Top 20 Hip-hop songs of 2013

Looking back on 2013 I’ve realized that it was a weaker year for Hip-hop than 2012. Good Kid M.A.A.D. City, Skelethon, Blue Chips, The money store, Cancer for cure, and R.A.P. Music were all released last year. Perhaps that just points to 2012 being exceptionally strong but as for 2013 I can only really name around four or five full releases that truly rose above for me. Still, it doesn’t mean that 2013 didn’t have a load of great songs, a mixed-bag sort of year leads to some very strange and intriguing singles if not fully fleshed out records. This trend is actually exemplified by the number one song on my list. If I wanted to cheat I would simply put Pusha’s “King Push” “Numbers on the board” and “Nostalgia” all tied at number one. My name is my name had hip-hop’s three best singles but the rest of the album couldn’t hold up to that incredibly high standard.

Remixes flourished this year, Rustie making Pusha T’s “Trouble on my mind” a stomping funk monster, Eprom turned Kendrick’s city into a mad house made of video game enemies, and the absurdly named youtuber xX420QuickScopeXx mashed Death Grip’s most brutal song with Suicideyear’s most tranquil beats. One of instrumental hip-hop’s up and coming groups quit this year, but not before delivering “ACRYLICS” at the beginning of the year and signaling a wave of strange instrumentals that ranged from the bottle clanking bounce of “Infinite Daps” to Cocaine Richard’s Hunter S. Thompson fantasies. In the end the songs that truly stuck out to me this year were the darkest. “TV on ten” had the verse of the year with Aesop describing, in terrifying detail, an airplane crash with no survivors, GDP’s “Placeholder” was so deeply personal it became stepped in sadness, and Mick Jenkins’ biblically righteous rage against gang violence and rappers that promote it rode Billy Holiday’s “Strange Fruit” into fantastically dark waters. Here’s hoping 2014 has just as many eccentric singles but stronger albums.  

20. ACRYLICS-TNGHT

19. Whatever I want (Fuck who’s watching)- Death Grips

18. Trouble on my mind remix- Rustie

17. Cocaine Richards – Lotusball

16. M.A.A.D. city remix- Eprom

15. Juice- Chance the rapper

14. Killer Tofu - OverDoz.

13. CCCXXV + Takyon Suicideyear + Death Grips- xX420QuickScopeXx

12. Get it- Run the jewels

11. 3005- Childish Gambino

10. Infinite daps- Baauer & RL Grime

9. Set the Scene ft. Skyzoo & Substantial- P.R

8. Black Skinhead remix- Flying Lotus & Thundercat

7. Like water- PRO ERA

6. Placeholder- GDP

5. TV on ten- The uncluded

4. Knights- Earl Sweatshirt

3. Keep it coochie!- Cakes Da Killah

2. Martyrs- Mick Jenkins

1. Numbers on the board - Pusha T

"How could you relate when you ain’t never been great?"

The Seventies of the 21st Century – How 2013 Brought Music Back

By now, everyone on the blog scene is well aware of the death of the traditional record label. With the exception of still-reigning mega-pop-stars, and the occasional lucky holdover from the days when people still paid money for music, the bands and artists who’s tireless efforts to enrich our lives with sonic goodness make no more for their labor than the polite Southern lady making your burgers at Whataburger (for Nathan’s Oregon friends, it’s just really greasy and expensive burgers from Texas). Now, I’m not sure that the financial situation necessarily improved much in 2013 for these poor road warriors, but if the quality of music of this year was any sort of indicator, it would say that our audio idols must be rolling in gold. Everything from gutter slam-death to psychedelic indie rock to industrial-informed self-worshipping hip-hop was released this year, and with a small handful of exceptions, just about all of it fucking RULED. Maybe it took the death of the major label to bring music back to Mecca; where once every worthwhile album may have been created by the hand of Atlantic, or by Virgin, we have now reached a time where the most talked about album of the year was a toss-up between post-rock, emo, indie, and BLACK METAL, as distributed by the formerly niche hardcore label Deathwish Inc. In fact, the touch of Deathwish owner Jacob Bannon, as well as God City Studios’ master producer Kurt Ballou (of course, singer and guitarist, respectively, of quintessential metal/hardcore outfit Converge), have been felt all over this year and, of course, the last two. Following their lead, this has truly been the year of the indie record label, and of the self-produced album; beyond that, it has been the year of the comeback album as well. How can music be dead, I ask, when one of the other most-talked-about albums of the year found two underground hip-hop darlings combining forces to drop a FREE album on the masses that slaughtered the competition? When two dead death metal giants and one bloated radio favorite had been massively hyped, for months, and then turned out to live up to every bit of that hype? When a modern-day orchestral outfit could quietly sneak a double album onto its fans and have every second be essential to the complete package? Music is not dead, my friends; it simply needed to TEAR DOWN THE WALL and be face-to-face with its followers. How can anybody be angry towards a hip-hop mega-star bragging himself blue if he’s just being honest with his fans? And for that matter, anybody who says that slam-death sucks, that black metal hasn’t been worthwhile since the mid-nineties, that hip-hop is all about tits and ass, that emo and metalcore are for Warped Tour kiddies, or that indie is gay; you all obviously didn’t listen to a single fucking album put out this year. 2013 is the year that the artist gave back to the fan, and the record label didn’t fuck up the middle-man process in doing so. Except for the fact that Yeezus was not pressed to vinyl. -Dylan Brown

