Top 11 Music Albums of 2016 by 
DriftingOrpheus 
- Chart updated: 03/09/2024 00:45
- (Created: 06/11/2020 12:57).
- Chart size: 11 albums.
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2016's The Glowing Man was intended to be the final stop for post-rock icons Swans. Even though it was not their final record, in many ways it feels like an ending, musically embodying a purifying crescendo. It's no secret that the band played their hand in a few false finishes in the past. 1996's Soundtracks for the Blind was a haunting, alluring attempt to combine Swans' music with a score to a film that did not exist. This also was planned to be the band's final musical epitaph. 2010 brought a new sound and a new Swans lineup and The Glowing Man was seen to be the concluding artistic flourish and what a flourish it turned out to be.
While the previous record, 2014's To Be Kind conveyed a seething, scathing critique of human indecency, The Glowing Man is a far more reflective and anguished experience, almost communicating that the emotional toll of the journey that this era of the band went through was a soul-altering odyssey. Take second track Cloud of Unknowing for instance, a 25 minute, bone-rattling lead up to a midpoint climax that I have yet to see duplicated. After the storm passes, the track slinks back into the bowels of darkness from which it was conceived, hissing chants of "Monster eater" and "Jesus feeler". The second half of the record commences with the towering Frankie M, a 20 minute pulse-pounding journey dedicated to a battle lost to drug addiction. An abridged version was featured in Swans' live sets as early as 2014 but the final form of the song serves as a moment of tempestuous strength and intense catharsis on the album. When Will I Return? details a horrifying rape-attempt that befell Michael Gira's wife Jennifer. Possibly the album's most gentile track, Jennifer claims to "Still kill him in her sleep". The penultimate track here is the title track, The Glowing Man. The most extensive cut on the album, clocking in at nearly 30 minutes, is the most chameleonic, beginning as an avalanche of bruising guitar hits. The track then simmers before swelling again into a furiously paced proclamation of bodily manifestation. Vocalist Michael Gira cries, "Joseph is moving his tongue in my neck, Joseph is riding a vein in my head, Joseph is cutting my arm on his bed, Joseph is making my body fly". After having listened to it, you'd be liable to admit to an out-of-body experience.
The Glowing Man only consists of eight tracks, eight tracks spanning nearly two hours with enough vexation, desperation and despair to rival a lifetime of alcoholic's anonymous meetings. I've stated in earlier write-ups that the band incorporates their music with a staunch focus on the dichotomy of sound decibles. The Glowing Man seems to consummate this idea with the concept of emotional contrast. Moments of exhilaration lap on the shores of severe hysteria and dejection. Additionally, It shines through in practice as well as from the listeners point of view. At times the album ceases to be organized sound, but instead formulates as a raw force of nature. Put simply, it sounds like a human soul crying out for liberation.
"I beat him on his face
And I stab with all my strength
And I scream until he goes
I scream until he's gone
Then I crawl across the road"
-When Will I Return?
Standout Tracks:
1. The Glowing Man
2. Cloud of Unknowing
3. Frankie M
97.8 [First added to this chart: 06/11/2020]
While the previous record, 2014's To Be Kind conveyed a seething, scathing critique of human indecency, The Glowing Man is a far more reflective and anguished experience, almost communicating that the emotional toll of the journey that this era of the band went through was a soul-altering odyssey. Take second track Cloud of Unknowing for instance, a 25 minute, bone-rattling lead up to a midpoint climax that I have yet to see duplicated. After the storm passes, the track slinks back into the bowels of darkness from which it was conceived, hissing chants of "Monster eater" and "Jesus feeler". The second half of the record commences with the towering Frankie M, a 20 minute pulse-pounding journey dedicated to a battle lost to drug addiction. An abridged version was featured in Swans' live sets as early as 2014 but the final form of the song serves as a moment of tempestuous strength and intense catharsis on the album. When Will I Return? details a horrifying rape-attempt that befell Michael Gira's wife Jennifer. Possibly the album's most gentile track, Jennifer claims to "Still kill him in her sleep". The penultimate track here is the title track, The Glowing Man. The most extensive cut on the album, clocking in at nearly 30 minutes, is the most chameleonic, beginning as an avalanche of bruising guitar hits. The track then simmers before swelling again into a furiously paced proclamation of bodily manifestation. Vocalist Michael Gira cries, "Joseph is moving his tongue in my neck, Joseph is riding a vein in my head, Joseph is cutting my arm on his bed, Joseph is making my body fly". After having listened to it, you'd be liable to admit to an out-of-body experience.
