Ask A Music Critic: What Are The Best Albums Of 2015?

Kendrick, Father John Misty, and Adele(1024x450)
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Welcome to another installment of Ask A Music Critic! And thanks to everyone who has sent me questions. Please keep them coming at steve.hyden@uproxx.com.

I’m already seeing 10th anniversary posts for 2015 albums. Some of my favorites from that year are Beach House, Deerhunter, Deafheaven, Viet Cong, Protomartyr, Royal Headache, and Thee Oh Sees. How do you rate 2015 for album releases and what’s some of your personal favorites? — Alex from Melbourne, Australia

Australia! I love Australia! I hope you don’t mind, but I edited out the “u” in “favorites,” so as not to confuse my American readers. I also removed all the adorable koala bear noises from your email, so we can stay focused on the task at hand.

I have also noticed the rush of mid-2010s nostalgia lately. Lots of people apparently are looking back fondly on the final year before the Trump era. For me, it was the year I turned 38. Was I ever so youthful? My cheeks were so rosy, my beard so free of gray. I was personally invested in the first season of Mr. Robot and I tolerated hearing “Uptown Funk” every 15 minutes. Pretty heady time.

Musically speaking, I regard 2015 as a solid year, but not an all-time year. If there’s an overarching trend, it’s that a lot of artists put out good (or really good) albums, but not necessarily their best albums. Let’s start with some of the acts you mentioned. Depression Cherry is considered a really good Beach House album, but probably not as good as Teen Dream. Fading Frontier is a worthy Deerhunter release, but few would put it above Halcyon Digest. New Bermuda is a good effort by Deafheaven, but Sunbather is their definitive LP. The same can be said of several other indie or indie-adjacent artists — Lana Del Rey, Sufjan Stevens, Kurt Vile, Car Seat Headrest, Wilco, Jason Isbell, and Joanna Newsom all did good work in 2015, but you would likely pick a record from a different year as your personal favorite.

As far as my own personal favorite LP of the year, I want to briefly hold off on answering that question. In the meantime, let’s take a wider view of the year, so we can really marinate in the 2015-ness of it all.

THE BEST-SELLING ALBUM OF 2015: ADELE’S 25

This one doesn’t require a personal value judgement. It’s all about the hard, cold data. And in 2015, nobody moved more units than Adele, who sold just over eight million copies of her third album. Because she only seems to put out new music every five years or so, it’s easy to forget amid the nonstop media onslaught of megastars like Taylor Swift and Beyoncé that Adele has owned the nation’s minivans for the past 15-plus years. The silent majority of mothers can’t get enough of this record.

THE CRITICAL CONSENSUS FAVORITE OF 2015: KENDRICK LAMAR’S TO PIMP A BUTTERFLY

As my friend Rob Mitchum shows in his annual spreadsheet charting year-end lists, Kendrick killed it with music writers in 2015 in a way few artists ever replicate. He landed in in the Top 10 on 15 different publication lists, far more than any other artist that year. (Courtney Barnett came closest, landing in the Top 10 on 10 lists with her debut album Sometimes I Sit And Think, And Sometimes I Just Sit.) Even more impressive, Kendrick topped seven of those lists and landed at No. 2 on five more.

(It’s worth noting that Charli XCX’s Brat was even more dominant in 2024, landing in the Top 10 on a whopping 29 lists, with 12 No. 1’s.)

THE MOST 2015 ALBUM OF 2015: HAMILTION (ORIGINAL BROADWAY CAST RECORDING)

We’re moving into the subjective categories now, but just barely. Is there a better choice for most 2015 record than the project that inserted Lin-Manuel Miranda into our grills for all eternity? One of my most lasting memories of the year is reading a different thinkpiece every other day by some media professional who lucked into an absurdly expensive Hamilton ticket, and came away waxing rhapsodic about the experience in terms that seemed histrionic in the moment and in retrospect are sort of silly. I can’t imagine what it was like to be a high school kid in 2015 who was involved in theater. This record is either your life or the bane of your existence.

2015 ALBUM THAT AGED THE BEST: DESTROYER’S POISON SEASON

Ten years ago, I would have grouped this with all the indie and indie-adjacent acts who put out good (or really good) albums in 2015, but not necessarily their best album. A decade later, however, I have talked myself into at least considering that this might be Dan Bejar’s finest. It gives you all the elements that you want from a Destroyer album — there’s the “bar band” Destroyer, the “yacht rock” Destroyer, there’s the “chamber music” Destroyer,” there’s the “making arcane references to Escape From New York and Billy Joel” Destroyer. Poison Season rules.

(The flaw in this argument is that my favorite Destroyer album changes depending on whichever Destroyer album I played most recently. But that’s a conversation for a different day.)