Dylan Brown is a fan of the music. ALL OF THE MUSIC.

Top 30 Albums of 2013

This was one hell of a year. Let's hope I'm not looking back on this in 2014 while shaking my head sadly.

30. You’re nothing- Iceage

 

They’ve matured a bit, true, but they’ve lost none of their power. The steely rush of “Ecstasy” and the guitar work on “Burning hand” are reminders that Iceage might be the most exciting and frightening young punk band now touring. A few songs here also point to new avenues where Iceage are sure to exceed. “In haze” has a R.E.M. inspired riff and despite the rawness of “Coalition” the cries of “EXCESS” that serve as the chorus can’t help but be catchy.    

29. IV- The Bronx

 

“They got you working on the weekdays/they got you working on the weekends too!” It’s a fantastic opening line for The Bronx’s self-titled fourth album. It sums up the workman like mentality that defines their musical undertakings. Blazing through IV’s 14 tracks in under forty minutes The Bronx is at the top of their game. From the vocal cord destroying “Under the rabbit” to the manic drumming of “Ribcage” they’re giving you every ounce of energy they have. There’s no down time on IV, only lean punk songs that rush by at a blinding speed.

28. Hokey fright- The uncluded

How did this end up working? Aesop and Kimya are legends in their respective scenes but mixing Kimya’s deeply personal folk with Aesop’s cryptic rhymes seemed insane. And insane it was, and they completely owned it. There are hilarious heartfelt moments like Aesop’s conversations with a sturgeon on “The aquarium” and the uplift worthy “Delicate cycle.” But even with its oddness Hokey Fright more than manages to be extremely powerful on the late night thriller of “TV on 10” and the stories on how sexual need pervades and twists life views on “Alligator” are as chilling as they are alluring. Is this the start of a new genre?  

27. Between two selfs- Octo Octa

 

Its silky smooth yet unnerving. Just below the placid surface of Octo Octa’s expertly produced songs darkness lurks. The entire feel of the album fits the title quite well; two personalities seem to be dueling as the music progresses. Between two selfs does have its share of encompassing tranquil and danceable moments like “Work me” and “Uneasy” but the desperation in “Please don’t leave me” is just as tangible. Either way this is music for late night musings. 

26. Government Plates- Death Grips

 

Last year Death Grips released a non-album single called “True Vulture” that came with an animated movie. At the midsection a cartoonishly sinister crow breaks the fourth wall and whispers “Stare at the abyss long enough, it’s gonna stare right back at ya.” The question becomes for how long have Death Grips been in a staring contest with insanity? With a starting point like Exmilitary you would think they couldn’t become more unhinged, but with each subsequent release their musical and lyrical content went farther down the rabbit hole. Government Plates is their most insane project yet and even after multiple listens it remains a disorienting piece of work. MC Ride’s vocals might have been toned down to make way for Flatlander’s frenzied production but the album remains just as dark as previous releases and late night listenings of Government Plates are not suggested unless you want to question your sanity.

25. am- Ovlov

 

The best lo-fi shot of pure punk energy you’ll get all year. Ovlov might be fixated on the Dinosaur Jr. endorsed guitar tone but don’t write them off as simple copy-cats. For rock this year few albums showed off better band chemistry (helps that Ovlov’s three members are brothers) and riffage. From the rushing “Really bees” to the steely “Nu Punk” am proved itself to be one of the best guitar albums this year. Modern punks and classic rock fans alike will find it hard not to be swept away.  