The Glowing Man only consists of eight tracks, eight tracks spanning nearly two hours with enough vexation, desperation and despair to rival a lifetime of alcoholic's anonymous meetings. I've stated in earlier write-ups that the band incorporates their music with a staunch focus on the dichotomy of sound decibles. The Glowing Man seems to consummate this idea with the concept of emotional contrast. Moments of exhilaration lap on the shores of severe hysteria and dejection. Additionally, It shines through in practice as well as from the listeners point of view. At times the album ceases to be organized sound, but instead formulates as a raw force of nature. Put simply, it sounds like a human soul crying out for liberation.
"I beat him on his face
And I stab with all my strength
And I scream until he goes
I scream until he's gone
Then I crawl across the road"
-When Will I Return?
Standout Tracks:
1. The Glowing Man
2. Cloud of Unknowing
3. Frankie M
97.8 [First added to this chart: 06/11/2020]
Year of Release:
2016
Appears in:
Rank Score:
967
Rank in 2016:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
8
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When Fishmans signed with Virgin Records Japan in 1990, drummer Kin-ichi Motegi thought that the band would sell 50,000 copies of their debut record, 'Chappie, Don't Cry'. In reality, the album didn't even sell 5,000. Fishmans, despite their brilliance, weren't able to boast any kind of monetary success, not that this ran parallel to the quality of the music, which was often stratospheric. These days, their performances and reissues are labors of love and honor while thoughts of economic prosperity from the music seem irrelevant. The remaining men from the band's heyday occupy a very different headspace than the young kids that broke into the Japanese music scene at the dawn of the 1990's. Then, they were wide-eyed, ambitious and fully unaware of the rigors and crushing distresses that the music industry offers with little clemency. Frontman Shinji Sato, particularly, foresaw a future bedecked with a rock star effigy and he worked tirelessly on his craft to feed the fires of his vision. Not to undermine the disappointment of any of the members who gave their all to the now legendary Japanese unit, but the fruits of a belatedly adored discography feel all the more tragic in a world without Sato in it. Outside of Japan, few could squint and regard the band as "rock stars", however, whenever the group took the stage, the quality of their live showcase anointed them as a force with no equal.
'Long Season '96' contains material from Fishmans at their peak. Recorded in the Winter of 1996, its release in 2016 came as a welcomed surprise for loyal fans who had long waited for a companion piece to the seismic '98.12.28' (1999). It's safe to say that '96' wades effervescently through the same hallowed passage of celestial bodies. The LP commences, the only way it could, with a Fishmans live staple/calling card. 'Oh Slime' starts with the shrill, unmistakable wail from Shinji Sato, a sort of auditory autograph, as the unit uncorks their customary, preliminary track. This version of 'Oh! Slime', is more barebones than the epic, arena-filling version found on '98.12.28'. What this rendition lacks in polish, it makes up for with heavy helpings of charm. Notably less formidable than its evolution, the playful keyboarding of secret weapon member, Honzi, colors the track beneath Sato's half-spoken/half-sung vocals. Before you can blink, the band slips into second track 'Go Go Round This World!', as declared by Yuzuru Kashiwabara's heartbeat, sub-aquatic bass line. This iteration of 'Go Go' vastly differs from its original life as a single from Fishmans in 1994. Where the single was direct, melodic and firmly colored in from within the lines, the live equivalent is comparative free jazz and borderline improvisational. It's an eight-minute, kaleidoscopic safari that reorients itself compulsively between canorous wobbler and prog-rock bouncer. It's one of the record's more intriguing forays, especially when holding it up to the light, parallel to the prototype. Putting new coats of paint on compositions should always be in play on stage and the band successfully touches up their prior handiwork. Third track, なんてったの, is an early career standout, as pointed out by Sato himself. The swirling track retains most of the properties of the studio cut. In other live iterations, there's a warmth present from Honzi's keys. Here, chilly tones return, leaving the warmth to Sato's vocals as Kin-ichi Motegi's drums dance around both elements. It's a track that undeniably circular, leaving the listener in dizzy, joyful bewilderment. The aura of merriment extends to fourth entry, '土曜日の夜', however, shy basslines are shown the door. Kashiwabara's buoyant work on the track provides a smooth surface for others to effectively ad-lib on top of. This bravado is most extroverted during the song's mid-section, when Honzi's cosmic flourishes play tag with the unshackled guitar of Darts Sekiguchi. '土曜日の夜' is a ringing endorsement of the sturdiness of Fishmans' sonic foundations and gives credence to the notion that any additional musical adornment would homogenize seamlessly.
