Sam’s Favorite Albums

Found below are the albums I’ve highlighted on my “Favorites” page since launching my site.

Fiona Apple, “Fetch the Bolt Cutters”

added may 18, 2020

I wish every album made me feel the way “Fetch the Bolt Cutters” does. It makes me feel alive. Full of kinetic energy. Furious, upset, joyous. In other words, “Fetch the Bolt Cutters” is an emotional rollercoaster, one that earns every emotional high and low. Apple’s songwriting is personal, funny and warm, even when it’s also glowing white hot with anger and righteous truth. The homemade percussion adds to the album’s aforementioned energy, and Apple’s jazzy instrumentation is still as exciting as ever. This is the album of the year, folks, and it’s going to be very hard to dethrone.

Mac Miller, “Circles”

added january 30, 2020

Mac Miller tragically passed away in 2018. He started as a child rapper, but his later music evolved from traditional hip-hop to incorporate soul, jazz and funk influences. Losing Mac was a huge loss, and that’s why I’m so thankful we have “Circles.” Unlike most posthumous albums, “Circles” isn’t an exploitative cash grab. It’s a heartfelt, well-produced album that sounds more like an introspective singer-songwriter record than a hip-hop one. Mac’s writing is honest, simple and moving, and it makes the album a powerful search for peace.

The Night Watch, “An Embarrassment of Riches”

added november 20, 2019

“An Embarrassment of Riches” is a fun album to describe. It sounds like the score for a pirate movie that mixes classical orchestral arrangements and heavy metal. Now, some of those words may scare you off, but I promise the newest album from the Ontario quartet is an accessible and epic thrill ride. Violinist Evan Runge plays the instrument with both beauty and menace, and guitarist Nathanael Larochette plays off Runge well. Give this album a try, and you’ll be feeling like a swashbuckler in no time.

clipping., “There Existed an Addiction to Blood”

added october 22, 2019

Daveed Diggs may be best known for playing Lafayette and Jefferson in the original run of “Hamilton,” but he does something even weirder on the side. Clipping is an experimental rap trio, for which Diggs is the vocalist. The group’s newest album, “There Existed an Addiction to Blood,” is an absolute thrill. Inspired by horror films, the lyrics and sounds of “There Existed” are scary, violent and darkly alluring. Diggs’ precise flow acts like a surgical knife across the tense track list. This album came at the perfect time of year, so don’t forget to add it to your Halloween playlist.

Charli XCX, “Charli”

added september 22, 2019

I’m ashamed to admit I only knew Charli XCX as the feature on Iggy Azalea’s “Fancy” for years. Meanwhile, the British singer was pushing pop’s boundaries with futuristic synths, electronic vocal effects and a bubblegum sound that goes heavy on the bass. With her self-titled third album, Charli continues her streak of great releases with a forward-facing pop album that is catchy, experimental, fun and emotional. It has a feature list that is as great as it is lengthy, and it is full of songs (like “Gone” and “1999”) that would own the radio if there was any justice in the music world.

Lana Del Rey, “Norman F*****g Rockwell!”

added september 16, 2018

Singer-songwriter Elizabeth Grant has built her career as Lana Del Rey on the backs of nostalgia and Americana, so it feels fitting that her best album to date would take these themes and tackle them in a more complex way fit for 2019. Grant’s writing is more personal, emotional and entertaining than ever, and her feelings toward the country she once proudly supported help further the album. I love the mix of psych-rock and piano ballads and was impressed to hear Jack Antonoff produce something outside of his normal indie pop flair. Overall, Grant fully comes into her own as a musician and songwriter on “NFR,” and I am so happy to say that.

Brockhampton, “Ginger”

added September 1, 2019

One of my favorite musical acts, Brockhampton is a hip-hop boy band. Every member brings a unique voice and energy to the music. BH’s fifth studio album, “Ginger,” is the band’s tightest, saddest and most mature album yet. The group is still dealing with anxiety and depression, and the dramatic split with former member Ameer Vann certainly didn’t help. The themes of religion and mental health resonate well, and every member shines throughout. Plus, the album still packs some catchy tunes (please check out “Sugar”). The boys have found another success in “Ginger,” but more importantly, I hope they find happiness outside of music too.

Freddie Gibbs & Madlib, “Bandana”

Added July 20, 2019

Five years ago, rapper Freddie Gibbs and producer Madlib shocked the rap community with “Piñata.” They were an odd couple, but Gibbs’ clean and tough gangster flow and Madlib’s eccentric soul beats made for an amazing pair. Now, their second release, “Bandana,” is essentially the sequel to “Piñata,” and good news, it’s even better. The chemistry between Gibbs and Madlib is even stronger, making the pair seem all the more natural. Gibbs shows off his excellent rapping chops, taking on race, crime and drugs, while Madlib challenges him with great lo-fi production and surprising beat switches. All in all, you’re not going to hear a rap album as tough as this in 2019.

Carly Rae Jepsen, “Dedicated”

Added June 23, 2019

Carly Rae Jepsen’s “Emotion” is one of my all-time favorite albums. I love Carly’s addictively catchy hooks and bubbly ‘80s synth-pop sound. When her full-length follow-up “Dedicated” released this year, I thought it was a solid but lesser album. About one month later, I can’t decide which album I love more. “Dedicated” is almost as catchy as “Emotion,” and “Dedicated” improves over “Emotion” with its pristine production and Carly’s more confident songwriting. Long live today’s queen of pop.

Injury Reserve, “Injury Reserve”

added may 27, 2019

Hip-hop trio Injury Reserve (made up of rappers Stepa Groggs and Ritchie with a T and producer Parker Corey) has somehow never blown up. Despite making innovative, catchy songs with smart lyrics since their first major project in 2015, they are still a relatively unknown group. That is a travesty. This year, their self-titled release (their first under label Loma Vista) continues to see the band push their creative production and introspective lyrics to new heights. They even throw in some conceptual songs too. Please don’t sleep on these guys.