24. Overgrown- James Blake

 

James Blake retained the cold croon that he mastered on his self-titled debut album but Overgrown shows a lusher side to Blake’s work. The title track is gorgeous and humming, “Voyeur” nearly treads into the realm of bangers, and “To the last” rides a dub vibe into some of Blake’s most personal singing. As frigid as the music can be there’s soul reverberating through the production.    

23. Loud city song- Julia Holter

 

How many genres can Julia Holter smash into one album? Quite a few apparently. “In the wild green” is as jazz as it is chamber pop, Holter’s voice flows like a baroque singer on a good portion of these tracks, and of course a dark ambient vibe underlines every twitching and vibrant note. For each gorgeous segment of music there’s another part with gruesome undertones that balances it. Holter’s mind is a strange, strange place.

22. Flourish//Parish- Braids

 

Over twitching and burbling synths Raphaelle Standell-Preston coos Parish//flourish’s opening line; “My father always said/To get out of my head.” Braids seem to have taken Preston’s Dad’s advice, Parish//flourish switches moods from alien to ambient and back, sometimes in one song. Not surprising as this ambitious album contains multiple 7 minute plus tracks and enough sudden shifts to make your head spin.  

            21. Clean- WHORES.

            

Subtly is not their strong point. With a bunt sound that moves as politely as an extremely angry sledgehammer Clean is a decimating piece of sludge rock. Like an infinitely more pissed off version of Queens of the stone age WHORES. rip through the 6 songs here with a menacing groove. On “I AM NOT A GOAL ORIENTED PERSON,” lead howler Christian Lembach starts off with “All the girls are professional by desire, all the men are dogs!” It’s a dirty release that will make your skin crawl as often as you laugh. I mean, look at these fucking song titles: “COUGERS NOT KITTENS” and “I AM AN AMATEUR AT EVERYTHING,” and the gritty sounds match the names.

20. Twelve reasons to die- Ghostface Killah

 

There are few groups that have as much cinematic flair as Wu-Tang Clan, but this album brings it to a whole new level. Ghost has never been one to be understated and, depending on how you look at it, 12 Reasons to Die has the dumbest or coolest plot ever. The Godfather, noir films, and a whole lot of b-movies get melted together into a story where Tony Starks is resurrected through the power of vinyl and becomes the invincible Ghostface Killah. Oh yes, it’s batshit insane and Ghost revels in it. The only person on here that seems to enjoy it more is producer Adrian Younge. His score to Ghost’s tale is deeply influenced by equal parts Ennio Morricone and Curtis Mayfield. Snares that sound like gunshots, over-the-top gospel singing, and grimy bass lines bring a certain menace to every word that Ghost spits. Twelve Reasons is gritty, unflinching, and above all a blast. It’s a fantastic addition to the Clan’s mythos and one of their finest releases. All it needs is a proper theatre release.

19. Amok- Atoms for peace

 

Funny that one of the funkiest albums of the year is spearheaded by Thom Yorke. To be fair Radiohead always had a strong rhythmic backbone that became more prominent from album to album. Amok seems like an alternate version of The King of Limbs trading the usual piano interludes for Flea’s basslines and some of the most brilliant percussion you’ll hear all year. Even Nigel Godrich’s production leans to the slinky and percussive side to provide a fantastic background for Mauro Refosco’s and Joey Waronker’s nuanced noodlings. When it all comes together on songs like “Default” or “Judge, Jury, Executioner” it sounds like the band is having an absolute blast.  

18. Impersonator- Majical Cloudz

 

Impersonator might be the most uncomfortable album released this year. Not in terms of brutal sound or scuzzy production, but how intensely personal it all seems. Singer Devon Welsh has a degree in religious studies and the way he unspools his stories does have a certain mad fervor. Subtle but stunning backgrounds from Majical Cloudz’s other half, Matthew Otto, are as stark as they are shimmering and make Welsh’s lyrics all the more entrancing. Welsh’s chilling baritone is near flawless in songs like “Mister,” “This is magic,” and the brilliant “Bugs don’t buzz,” but he also shows off a tear jerking higher range in the last half of the flawless “Silver Rings.” These are the world’s most depressing lullabies, late night confessionals where no words are minced and no dark secrets left hidden. Strange then that Welsh opens the album with “I’m a liar, I say I make music.” Dude, you’ve made some of the best music of the year. 