The LP takes its foot off the pedal with fifth track, 'バックビートにのっかって', a tranquil transcription of one of the more serene moments from 'Uchu Nippon Setagaya' (1997). Here, in its live reincarnation, the song is willing to unbutton its collar and let loose, if only marginally. The dotting of the outer edges propagates renewed vigor without parting with its aboriginal appeal. Extended drum installments and brighter keys illuminate a track that's far removed from a Monday morning shift and is comfortably enjoying Friday night cocktail hour. The airy waltz advances with 'エヴリデイ・エヴリナイト', which also isn't afraid to step out of its comfort zone. This chapter is still chiefly captained by the soothing coos of Shinji Sato, but exits stage with a Sekiguchi guitar extension that shakes your hand firmly before leaving, making sure you commit the name to memory. It's just then, when all things passive are expunged as 'Sunny Blue's' agitated riff splits the silence. The dichotomy between Sato's vocal delicacy and some of Fishmans' more combative instrumentation never ceases to marvel with its ability to harbor such consonance. Despite the truth behind the melody section hording the spotlight, Kin-ichi Motegi's dexterous drumming straightens the spine of the rebellious episode. The track, potentially more than the others, best displays a group who have fully found their technical confidence. With 'Smilin' Days, Summer Holiday', the band re-up on their opportunity to cast out any lingering kinetic energy. Another piece that has been embedded with new life on stage, 'Smilin' Days' is, at times, formless and polychromatic. However, the tune never veers into a place of ostentation and retains its sense of self. Still a down-to-earth celebration of life's little delights, this 'holiday' champions childlike innocence. Sato sings, "Like how a puppy and a child are understandably good friends; I'm sure the person with the foreign hairstyle is thinking the same thing."
As the LP approaches its coda, Fishmans graciously send off the observational, tenderhearted canticles of their formative years and invite the space rock, dream pop stylings of "すばらしくてNice Choice" in to close the loop. The track whirrs in, akin to a hovering flying saucer. The slightly shrouded perspective and auditory ambiguity point to a freshly charted course on the back half of 'Long Season '96'. This is not to dye the objectively benign lyrics as deceitful, but it does, however, cause them to land with alternate reverberations. Honzi's violin further implicates the cut as one with nebulous sensibilities, both literally and figuratively. 'Nice Choice' is one of the album's more arresting tangents, one that's markedly nihilistic as evidenced by Sato's declarations of, "Gently meet fate and laugh at it". Fishmans continue to live in the world of the incorporeal with '夜の想い', which translates to 'Thoughts of the Night'. Although the track has more swagger in its step, it still wrestles with headier themes than previous pop belters. This introspection isn't just contained to the setlist, the emotion found in this recitation is noticeably impassioned, as highlighted by the carefully weighted playing of its authors. Still, these are just precisely situated cultivations in service of the gut punch to come. The penultimate, 'ナイトクルージング', is to my ears, the finest arrangement the song has ever adopted, with its captivating allure pausing, smelling the flowers and then departing, clearing a path for the colossus. The finality of 'Long Season' never loses it's potency and while its more famous exhibition brandishes more emotion, this offering is more cavernous. The stellar percussion of Motegi and Asa-Chang at the track's axis is triumphant, eliminating any hint of a mid-point lull. This perpetual momentum steers the listener headfirst into the brunt of the song's unrivaled emotional endgame. Sato long wished for he and his cohorts to become "rock stars". Fortunately for them, the term "deities" would have to suffice.
