Best Overlooked Albums of 2017
- Jan 1, 2018
- 5 min read
2017 has come to a close, and you know what that means -- end-of-the-year lists!! Personally, I love reading lists because I like ridiculing the author for getting things wrong (plz don’t do that to me). I mean, why else do you click the link? To see if the author agrees with you, right? And then when they don’t, you can berate them for their boneheadedness. (Quick sidebar: that’s like the only reason I read comment sections too. I know what I would comment, and I find that comment in the section to see how well it would have done had I commented it myself. Fun stuff.)
Anyways, I’m not gonna give you the opportunity to do that to me. This is a list of 2017 albums that were really great but that you’re not gonna find on any other best-of-2017 list. The reasons may vary (indie artist, not culturally relevant/significant, etc), but I think they also deserve a spotlight. Plus, I doubt you want to see another list with DAMN. at the No. 1 spot, Flower Boy underrated and More Life overrated (don’t @ me).
So, uh, yeah. That’s it. Read on, friends!
5. Gossip Columns // Marc E. Bassy
Marc E. Bassy is one of those guys where you’re like, “yeah, I think I know him! He had that one song on the radio a while ago, right?” Like, if Marc was a basketball player, he’d be Antonio McDyess. You’d feel pretty comfortable betting some money on who he was, but not like, a ton of money, ya know? And that’s okay! Most of Marc’s fame comes from his collabs with G-Eazy ("Some Kind Of Drug," "You & Me," "So Simple") [second sidebar btw: Gerald’s new album = underwhelming] and Kehlani ("Made Love First," "Lock It Up") [K’s new album = underrated].
Anyway. Marc has found his niche in Pop R&B, and he’s thriving in it. His EP, Groovy People, was excellent, and Gossip Columns expands on that. It took me a few listens to mine out the gems on this one, but overall it’s a solid album. His silky voice alternates over bass+snares and acoustic guitars while mixing in killer harmonies to make for an enthralling listening experience. There are no grand revelations, no political soapboxing, no “important” songs. Just songs about loving a girl and the things that come with it.
Highlights: "Heroine," "Til I Get Found," "Westside Love," "New Ting"
4. Snow In October EP // Chelsea Cutler
Yeah yeah yeah, this is only an EP, but I don’t care. It’s six songs of beauty. Snow In October opens with the quasi-popular "Your Shirt," and doesn’t stop until we hit the ballad "Sixteen." Chelsea is part of this electronic R&B revolution headlined by artists like Quinn XCII, Michl and Jon Bellion, but she’s different in a way. While the hardlined synth hooks are still present, Cutler creates a wistful, atmospheric vibe that’s instantly relatable. The most recognizable (and unique) part of her music -- and this EP in particular -- is the use of heavily-auto-tuned vocal runs layered into the beats of Cutler’s intros and hooks. After listening to the EP a few times, they become an instant signature of Cutler’s work.
Yeah, it’s sappy lovesick music. But it’s beautiful sappy lovesick music. And I’m a sucker for that stuff. (Note: best listened to driving at night with the windows down.)
Highlights: "Giving Up Ground," "Snow In October," "Your Shirt"
3. TMRWFRVR // Luke Christopher
Luke Christopher is one of my favorite artists from the last 2 years or so. He released two great EPs back-to-back, YSTRDY & TMRW, and his breakout song, "Lot to Learn," was a hit from summer 2k16. He released TMRWFRVR, the follow-up to his previous EPs, in July of 2017 and it’s been one of my favorites ever since. Like all great artists, Christopher’s music can address a range of subjects and emotions, which he does to great effect in TMRWFRVR. Luke is a singer/rapper/producer that mixes all three together effortlessly into a piano/synth-heavy R&B/pop/jazz genre-shifting masterpiece. As you can probably tell, I don’t really know how to categorize him. I’m sure he doesn’t really either. I just know he’s a great singer, has great flow, and makes great use of his piano.
Highlights: "SmallTown," "Lot to Learn," "Give Me Your Pain," "Selfless," "Lost"
Can we take a break real quick? I just want to mention an album that’s just very confusing to me. It’s Chris Brown’s Heartbreak On A Full Moon. It’s got like 273 tracks (*45) and a Christmas Edition(?) that has approximately 849 (*57). That’s crazy, right? It’s not just me? I feel like I should include it just because it has 57 tracks. But I also feel like I have to eliminate it because it has 57 tracks. Whatever. Onward!
2. Today We Rebel // KB
Ahhh KB. The rebel of the 116 Clique (if an ordained minister on a Christian hip hop label can be considered rebellious) released Today We Rebel to little hype. His last album, Tomorrow We Live, was a bit contrived, disjointed and overall confusing. Like, he has a song featuring the golfer Bubba Watson (for real. And it’s terrible.) and then two songs later, he’s rapping about his friend attempting suicide. There were a couple great songs, but overall it was just weird.
Anyway, this led to very minimal hype prior to TWR. How foolish of us. Today We Rebel could very well be Gospel Album of the Year. As usual, Kevin brings his signature bass-heavy trap jazz from the beginning, but this album is distinctly more vulnerable than his usual swagged-out bravado. Yes, there are bangers. Yes, there are anthems. But there are also moments of defenselessness. Burgess names his targets, and then hits them. Hypocrisy in the church. Racism embedded in theology. Skepticism in his own faith. Through all of these, he turns the pain of man to the glory of God. What makes this album so beautiful, though, is the way these polar opposites flow into and out of each other through the whole album. Personally, the "Art of Drifting" & "Art of Hope" combo is one of the greatest 1-2 punches in recent memory.
One:
Two:
Highlights: "Art of Drifting/Art of Hope," "New Portrait," "Sing to You," "Get Through," "Monster"
1. 94.3 The Reel // Kid Quill
KID QUILL. I have a very real man-crush on this guy. His previous album, The Name Above The Title, is so good that I was a little worried about how 94.3 The Reel would sound (Quick note: This album plays like you’re listening to the radio. So you’ll have a few songs and then the ‘DJ’ will come on with a ‘giveaway’ or something crazy like that and then Kid plays off it into the next song. I was super thrown off the first time I listened to it. It’s awesome.)
But I shouldn’t have worried. Quill began forming his identity in The Name and solidified it in The Reel. He is the epitome of ‘happy rap’. He doesn’t take himself too seriously, he doesn’t dwell in past events, he just does his own thing. And it’s so so so so great. I seriously can’t play a single song from this album without grinning. The beats are, at their foundation, staccato, bouncing piano riffs. Couple that with his affinity for rapping about snapping fingers (actually, at least three lines about snapping fingers) ((seriously)), and you’ll be skipping through the parking lot on your way to work.
Highlights: "Playlist," "+1," "Soapbox," "The Opener," "Good, Better, Best"
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