Tyler, The Creator, “IGOR”

added may 21, 2019

While it took awhile to grow on me, Tyler, The Creator’s fourth studio album, “Flower Boy,” was my favorite hip-hop album of 2017. It balanced romantic, introspective R&B and soul with Tyler’s famous brash rap, and I learned to absolutely love it. Two years later, Tyler fully leans into his romantic side with “IGOR,” a breakup album constructed with distorted vocals, a synth soundscape and unconventional song structures. Like Tyler said to promote it, it’s not a rap album, but it is an expertly produced album. This is Tyler fully realized as a producer, and the product is one of my favorite albums of the year.

Jamila Woods, “Legacy! Legacy!”

added may 17, 2019

Chicago poet Jamila Woods’ second album is the farthest thing from a sophomore slump. It’s an impressively written ode to artists of color, with each song acting as a tribute to their legacy (hence the album name, “Legacy! Legacy!”), what they mean to Woods and how they relate to the present. Woods’ songwriting is personal and political, and the diverse production (lively percussion, electric guitars, pianos and more) match her versatile concepts. This is the R&B album to beat in 2019.

Lizzo, “Cuz I Love You”

added may 3, 2019

Easily the frontrunner for most fun album of the year, Lizzo’s major label debut, “Cuz I Love You,” is a must-listen pop record. The queen of self-confidence blends funk, hip-hop and R&B for a catchy, upbeat sound that is sure to put you in a good mood. The album is reminiscent of great recent pop albums that also blend genres and ooze confidence like Janelle Monáe’s “Dirty Computer” and Kesha’s “Rainbow.” But great music aside, Lizzo herself is the true reason to love this record. Her personality, bursting with charm and lovable humor, shines through this record, and it only takes one listen through “Cuz I Love You” to see why Lizzo is going to be a phenomenally popular star.

Billie Eilish, “When We All Fall Asleep, Where Do We Go?”

added april 29, 2019

I didn’t want to love this album. Billie Eilish’s rabid fanbase, her age (she’s only 17!) and her proud weirdness make it easy to brush her off as a product of internet hype, but she’s the real deal. This album is proof. “When We All…” is a weird, bass-pounding pop record, one that feels totally unique to Eilish. Sure, some of the songwriting is laughably edgy or weird, but the album balances its tones (haunting, beautiful, emotional) very well. You’re not going to hear a pop album that is as equally different and good as this for awhile.

PUP, “Morbid Stuff”

added april 24, 2019

Canadian rock band PUP (short for Pathetic Use of Potential) grabbed my attention this year with fantastic singles like “Kids,” “Scorpion Hill” and “Sibling Rivalry.” But I was skeptical the band could release an album that would match the quality of its singles. I was wrong. PUP’s third album is some of the best pop punk I’ve heard in years, with catchy hooks, great guitar solos and energetic punk energy that is the perfect amount of angry. The album finds the band looking into the void of mortality, hopelessness and heartbreak, and they yell right back at it. I love it.

Weyes Blood, “Titanic Rising”

added april 17, 2019

I first heard Weyes Blood (aka Natalie Mering) as the opener for Father John Misty during his “Pure Comedy” tour. Her angelic voice wowed me, and it wowed me again on the title track of my favorite album of last year, FJM’s “God’s Favorite Customer.” This year, she’s wowed pretty much everyone with her fourth album, “Titanic Rising.” The chamber pop epic is an orchestral, compositional feat that bursts at the seams with Mering’s gorgeous vocals and sweeping, emotional ballads. Jonathan Rado’s production nails that ‘70s pop sound better than Lana Del Rey ever has. Let yourself be entranced by this beautifully hypnotic record.

Little Simz, “GREY Area”

added April 8, 2019

As much as I love music, U.K. rap is a blind spot for me. So I was pleasantly surprised when I found “GREY Area,” the third album from 25-year-old Little Simz (aka Simbiatu Abisola Abiola Ajikawo). Not only does it earn huge credit for the U.K. rap scene, but it’s also one of 2019’s early contenders for album of the year. Little Simz is fierce, energetic and fun, bringing great wordplay and a proudly feminist point of view. The production matches her energy with its jazz-inspired instrumentation and buzzy bass lines.

The Beths, “Future Me Hates Me”

added JANUARY 25, 2019

Easily one of the best debut albums of 2018, The Beths’ “Future Me Hates Me” is an overlooked gem. I would have completely missed the New Zealand indie rock band if it weren’t for NPR’s best albums of 2018 list. This album boasts great guitar riffs and very relatable songwriting for anyone struggling through their 20s. But what makes this album truly special is the charming three-part vocal harmony that can be heard on every track.

The 1975, “A Brief Inquiry into Online Relationships”

added december 16, 2018

I loved The 1975 in high school, but then again, I also loved Fall Out Boy in high school. The latter released one of 2018’s worst albums. The former released one of the year’s best. The 1975 surprised both critics and fans with their third studio album. It’s a smart, funny and timely commentary on life in the digital age and how although the Internet may be great, it doesn’t solve the human condition. With a tasteful mix of electropop, rock and jazz, it has a diverse hour-long duration. Expect to laugh and cry along the way.

Rosalía, “El Mal Querer”

added november 26, 2018

“El Mal Querer” is a gorgeous and very danceable album from Spanish singer Rosalía. She creatively mixes flamenco with contemporary pop and makes it even better with her beautiful voice and inventive production. With a short 30-minute length, you’ll find yourself playing it over and over again.