95.7 [First added to this chart: 07/17/2022]
'Long Season '96' contains material from Fishmans at their peak. Recorded in the Winter of 1996, its release in 2016 came as a welcomed surprise for loyal fans who had long waited for a companion piece to the seismic '98.12.28' (1999). It's safe to say that '96' wades effervescently through the same hallowed passage of celestial bodies. The LP commences, the only way it could, with a Fishmans live staple/calling card. 'Oh Slime' starts with the shrill, unmistakable wail from Shinji Sato, a sort of auditory autograph, as the unit uncorks their customary, preliminary track. This version of 'Oh! Slime', is more barebones than the epic, arena-filling version found on '98.12.28'. What this rendition lacks in polish, it makes up for with heavy helpings of charm. Notably less formidable than its evolution, the playful keyboarding of secret weapon member, Honzi, colors the track beneath Sato's half-spoken/half-sung vocals. Before you can blink, the band slips into second track 'Go Go Round This World!', as declared by Yuzuru Kashiwabara's heartbeat, sub-aquatic bass line. This iteration of 'Go Go' vastly differs from its original life as a single from Fishmans in 1994. Where the single was direct, melodic and firmly colored in from within the lines, the live equivalent is comparative free jazz and borderline improvisational. It's an eight-minute, kaleidoscopic safari that reorients itself compulsively between canorous wobbler and prog-rock bouncer. It's one of the record's more intriguing forays, especially when holding it up to the light, parallel to the prototype. Putting new coats of paint on compositions should always be in play on stage and the band successfully touches up their prior handiwork. Third track, なんてったの, is an early career standout, as pointed out by Sato himself. The swirling track retains most of the properties of the studio cut. In other live iterations, there's a warmth present from Honzi's keys. Here, chilly tones return, leaving the warmth to Sato's vocals as Kin-ichi Motegi's drums dance around both elements. It's a track that undeniably circular, leaving the listener in dizzy, joyful bewilderment. The aura of merriment extends to fourth entry, '土曜日の夜', however, shy basslines are shown the door. Kashiwabara's buoyant work on the track provides a smooth surface for others to effectively ad-lib on top of. This bravado is most extroverted during the song's mid-section, when Honzi's cosmic flourishes play tag with the unshackled guitar of Darts Sekiguchi. '土曜日の夜' is a ringing endorsement of the sturdiness of Fishmans' sonic foundations and gives credence to the notion that any additional musical adornment would homogenize seamlessly.
The LP takes its foot off the pedal with fifth track, 'バックビートにのっかって', a tranquil transcription of one of the more serene moments from 'Uchu Nippon Setagaya' (1997). Here, in its live reincarnation, the song is willing to unbutton its collar and let loose, if only marginally. The dotting of the outer edges propagates renewed vigor without parting with its aboriginal appeal. Extended drum installments and brighter keys illuminate a track that's far removed from a Monday morning shift and is comfortably enjoying Friday night cocktail hour. The airy waltz advances with 'エヴリデイ・エヴリナイト', which also isn't afraid to step out of its comfort zone. This chapter is still chiefly captained by the soothing coos of Shinji Sato, but exits stage with a Sekiguchi guitar extension that shakes your hand firmly before leaving, making sure you commit the name to memory. It's just then, when all things passive are expunged as 'Sunny Blue's' agitated riff splits the silence. The dichotomy between Sato's vocal delicacy and some of Fishmans' more combative instrumentation never ceases to marvel with its ability to harbor such consonance. Despite the truth behind the melody section hording the spotlight, Kin-ichi Motegi's dexterous drumming straightens the spine of the rebellious episode. The track, potentially more than the others, best displays a group who have fully found their technical confidence. With 'Smilin' Days, Summer Holiday', the band re-up on their opportunity to cast out any lingering kinetic energy. Another piece that has been embedded with new life on stage, 'Smilin' Days' is, at times, formless and polychromatic. However, the tune never veers into a place of ostentation and retains its sense of self. Still a down-to-earth celebration of life's little delights, this 'holiday' champions childlike innocence. Sato sings, "Like how a puppy and a child are understandably good friends; I'm sure the person with the foreign hairstyle is thinking the same thing."