2015 THAT AGED THE WORST: BEACH SLANG’S THE THINGS WE DO TO FIND PEOPLE WHO FEEL LIKE US

2015 was an unusual year for me in the sense that I didn’t publish an official year-end list. I lost my job in October after the website I was working for was unceremoniously shut down. (Actually, I technically still had a job since I was under contract. I was just paid to do nothing until the contract expired eight months later. Best job I ever had.) However, I did post a list on the social media app former known as Twitter, and this album was at the very top. When I still was being paid to write in 2015, I described it as “a mix of nostalgia and forward-looking optimism communicated via fearlessly shiny riffs and florid clichés redeemed by the all-in conviction of a true believer.” I’ll take 2015 Me’s word on that because I have not listened to this record in at least five years.

Honorable mention: On a more macro level, Tobias Jesso Jr.’s Goon is notorious as a 2015 flavor of the month that aged like milk. And I feel okay saying that because Jesso went on to a successful career as a pop songwriter and producer. (He has two credits on 25, which I assume bought him a large house or a fleet of expensive cars.) So he can take the heat. Regarding Goon, I initially liked its throwback retro rock sound, which evoked Todd Rundgren or Randy Newman’s most accessible moments. And then I interviewed Jesso and found that he was — how do I say this respectfully? — a bit of a simple-minded himbo. The conversation made me like the record less, which is a less common phenomenon for me than you might think.

MOST INFLUENTIAL 2015 ALBUM: CHRIS STAPLETON’S TRAVELER

Country music is in the midst of a mainstream commercial moment in the mid-2020s, and it’s striking how much of that music resembles this record. At the time it was considered somewhat of an outlier, a neo-traditionalist hit that racked up Nashville industry awards in what felt like a rebuke of the dead-eyed bro-country hordes. But now it just sounds like the establishment. A burly-voiced quasi-outlaw type with genuine pop bonafides, Stapleton set a template that artists like Zach Bryan, Tyler Childers, Luke Combs and (to a lesser degree) Morgan Wallen later took to the bank.

Honorable mention: My second favorite record of 2015 — and the one I have certainly played the most — is Currents by Tame Impala. It’s hard to overstate how much indie rock, pop and even R&B and hip-hop sounds like this album. It’s easily one of the touchstone indie-adjacent releases of the past 10 years. And it felt like that was preordained when it came out. I hung out with Kevin Parker in an L.A. diner for a profile before Currents dropped, and he already seemed bewildered by the success he hadn’t yet fully experienced. “I used to smoke weed and I don’t even smoke weed anymore,” he told me, “because, it’s like, the world’s intense enough as it is.”

MOST MEMORY-HOLED ALBUM OF 2015: DONNIE TRUMPET & THE SOCIAL EXPERIMENT’S SURF

On Rob’s annual year-end spreadsheet, this is the 29th most critically acclaimed of 2015, right before Jason Isbell, Deerhunter and Beach House and just ahead of Wilco, Earl Sweatshirt, Chris Stapleton, and Kacey Musgraves. You could ask 100 music fans to name one song from this album, and I doubt you would have greater than a five percent hit rate. It has been wiped off the face of the planet. I think it’s a ska record? The title sounds like the name of a ska record? I could just press play, I guess, but I don’t want to.

The album’s original appeal stemmed from the group’s connection to Chance The Rapper, who might be the most memory-holed superstar of the 2010s. So, Donnie Trumpet & The Social Experiment suffer from the double memory-hole, a devastating predicament to be sure.

Honorable mention: It seems cruel to pick on possible ska bands when Dr. Dre put out Compton, generated glowing press for about three days, sold almost 300,000 records, and then convinced the world that none of it really happened.

[One more special category before I get to my favorite album of 2015,]

MY PERSONAL MOST HATED ALBUM OF 2015: FALL OUT BOY’S AMERICAN BEAUTY/AMERICAN PSYCHO

This band has pissed me off for years by being irredeemably terrible, with a uniquely grating and obnoxious singer and a bad habit of taking the worst aspects of emo and pop and turning them into inedible sonic shit sandwiches. But I was singularly offended when they dared to call their 2013 comeback LP Save Rock And Roll, which is sort of like claiming that the United States military “saved” Hiroshima and Nagasaki at the end of World War II. But then they really crossed the line with this album, which unleashed their most annoying (and annoyingly popular) song ever, the crushingly ubiquitous “Centuries,” a favorite of the sadomasochists who pick the bumper music on sports telecasts.

Seriously, if you take nothing else from this column, remember this: Fuck Fall Out Boy.

[Sorry, I’ll finally answer your question now.]

MY PERSONAL FAVORITE ALBUM OF 2015: FATHER JOHN MISTY’S I LOVE YOU, HONEYBEAR

You know that list I mentioned earlier, the one with Beach Slang at the top of it? This album wasn’t even on it! 2015 Me was not smart! I dread discovering what 2025 Me is like in 10 years.



source https://uproxx.com/music/what-are-the-best-albums-of-2015/

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Hip Hop and Music: A Cultural Evolution

Hip Hop and Music: A Cultural Evolution and What Listeners Look For Hip hop is more than just a genre of music; it is a cultural movement that has deeply influenced the world for over four decades. Originating in the South Bronx during the 1970s, hip hop was birthed from the creative expression of marginalized communities. What started as a fusion of DJing, breakdancing, graffiti art and MCing (rapping) quickly became a global phenomenon. Over the years, hip hop has expanded its reach, influencing various aspects of society, from fashion and language to politics and social movements. But what exactly do listeners seek when they tune in to their favorite hip hop tracks? Let’s explore.

