New York, NY (Top40 Charts) As we approach the end of another remarkable year in music, it's time to celebrate the albums that have captivated, challenged, and comforted us. Here's a look at spots 36 to 40 in our top 40 albums of the year, showcasing a diverse range of artists and sounds that have defined the musical landscape. And stay tuned as we explore the rest of this list in the coming days (see also: Albums #26 to #30, Albums #31 to #35)!
36) Blur - The Ballad of Darren
While it resonates with echoes and reflections of the band's pop glory days - an "Oi!" here, a glimpse of brass there - these are not tunes that suggest a joyful reunion aboard the mothership for one more lively adventure. Instead, this album recognizes nostalgia not as a comforting singalong or a celebration of past triumphs but as a tangible pain that accompanies the inventory of all the people, places, and versions of oneself left behind over the years. In the opening track "The Ballad," Albarn sings, "I just looked into my life/And all I saw was that you're not coming back," encapsulating a poignant mix of grief and regret. The ethereal Johnny Marr guitars in "Barbaric" are juxtaposed with Albarn bleakly repeating a tightly condensed tragedy: "I have lost the feeling/That I thought I'd never lose." It feels appropriately mature for a band that many have grown up with, resembling a real-time Britpop equivalent of Richard Linklater's "Boyhood." As Coxon described to MOJO, "The Ballad Of Darren" features songs that are "quite retrospective, looking back over a career, over friendships that have been long-term." We all traverse their midlife journey hand in hand.
37) Arooj Aftab, Vijay Iyer & Shahzad Ismaily - Love In Exile
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Pakistani American singer Arooj Aftab has refined the delicate cadence of her voice in progressively minimalist environments. In her earlier album, she adorned yearning Urdu poetry with traditional instruments like the sitar and bansuri, accompanied by drums and cajon. The subsequent release in 2018, "Siren Islands," delved into layered synth accompaniments. Her breakthrough album, the Grammy-winning "Vulture Prince" in 2021, further minimized percussion, opting instead for the embellishment of violin, harp, and double bass.
Aftab's singing on these tracks is striking. In the long instrumental passages by Iyer and Ismaily, she seamlessly enters the frame, capturing attention without disruption. She effortlessly blends into the top-line melodies of "Sajni" and soars in "Haseen Thi," while "Eyes of the Endless" showcases her matching Iyer's Rhodes chords with a husky vibrato. "Love in Exile" ultimately presents the sound of a trio playing in gentle harmony. Aftab's voice takes center stage, and Iyer and Ismaily provide the space for it to sing, avoiding any competition with their musical voicings. While there's room for occasional bursts of greater dynamism, the consistent beauty in quietude is revealed by Aftab, Iyer, and Ismaily.
Jason Isbell's eighth studio album starts with a surprisingly repetitive track. "Death Wish" begins directly with the chorus, where Isbell
addresses the challenging theme of loving a woman who may be contemplating suicide and how to navigate such a situation. While the chorus is strong, lines like "Something in her eyes like flipping off a light switch" and "I don't wanna fight with you baby, but I won't leave you alone" eloquently capture the complexities of the subject matter. Musically, the track follows Isbell's signature style, blending acoustic and electric guitars in a rock arrangement that builds as the song progresses. However, the repetitive nature of the lengthy chorus hinders the overall impact of the song, making it a rare misstep despite its strong lyrical content.
The album "Weathervanes" proves to be another triumph for Jason Isbell and the 400 Unit. Tracks like "Save the World" and "Cast Iron Skillet" showcase excellent songwriting and deliver an emotional impact. While the 400 Unit may not be a group that screams "monster musicians," they prove their versatility, handling both delicate and heavy arrangements with ease. The album concludes with a surprising tour through classic rock from the 1960s and 1970s, demonstrating the band's ability to tackle diverse musical styles. Even by Isbell's high standards, "Weathervanes" is a bold endeavor, and the band succeeds with flying colors.
39) Ludwig Goransson - Oppenheimer (Original Motion Picture Soundtrack)
Ludwig Göransson's score for Oppenheimer is a deeply atmospheric and emotional masterpiece, featuring exciting themes and unique instrument combinations. The main theme, a combination of two and six notes, serves as a central element, with each part employed to evoke different aspects of Oppenheimer's story. The two-note part is utilized in dramatic, emphatic moments, while the six-note part accompanies quieter, more reflective scenes. Despite the common issue in Göransson's soundtracks of themes not receiving sufficient album time, these motifs effectively capture the character of Robert J. Oppenheimer and the solemn nature of his task in developing the atomic bomb. The prominent use of the violin adds an intriguing and fitting layer to the score, making Oppenheimer's soundtrack a compelling and worthwhile listen.
40) Bad Bunny - Nadie Sabe Lo Que Va a Pasar Manana
With this album, Bad Bunny, also known as the Puerto Rican songwriter Benito Martínez Ocasio, aligns himself with the ranks of sullen superstars, like Drake and Ye, who, despite global success, feel underappreciated and besieged. Despite overwhelming commercial achievements — with hundreds of millions of streams, sold-out arena and stadium tours, and attention from all corners — they adopt a defensive posture.
Contrastingly, artists like Taylor Swift and Beyoncé, who have achieved megastardom, now handle their success by savoring every moment publicly and inviting fans to share the exhilaration.
Bad Bunny possesses a consistently surprising voice, a baritone that seamlessly transitions between singing and rapping with remarkable power. His voice stands out, carrying emotional weight and transcending language barriers. Throughout the 2020s, Bad Bunny has shattered expectations and sales records on his own terms. Embracing his Puerto Rican and Caribbean identity, he regularly pays homage to his role models and collaborates across borders and genres. Defying the conventional wisdom of American pop crossover, he keeps his lyrics in Spanish, making any collaborators cross over to him. Despite his awareness of being a trailblazer, his new songs reveal that this recognition doesn't bring him much comfort.
As these albums show, the world of music continues to evolve, bringing forth new stories, sounds, and emotions. Each of these albums, from 36 to 40, represents a unique chapter in the ongoing narrative of music, proving that even as we near the bottom of the list, the talent and creativity remain top-notch. As we turn the page on this year, let's remember the albums that captured the essence of these times and look forward to the new rhythms and harmonies that will soundtrack our future.
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