As the LP approaches its coda, Fishmans graciously send off the observational, tenderhearted canticles of their formative years and invite the space rock, dream pop stylings of "すばらしくてNice Choice" in to close the loop. The track whirrs in, akin to a hovering flying saucer. The slightly shrouded perspective and auditory ambiguity point to a freshly charted course on the back half of 'Long Season '96'. This is not to dye the objectively benign lyrics as deceitful, but it does, however, cause them to land with alternate reverberations. Honzi's violin further implicates the cut as one with nebulous sensibilities, both literally and figuratively. 'Nice Choice' is one of the album's more arresting tangents, one that's markedly nihilistic as evidenced by Sato's declarations of, "Gently meet fate and laugh at it". Fishmans continue to live in the world of the incorporeal with '夜の想い', which translates to 'Thoughts of the Night'. Although the track has more swagger in its step, it still wrestles with headier themes than previous pop belters. This introspection isn't just contained to the setlist, the emotion found in this recitation is noticeably impassioned, as highlighted by the carefully weighted playing of its authors. Still, these are just precisely situated cultivations in service of the gut punch to come. The penultimate, 'ナイトクルージング', is to my ears, the finest arrangement the song has ever adopted, with its captivating allure pausing, smelling the flowers and then departing, clearing a path for the colossus. The finality of 'Long Season' never loses it's potency and while its more famous exhibition brandishes more emotion, this offering is more cavernous. The stellar percussion of Motegi and Asa-Chang at the track's axis is triumphant, eliminating any hint of a mid-point lull. This perpetual momentum steers the listener headfirst into the brunt of the song's unrivaled emotional endgame. Sato long wished for he and his cohorts to become "rock stars". Fortunately for them, the term "deities" would have to suffice.
95.7 [First added to this chart: 07/17/2022]
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88.7
[First added to this chart: 06/11/2020]
Year of Release:
2016
Appears in:
Rank Score:
17,121
Rank in 2016:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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The story goes that Danny Brown blew about $70,000 dollars on sampling rights for his 2016 magnum opus, 'Atrocity Exhibition'. The Detroit native longed to make something enduring and uses time as his analogy. Brown says, "I wanna make timeless stuff, so you're gonna have to spend a couple dollars; You could have a Rolex or you can have a Swatch." The rapper's fourth studio effort employs samples from Cut Hands, Giovanni Cristiani, Guru Guru and Pink Floyd's Nick Mason to name a few. Not conventional sources by any means but it goes without saying that Brown, fitted with an undeniably distinct ear, puts them to good use. It's safe to say it was money well spent. Perhaps the most noticeable influence lies with the album's namesake. Beyond just sharing monikers, the prose between Brown's monument and Joy Division's 1980 swan song, 'Closer', share many fatalistic tendencies, such as nihilism and desperation. 'Closer' itself was a outstretched hand, albeit a more subdued one. Curtis' demons were well documented and Brown's are now public knowledge as well. Many say that the record is a cry for help or a scathing, uncompromising self-critique. However, it's a sure bet that the architect of the best hip-hop album of the decade said it best, "This is Danny Brown." Despite a disposition for sonic and thematic isolation, Brown is accompanied by some of hip-hop's most forward-thinking artisans. Names like Kendrick Lamar, Ab-Soul and Earl Sweatshirt put their heads together to aid Brown's manic, unique vision on 'Really Doe', the album's final single. However, at the end of the day, this is Danny's show through and through and it's fair to say that his creative stamp riddles the track list. The end result is a Danny Brown that produces formless, proudly unorthodox and honest parables. It's a task that the majority of MCs misfire on, or reduce to cliché, but Brown's journey of emotional examination and detoxification has put him among rap's elite.