17. Dream river- Bill Callahan

 

Bill Callahan doesn’t waste words. So when he does unroll a story you better be listening. Dream River finds Callahan at his most impressionistic, his ever excellent guitar work drifting into more abstract textures and his lyrics painting small portraits. These are stories in miniature with much larger consequences. His musings from the bar turn from drunken people watching into interpersonal connections we weave throughout our lives on “The sing.” The awe inspiring “Summer painter” starts only as Callahan’s memories of boat work in Gulf Coast summers before turning into something much more sinister. For Callahan Dream River is just another notch in the belt, another fantastic album. Keep watch on him, we have a true American treasure here. 

16. Doris- Earl Sweatshirt

     

Maturity probably isn’t the first word you would associate with any member of Odd Future. But despite Tyler’s raps about sasquatches and gorditas, Doris manages to be the most mature release from the OF crew not named Channel Orange. Earl‘s only 19, but his lyrical content demolishes peers and elders alike. The emotional potency in “Chum”, “Burgundy”, and “Sunday” is stunning. Earl also tries his hand at production work and excels in all areas, making murky darkness cling to every track. The guests here also rise to Earl’s level. Domo Genius sounds incredibly hungry on his verses, Frank Ocean brings levity on “Sunday”, and Doris also is given a hand by outside producers. The Neptunes’ neon background on “Burgundy” amplifies Earl’s confusion over newfound fame and jazz-hop masters BADBADNOTGOOD give a breathtaking instrumental for Earl’s tired flow on “Hoarse.” Doris is made of fantastic self-revealing moments, jaw dropping lines, and some of the year’s best bars. When you end an album with the line “Young, black, and jaded, vision hazy strolling through the night,” you have to have something backing it up. Make no mistake, Earl isn’t good for his age; he’s great, period.

15. Settle- Disclosure

       

Can we recognize for a moment that once Settle hit the main stream consciousness that we forgot that Disclosure are rookies? The eldest of the Lawrence bothers is 22 years old. Let that sink in. One of the best house albums made in years was crafted by two guys that can barely get into the clubs that they’re playing at. Even if this was made by seasoned veterans Settle would still be a triumph, it’s undoubtedly the catchiest album of the year and every other song on here could dominate the charts. “Latch” “When a fire starts to burn” “F for you” and “White noise” some of the year’s biggest singles. I can’t wait to see where they go next.  

14. Kveikur- Sigur Ros

So no, it wasn’t quite Sigur Ros gone metal but Kveikur was still a shocking twist. Jonsi’s vocals hovered above songs in haunting ways while Georg Hólm and Orri Dýrason churned the songs to stormy climaxes. Considering the ambient beauty of their last effort Valtari the guitar heavy and nearly trashing title track was a brutal turn. Jonsi’s vocals still remain gorgeous but a steely edge has replaced the floating quality that defined his sound in earlier releases. Even with sure fire crowd pleasers like “Isjaki” Kveikur is unmistakably heavy and marks a serious departure from their former work.  

13. Run the jewels- Run the jewels

 

No it wasn’t any of the big three this year. It was two of underground hip-hop’s most legendary figures that crafted the year’s best rap album. Run the jewels had enough mind blowing flows to send Marshall Mathers running and EL-P’s production was twisted and brutal enough to put a beat down on Yeezus. And of course there’s Killer Mike’s threats of war on the commercial kings of rap. “There will be no respect for thrones” and “Niggas will parish in Paris, Niggas is nothing but parrots.” This was a no fucks given no holds barred product with two of the best in the game in their prime. When they say “we’re the new avengers” you better believe it.

12. Modern Vampires of the city- Vampire Weekend

 

What happened to the dewed eyed Cape Cod obsessed kids we used to know? In short they grew up. Modern Vampires of the city still holds on to the sterling arrangements that mastermind Rostam Batmanglij has always handled with grace and Ezra still sings with a boyish smile, but there’s a toxicity and maturity that has seeped into their work. Ezra’s lyrics have become less Paul Simon and more John Lennon over the years and his dealings with God and those who believe in a great creator reflect a weariness that was absent in previous releases. That doesn’t mean they can’t be catchy as hell though, “Finger back” is one of the most infectious things they’ve released yet and “Diana young” is Elvis reborn as a TV on the radio fan. But the most spectacular moments on here are shaded in with a bit of darkness. The sweeping beauty of “Step” and “Hanna Hunt” hold melancholy in their bones the amazing “Hudson” is the darkest thing they’ve done to date. Maybe the kids don’t stand a chance, but the young adult’s chances are looking pretty excellent. 