The Evolution of Hip Hop Music

The Evolution of Hip Hop Music At its core, hip hop music is built on rhythm and lyricism. Early pioneers like DJ Kool Herc, Grandmaster Flash, and Run-D.M.C. laid the foundation for what we now recognize as hip hop. They mixed disco, funk, and soul beats with rhythmic rapping to create a unique sound. Through the 1980s and 1990s, iconic artists such as Tupac, The Notorious B.I.G., Nas, and Jay-Z further shaped the genre, adding deeper narratives that explored social issues, struggles, and triumphs.
In the 2000s, hip hop saw its golden age evolve into new sub-genres, from Southern hip hop (e.g., OutKast and Lil Wayne) to the rise of trap music (led by artists like Future, Gucci Mane, and Migos). Today, artists continue to experiment with hybrid sounds, blending trap with pop, rock, and electronic music, creating a more diverse landscape for the genre.

What Listeners Look for in Hip Hop Music

What Listeners Look for in Hip Hop Music While the genre has evolved, the heart of hip hop music still beats with certain core elements that listeners continue to seek. Here’s what attracts audiences to hip hop music:

1. Authenticity

One of the most important qualities of hip hop is its authenticity. Listeners are drawn to artists who stay true to themselves, their roots, and their experiences. Whether an artist is rapping about overcoming hardship, life in the streets, or personal triumphs, their genuineness resonates with fans. Authenticity gives hip hop its raw edge, connecting the artist's voice with listeners on a deeply personal level.

2. Lyricism and Wordplay

Hip hop has always been a platform for storytelling, and the craft of lyricism is highly valued. Fans look for clever wordplay, metaphors, punchlines, and deep storytelling in their favorite tracks. Rappers like Kendrick Lamar, J. Cole, and Nas are revered for their intricate lyricism and ability to convey powerful messages through their words. A song with sharp bars, vivid imagery, and emotional depth can elevate a listener’s connection to the music.

3. Beat and Production Quality

The beat is often the first thing people notice in a hip hop song. A catchy, hard-hitting beat can make or break a track, and producers play an integral role in shaping the sound of hip hop music. Producers like Dr. Dre, Kanye West, and Metro Boomin have become household names for their distinctive production styles. From boom-bap beats to trap drums, the instrumental elements are essential in drawing listeners into the rhythm and groove of the song.

4. Innovation and Evolution

Hip hop is known for its constant evolution. Fans of the genre are often on the lookout for artists who push boundaries and experiment with new sounds. This spirit of innovation keeps the genre fresh and exciting. From the rise of auto-tune with artists like T-Pain to the blend of electronic and rap seen with artists like Travis Scott, listeners are eager for new music that challenges the traditional limits of hip hop.

5. Vibe and Energy

Hip hop isn’t just about the lyrics or the beat—it’s also about the energy the music brings. Whether it’s a party anthem, an introspective track, or a political statement, the vibe and energy of a song play a crucial role in how it resonates with fans. Artists like Drake, Cardi B, and Lil Uzi Vert have mastered the art of creating tracks that make listeners feel a certain way, whether it’s hyped up, laid back, or reflective.

6. Relatability and Emotional Connection

Hip hop has always been an outlet for self-expression and commentary on life experiences. Because of this, listeners often gravitate toward songs that reflect their own lives, struggles, and aspirations. Whether it’s a song about the challenges of growing up in a tough environment, the celebration of personal success, or the experience of love and heartbreak, hip hop has the unique ability to connect emotionally with audiences. Fans often seek songs that speak to their individual journeys and provide comfort, validation, or empowerment.

The Global Reach of Hip Hop

What was once confined to the streets of New York City has now become a global cultural force. From Tokyo to Paris, hip hop has spread across continents, influencing artists and listeners worldwide. In recent years, artists from outside the U.S. have brought their own cultural influences to the genre, blending hip hop with local sounds, languages, and traditions. The genre’s global reach is a testament to its universal themes of struggle, self-expression, and empowerment.

Conclusion

Hip hop music is an ever-evolving cultural powerhouse that has grown from a localized subculture into a global sensation. The authenticity, lyricism, production quality, innovation, energy, and emotional depth are the main ingredients that attract listeners to hip hop. While the genre continues to change, its core values remain consistent—offering a space for self-expression, storytelling, and connection. As hip hop continues to evolve, it will undoubtedly remain a major force in shaping the future of music. Whether you’re a fan of classic boom-bap or modern trap, hip hop’s diverse range offers something for everyone, proving that its cultural impact is here to stay.