The LP is a revolving, reoccurring nightmare of self-inflicted wounds to which there is no detectable method of course correction. Track one, 'Downward Spiral', creates a tangible atmosphere of dread and paranoia coupled with drum hits that narrowly tether Brown's rhymes together. The song feels like it could unravel at any given moment, expertly mirroring its narrator. Periodic, gleaming guitar is the ray of sunshine that provides brief respite. Even that feels diluted by the blackout curtains of Brown's poetry. He remarks, "Been grinding on my teeth so long it's swelling up my jaw, Nothing on but my bathrobe and pinky ring, Your worst nightmare for me is a normal dream." It's a viscous, slow-moving start to the LP that subverts expectation and prepares the palette for a serving of experimental hip-hop. Subsequent track, 'Tell Me What I Don't Know' eschews the use of Danny's routinely coarse cadence in favor of a baritone, subdued vocal approach. Synth injections of bass that wouldn't be out of place within a 1970's Giallo picture lower the track into a dark abyss as Brown hastily raps above it. Third track, 'Rolling Stone', is as languid as the record gets, with the presence of Petite Noir creating a soothing atmosphere amidst an ocean of prose which resembles a fiery shipwreck. Brown declares, "Bought a nightmare, sold a dream, happiness went upstream, blame myself, I had no control, now I'm living with no soul." Fourth Track, 'Really Doe', is a hip-hop super collaboration of epic proportions as a baton passes from verse to verse ushered by traditional, yet hard-hitting production. Earl Sweatshirt's final verse is an apropos coda to the track, as he himself would embrace aural reinvention. Earl professes, "You've been the same motherfucker since 2001; Well it's the left-handed shooter, Kyle Lowry the pump, I'm at your house like, "Why you got your couch on my Chucks?" 'Really Doe' is a rap alliance deftly done and supremely executed.
Fifth cut, 'Lost', re-bathes the LP in its elixir of overt abnormality. Playa Haze's production is the crown jewel on the track, interweaving elements of 'Flame of Love' performed by Bai Guang that behave like a murmuring, beating heart pumping blood through the beats. It remains one of the album's most creative, earworm-inducing moments, toting the line between buoyant hip-hop banger and bleak, introspective fever dream. The record's cornerstone, 'Ain't It Funny', embodies the spirit of 'Atrocity' better than any, pulsating with brass lungs reminiscent of the sonic motifs of the reformed Swans records of the 2010's. 'Ain't It Funny' is crunchy, coarse and agitated like a charging rhinoceros. Brown laments, "I can sell honey to a bee, in the fall time make trees take back they leaves; Octopus in a straight jacket, savage with bad habits, broke serving fiends, got rich became an addict." The track lives as the lynchpin for the thematic DNA of the record while flourishing the finest production and lyrical flexibility present within its 15 songs. Side two commences with 'White Lines', a skittering, subterranean excursion that outlines the subject's love/hate relationship with cocaine. Sonically, it's dingy, unfettered and unwashed. It acts as a descent down a staircase by way of inebriated stumbles, punctuated by pervasive, staccato twinkling. Here, glorification and degradation flow equally, contributing to an album of faux emotional highs and rock-bottom lows. Twelfth track, 'When It Rain', is undoubtedly the most aggressive of 'Atrocity's' offerings, detailing the pugnacious nature of his hometown of Detroit and it's clear how his surroundings helped carve out the motifs of the record. Bass returns in a big way on the track with a Delia Derbyshire sample, 'Pot Au Feu', used to genius effect in order to conjure an atmosphere of fear where safety is far from reach. Brown concurrently creates a sense of horror from manning the street corners of his origin while expressing pride in being a product of it and having survived its urban hazards. Brown explains, "Cause everybody hungry in them streets, nigga rob ya grandma for something to eat; Know it's fucked up, that's how it be growing up living everyday in the D; And it don't seem like shit gon' change; No time soon in the City of Boom, doomed from the time we emerged from the womb." Danny skillfully paints a picture of nurture at the hands of a city by linking together moments that bred tomorrow's scars but are recollected by way of hazy dreams.