11. News from nowhere- Darkstar

 

Before 2013 Darkstar’s work could be explained by listening to their single “Aidy’s Girl’s Computer,” a clacking and simple song built around snapping percussion and synthesized vocals. It was a thoroughly enjoyable track, but as the title suggested Darkstar’s music didn’t seem very human. It was a shocking turn when News From Nowhere opened with gently cooed vocals over elegant keyboard. It was a sharp break from the bleakness of their last album North. News is a lush and beautiful record, mashing up the most accessible moments of Animal Collective and Aphex Twin. From the music box intro of “Timeaway” to the cascading singing on “Amplified ease” it’s clear that Darkstar placed a great amount of joy into this project. It amazing what warmth and beautiful harmonies can do for an album.    

10. Ripley Pine- Lady Lamb the beekeeper

 

Beautiful? Absolutely, but Ripley Pine is about the dark crevasses between Aly Spaltro’s gorgeous crooning. There are moments when her bird like voice begins to waver then all hell breaks loose. Spaltro’s guitar playing and vocal musings change from tranquil to toxic in seconds. Her lyrical content is just as deep and unsettling. In a year seriously lacking great rock and country Spaltro delivers some of the year’s most shocking rockers with the Jefferson Airplane like “Mezzanine” (which might have the year’s best groove), the unstoppably vicious “Bird balloons” and the apocalyptic “Taxidermist, Taxidermist.” Spaltro screams “You will be in rapture!” at the end of Ripley Pine. You surely will be.  

               

9. Sunbather- Deafheaven

 

How can you be massive, thrashing, and reverent at the same time? In terms of scope and sound Sunbather is one of the most mammoth albums released in years, multiple tracks here would be the center pieces for lesser albums but four behemoth songs compose the bulk of Sunbather: The brilliantly visceral “Dreamhouse,” the rushing title track, the darkly distorted “Vertigo,” and the thundering finale of “The Pecan Tree.” All of these songs deserve the word “epic” to be attached prominently. The small interludes between these monsters gives room to breathe, but they offer only for a few precious moments before you are forced back into the sweeping hold of those monster tracks. You’ll be beaten to a pulp and uplifted at the same time.    

             8. Virgins- Tim Hecker

             

Virgins is an album based on space and contrast. That’s fairly common for an album that crosses the line between drone and ambient, but the way that Tim Hecker can create a song that seems to fill up grand halls only to give way to musical claustrophobia is remarkable. “Virginal” opens with clattering piano and is then overwhelmed by massive and rumbling bass bowings. “Stigmata I” rolls forth with fuzzy and cacophonous keyboard lines before its brother track “Stigmata II” puts forth strange and meditative pulses of sound. There are times; especially during album center piece “Live room,” that Hecker’s alien production even seems to invade the other senses. In the space of 48 minutes Hecker creates something that is simultaneously beautiful and repulsive; a gorgeous album that is often defined by its most ugly moments. Above all it’s an album that, once it worms its way into your subconscious, will never let go.

7. Krieg und Frieden (Music For Theatre)- Apparat

        

It’s not necessary to know that German electronic mastermind Apparat made Krieg und Frieden as a score for an avant-garde production of “War and peace.” But that tidbit of information does make you wonder what exactly that show was like. Krieg und Frieden balances classical musings and pop bliss perfectly with a good helping of post-rock in between. In a year without a Godspeed record Apparat steps into the void with the overwhelming “44 (noise version)” only for the next song to be a stark number where Apparat’s ever gorgeous falsetto coldly reaches out. The term “experimental” could be applied to this fantastic work but too often that genre label excludes the possibility of transcendent beauty. Krieg und Frieden is a strange album indeed, but in wondrously captivating ways.  

6. Blowout- The So so glos

 

This is it. This is that special punk album that is obnoxiously catchy, but smart enough to get away with it. It’s a crusty grimy affair that can be fall-on-the-floor-laughing one moment and then give you a total sucker punch with surprising emotional heft. And of course just for slashing guitar chords, manic drums, and scream until your throat starts bleeding choruses Blowout has you covered. At the start of the record The glos lead off with these words “It wasn’t 1990 at all, but the future seemed to be” and with a few Nirvana references scattered throughout it seems like The glos are wishing for a new a Nevermind, an album to demolish other stagnate genres and artists currently dominating the cultural consciousness. And they just might be the band to make it.

