legacy set forth by one of the most quietly revolutionary bands of their time. Unremarkably, bands volition release a self-titled projection early in their careers, to kind of solidify their name to their torso of fine art. The move to self-championship their 4th album, and subsequently a 22-year hiatus is foreign, only feels like a rebirth and a validation of their legendary condition. From the opening, dream-like guitar chords in "Slomo" to the achingly beautiful piano of "Falling Ashes", this project is one built-in out of appetite, patience, refinement, space, and curiosity. "Star Roving" is the stand-out track pretty much unanimously on here, due to its energetic guitar licks, the spacious drums, and of course the vocals that drift along effortlessly albeit slightly incoherently. One of my favorite stories about Slowdive is from their studio work that they did with Brian Eno (could've seen this coming), and the lessons that he would teach them about collaboration, refining sound, and creating something that is bigger and better than each of them individually. It speaks to the manner this album is crafted. It's refined to very fine details, creating something that is across the group as individuals, and into something with enough energy to have a life of its own.

Listen: Slowdive – "Sugar for the Pill"

#34 Destroyer – Kaputt(2011)

Dan Bejar is a lyrical savant. While some of his piece of work doesn't hold the aforementioned impact in product equally this album orDestroyer's Rubies, it's difficult to ever criticize the complex structure and decisive tonality of his songwriting. OnKaputt, he brings it full strength, and juxtaposes his brooding vocals with sun soaked yacht rock inspired instrumentation. A combination that I did not expect, only can not become plenty of. From the opening ascending Roland synth of "Chinatown" to the wistful, yet catchy saxophone on "Suicide Demo for Kara Walker", this album is full of hitting dazzler that remains attainable and poetic. Much of the themes of this album come up from the ideas of rebuilding oneself, both in constructive and destructive ways. "Roughshod Night At The Opera" deals with existential quandaries of purpose and artistic value, while "Poor In Love" tackles a cynical view on relationships, and voices both regret and self-affirming statements to empathise the choices the writer has fabricated. Some tracks are slightly more than straightforward like "Kaputt" which serves as a love letter to the hectic and destructive lifestyle of classic rock and roll stars. Through all the dazzler and sea-air aesthetic that permeates this album, there is a level of melancholy that grounds the triumph into something realistic. This results in moments of sardonic humor, 18-carat joy, and starry eyed contemplation, all of which make for an anthology full of important personal memories.

Mind: Destroyer– "Kaputt"

#33 David Bowie –Blackstar(2016)

So enters ane of the about shocking and meaningful album releases ever, and the start of 2016'due south tumble into a surreal, celebrity and icon murdering nightmare of a yr. Blackstar's release just days earlier Bowie's passing was a perfect capstone on the theatrical and dramatic personality that he was so ingeniously gifted at existence. This swan song enters with its eponymous, eerie x minute long experimental slice about spirituality, potential, and the center of all things. 1 of the most notable and creatively stirring aspects of this record is the saxophone that plays as much of a part of this anthology as Bowie himself does. This sax is an eery and close companion to Bowie, both of them trading off musical moments with each other, playing out a duet that is beautifully macabre. Bowie's eccentrism and English amuse is nowadays in this work, despite the dark themes associated with the record. Track, "'Tis a Pity She Was a Whore" gives us a tongue in cheek analysis on idealism in dearest and lust, but is shortly snatched back by the heart wrenching and relevant stand out track "Lazarus".Blackstar is a beautiful snapshot of the terminate of a creative genius' life, and later on everything that'southward come crashing down afterwards its release, could potentially be standing as an omen. Who knows? After all, Bowie never was from this world.

Listen: David Bowie – "Blackstar"

#32 – Danny Chocolate-brown –Atrocity Exhibition(2016)

Danny Dark-brown is one of the nigh creatively unique figures in the globe of modernistic hip hop. From tackling social issues like wealth disparity, police brutality, and drug abuse to telling hilarious, albeit very sexual stories that unremarkably end with him making terrible choices; his delivery and lyrical power ties information technology all together in a distinct and memorable package. Atrocity Exhibition is such an album, and contains a surplus of trippy, atonal club beats that strung together make for one of the most unsettling and interesting albums to come out this decade. Danny Brown makes music that sounds like a fever dream, dancing on the line between partying and pure insanity. He toys with the idea of death almost casually, creating an uncomfortable, merely thrilling surround for the listener. Danny Chocolate-brown isn't afraid to venture into the night world of mental health issues. He dives in head first, describing his own struggles in swell detail, and connects personally with the listener. Atrocity Exhibition's embracing of the explicit and abstract is a testament to individuality and expression in the hip hop world. The beats on this project are cool and catchy, and create an environment of frenetic free energy for Danny's spastic delivery to be fully realized. This album feels like a harsh, yet inspiring wake upwards call to other creatives to put their best work forward, because Danny Brown has already taken off.

Listen: Danny Brown – "Pneumonia"

#31 An Isolated Mind –I'thousand Losing Myself(2019)

One man band Kameron Bogges has created ane of the most harrowing blackness metal records that I've heard in recent years.I'one thousand Losing Myself roots itself in the backwash of a week long stint in a psychiatric hospital, and explores the horrors of mental illness, and specifically for Bogges: bipolar disorder. The result is a frightening and cathartic thematic that opens up the black metal genre to an intimate, and at times tear jerking audio. There is a range of instrumentation on here from heavy blast beats, to tranquil saxophone breakdowns, post stone inspired guitars, and finally at the end, a deep and hopeless 18 minute ambience passage that places you further into the heed of its creator. Bogges sporadically utilizes a myriad of instruments and sounds to explore the total range of mentally and physically defeating characteristics of mental illness and frantically pours his soul into each track, signaling a breaking betoken could happen at any moment. The terminal two tracks "I'm Losing Myself" and "I've Lost Myself" bring the listener to a crushing realization that even through all of the catharsis and emotional exploration, you're merely left feeling numb and derealized. Fifty-fifty as bleak as this may sound, it's an incredibly inventive anthology that non only expresses mental illness in every bit creative of a style as I could have asked, simply also provides a real feeling of agreement to others who may be experiencing similar issues. It doesn't try to brand you feel similar everything will be okay in the end, but information technology does permit you some time to sympathize someone else'southward suffering.

Listen: An Isolated Mind – "Turritopsis dohrnii"

#30 – 11

#ten – 1

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