Some MCs never find a quintessential vehicle for their voice, sonically or thematically. Danny Brown had to make friends with vulnerability and stare death in the face in order for 'Atrocity Exhibition' to materialize. Hip-Hop is littered with examples of exuberant characters seemingly fitted with armor invulnerable to breakage. Brown proudly displays his imperfections here, without the need for exaggeration. His voice itself is the finest metaphor for his approach to his fourth record. It's unconventional, grating and even a bit ugly, however, it's what draws you in. It's initial homeliness gives way to pride-swallowing enjoyment with Danny's self-exposure opening the floodgates to an approach that champions the phrase "all bets are off". Unconventionality is beautiful, the unorthodox is tradition and staccato sounds unmistakably like legato. On 'Atrocity Exhibition', Brown crafts a visage of himself as a Detroit-based King Midas, saddled with a fortune of alcohol, stimulants and women in lieu of gold. He doesn't do this to inspire envy or raise street-cred as seen in other rap symphonies. Rather, as an act of confession in an attempt to pull his own soul from the fiery wreck of his crumbling, metropolitan castle. He just so happened unlock his artistic potential and produce a hip-hop masterpiece in the process. The Devil went down to Motown and lost. I guess this means Danny's salvation was a success.
"Say ya need to slow down
Cause you feel yourself crashing
Staring in the devil face
But ya can’t stop laughing
Staring in the devil face
But ya can't stop laughing."
-Ain't It Funny
Standout Tracks:
1. Ain't It Funny
2. Really Doe
3. When It Rain
88.6 [First added to this chart: 06/11/2020]
The LP is a revolving, reoccurring nightmare of self-inflicted wounds to which there is no detectable method of course correction. Track one, 'Downward Spiral', creates a tangible atmosphere of dread and paranoia coupled with drum hits that narrowly tether Brown's rhymes together. The song feels like it could unravel at any given moment, expertly mirroring its narrator. Periodic, gleaming guitar is the ray of sunshine that provides brief respite. Even that feels diluted by the blackout curtains of Brown's poetry. He remarks, "Been grinding on my teeth so long it's swelling up my jaw, Nothing on but my bathrobe and pinky ring, Your worst nightmare for me is a normal dream." It's a viscous, slow-moving start to the LP that subverts expectation and prepares the palette for a serving of experimental hip-hop. Subsequent track, 'Tell Me What I Don't Know' eschews the use of Danny's routinely coarse cadence in favor of a baritone, subdued vocal approach. Synth injections of bass that wouldn't be out of place within a 1970's Giallo picture lower the track into a dark abyss as Brown hastily raps above it. Third track, 'Rolling Stone', is as languid as the record gets, with the presence of Petite Noir creating a soothing atmosphere amidst an ocean of prose which resembles a fiery shipwreck. Brown declares, "Bought a nightmare, sold a dream, happiness went upstream, blame myself, I had no control, now I'm living with no soul." Fourth Track, 'Really Doe', is a hip-hop super collaboration of epic proportions as a baton passes from verse to verse ushered by traditional, yet hard-hitting production. Earl Sweatshirt's final verse is an apropos coda to the track, as he himself would embrace aural reinvention. Earl professes, "You've been the same motherfucker since 2001; Well it's the left-handed shooter, Kyle Lowry the pump, I'm at your house like, "Why you got your couch on my Chucks?" 'Really Doe' is a rap alliance deftly done and supremely executed.
Fifth cut, 'Lost', re-bathes the LP in its elixir of overt abnormality. Playa Haze's production is the crown jewel on the track, interweaving elements of 'Flame of Love' performed by Bai Guang that behave like a murmuring, beating heart pumping blood through the beats. It remains one of the album's most creative, earworm-inducing moments, toting the line between buoyant hip-hop banger and bleak, introspective fever dream. The record's cornerstone, 'Ain't It Funny', embodies the spirit of 'Atrocity' better than any, pulsating with brass lungs reminiscent of the sonic motifs of the reformed Swans records of the 2010's. 'Ain't It Funny' is crunchy, coarse and agitated like a charging rhinoceros. Brown laments, "I can sell honey to a bee, in the fall time make trees take back they leaves; Octopus in a straight jacket, savage with bad habits, broke serving fiends, got rich became an addict." The track lives as the lynchpin for the thematic DNA of the record while flourishing the finest production and lyrical flexibility present within its 15 songs. Side two commences with 'White Lines', a skittering, subterranean excursion that outlines the subject's love/hate relationship with cocaine. Sonically, it's dingy, unfettered and unwashed. It acts as a descent down a staircase by way of inebriated stumbles, punctuated by pervasive, staccato twinkling. Here, glorification and degradation flow equally, contributing to an album of faux emotional highs and rock-bottom lows. Twelfth track, 'When It Rain', is undoubtedly the most aggressive of 'Atrocity's' offerings, detailing the pugnacious nature of his hometown of Detroit and it's clear how his surroundings helped carve out the motifs of the record. Bass returns in a big way on the track with a Delia Derbyshire sample, 'Pot Au Feu', used to genius effect in order to conjure an atmosphere of fear where safety is far from reach. Brown concurrently creates a sense of horror from manning the street corners of his origin while expressing pride in being a product of it and having survived its urban hazards. Brown explains, "Cause everybody hungry in them streets, nigga rob ya grandma for something to eat; Know it's fucked up, that's how it be growing up living everyday in the D; And it don't seem like shit gon' change; No time soon in the City of Boom, doomed from the time we emerged from the womb." Danny skillfully paints a picture of nurture at the hands of a city by linking together moments that bred tomorrow's scars but are recollected by way of hazy dreams.