5. Arc- Everything Everything

 

There’s one album every year that leaves me stumped as to which song off of it should end up on my songs of the year list. Arc was that album this year. Even the minute and a half long title track is an expertly crafted song, graciously linking the more danceable first half of the album into the more subdued second half. Everything Everything meticulously worked on Arc and it is apparent. The instrumentation shifts from bombastic to patient seamlessly; the drum work pushing and pulling songs along to frenetic climaxes or somber closings while Alex Robertshaw’s guitar sounds like a different instrument every song. Jonathan Higg’s death defying vocal leaps add levity to his cryptic and fascinating lyrics. Everything pull off some of the year’s best pop in “Amourland” only to be discussing geiger counters and scientific ethics two songs later. It’s a brilliant album, not just in terms of sonics; it’s simply one of the smartest pop albums made in years.

4. All hail bright futures- And so I watch you from afar

 

Is this math-pop? Yes it has all the mind-blowing technique of a math-rock album but few albums are brimming with as much joy as All hail bright futures. There are interludes that sound like the soundtrack to “Animal Crossing” but most of the songs are the score to the word’s friendliest mosh-pit. “Like a mouse” speeds forward with punk-like energy and though “Big thinks do remarkable” and “AMBULANCE” stick to major keys they trash enough to make you head bang. Even prog and dance music make their way here. “Ka Ba Ta Bo Da Ka” is a whimsical piece driven by a vocal exercise and the stellar “Rats on rock” contains no less than three distinct sections from a guitar heavy intro, the Caribbean groove laden second bit, and the manic ending. There’s no doubt that this is the most hyper-active album made this year and you’ll have a blast listening in.

3. New history warfare vol 3: To see more light - Colin Stetson

 

It could be all technique. Colin Stetson’s excursions in saxophone experimentation could have been complex exercises, meant to show off his mastery of circular breathing and over-tones. Instead Stetson, as always, delivered an album that focused on the soul of the music. Yes Stetson is probably the world’s best saxophone player on a purely technical level, but it becomes obvious he’s not concerned with that title. With help from Bon Iver Stetson has made a collection of Gospel tunes for some alien church. Each song contains a strangely religious tone from the reverent “What are they doing in heaven today” to the dark epic that is the title track. Stetson’s playing might be enough on its own to draw you in, but he’s concerned with making massive and moving pieces that prove that his saxophone isn’t just an instrument, it’s an extension of his body.  

2. …like clockwork- Queens of the stone age

 

When the aliens eventually come to earth, asking what this “rock ‘n roll” thing they’ve heard so much about is, don’t stop, don’t think, don’t hesitate. Hand them …like clockwork. It might just be the best rock album made since…well…Queens’ Songs for the deaf. The mortality obsessed album plays around with disco struts, piano ballads, and Queens’ own acid washed version of “A day in the life.” It’s like Josh Homme and his mad ensemble were determined to make their own twisted visions of rock excellence come to life. The DNA of Zeppelin, Hendrix, and Sabbath is proudly on display but Queens proudly stamp their own insane sound on every note. Next time you hear someone claim “rock is dead” punch them in the face. Then tell them about Queens’ latest masterpiece.

1.       Spaces- Nils Frahm

 

We often misuse the word sublime. Much like “epic” and “awesome” it’s lost some of the heft it once held. Sublime, in the purest sense, is meant to describe something so stunningly beautiful that it becomes awe-inspiring, something beyond the reach of most, if not all, words. It’s not a word to be thrown around while reviewing music, but Nils Frahm’s is absolutely sublime.

Spaces is a live album that transports the listener into one of Frahm’s shows. This is Frahm at the pinnacle his work reflecting both neoclassical peers like Ludovico Einaudi and Max Richter as well as one man orchestras like Colin Stetson or Keith Jarret. The physicality of the performance bleeds through on every track. The songs here shift back and forth between tranquil contemplation and overwhelming splendor. It’s an album completely made of breath taking moments, whether in the form of the Erik Saite indebted “Over there, It’s raining,” the impossible improv of “Improvisation for coughs and a cell phone,” or the punishingly climatic “Says.” Only two albums this decade have held the title of “10/10” so far and Spaces co-holds that distinction with ease. It continues to stun, long after the initial fantastic shock.