Some MCs never find a quintessential vehicle for their voice, sonically or thematically. Danny Brown had to make friends with vulnerability and stare death in the face in order for 'Atrocity Exhibition' to materialize. Hip-Hop is littered with examples of exuberant characters seemingly fitted with armor invulnerable to breakage. Brown proudly displays his imperfections here, without the need for exaggeration. His voice itself is the finest metaphor for his approach to his fourth record. It's unconventional, grating and even a bit ugly, however, it's what draws you in. It's initial homeliness gives way to pride-swallowing enjoyment with Danny's self-exposure opening the floodgates to an approach that champions the phrase "all bets are off". Unconventionality is beautiful, the unorthodox is tradition and staccato sounds unmistakably like legato. On 'Atrocity Exhibition', Brown crafts a visage of himself as a Detroit-based King Midas, saddled with a fortune of alcohol, stimulants and women in lieu of gold. He doesn't do this to inspire envy or raise street-cred as seen in other rap symphonies. Rather, as an act of confession in an attempt to pull his own soul from the fiery wreck of his crumbling, metropolitan castle. He just so happened unlock his artistic potential and produce a hip-hop masterpiece in the process. The Devil went down to Motown and lost. I guess this means Danny's salvation was a success.
"Say ya need to slow down
Cause you feel yourself crashing
Staring in the devil face
But ya can’t stop laughing
Staring in the devil face
But ya can't stop laughing."
-Ain't It Funny
Standout Tracks:
1. Ain't It Funny
2. Really Doe
3. When It Rain
88.6 [First added to this chart: 06/11/2020]
Year of Release:
2016
Appears in:
Rank Score:
5,970
Rank in 2016:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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86.5
[First added to this chart: 07/20/2021]
Year of Release:
2016
Appears in:
Rank Score:
4,812
Rank in 2016:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Buy album
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84.9
[First added to this chart: 06/06/2022]
Year of Release:
2016
Appears in:
Rank Score:
4,588
Rank in 2016:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Buy album
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84
[First added to this chart: 06/11/2020]
Year of Release:
2016
Appears in:
Rank Score:
12,597
Rank in 2016:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
8. (=)
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83.1
[First added to this chart: 06/25/2021]
Year of Release:
2016
Appears in:
Rank Score:
4,224
Rank in 2016:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Buy album
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82
[First added to this chart: 10/25/2020]
Year of Release:
2016
Appears in:
Rank Score:
1,551
Rank in 2016:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
80.3
[First added to this chart: 06/11/2020]
Year of Release:
2016
Appears in:
Rank Score:
7,810
Rank in 2016:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Total albums: 11. Page 1 of 2
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Top 11 Music Albums of 2016 composition
| Artist | Albums | % | |
|---|---|---|---|
 |
 |
|
|
| David Bowie | 1 | 9% | |
| Kanye West | 1 | 9% | |
| Run The Jewels | 1 | 9% | |
| Car Seat Headrest | 1 | 9% | |
| The Jasons | 1 | 9% | |
| Swans | 1 | 9% | |
| フィッシュマンズ [Fishmans] | 1 | 9% | |
| Show all | |||
Top 11 Music Albums of 2016 chart changes
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