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Can it be a year since the last list? Here goes with my favorite 20 releases of 2017. Your tastes are not mine, you will disagree, but maybe there is something here that you might not have discovered, something of beauty that might bring you joy. At one point I thought this might be a thin year; when I got down to making the list I realized there was no filler at the bottom. Exact placement is fuzzy – there are lots of apples and oranges being compared here. Feel free to move any of these up or down a few places in your head.

#1. Taylor Deupree – Somi

Deupree’s Faint from a few years ago is still one of my regular listens and pleasures, and I wonder with hindsight if I should have placed it at number one that year. He gave me another chance with the magnificent, meditative Somi. Loops of single notes from acoustic instruments played at varying intervals are layered and treated to create a fascinating slow dance of beauty and rest. And the deluxe edition packaging was as gorgeous as the music. (Listen)


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Monads – Porya Hatami

Here is the mystery of Monads. It is, by design, not an album of tunes, or even of nice, appealing drones. It is a collection of experiments in sound design, playing with frequencies and the odd bulges, strange eruptions, and frayed edges that emerge when sound itself is subjected to expert duress. It appears on the LINE label, which specializes in rarified noises that would puzzle many of my friends. It is an album that, save for one track, might be a shock to the system of anyone who comes to it from the melodic, pastoral beauty of a previous Hatami album such as Shallow. It is the kind of album where the review ought to be about all the special equipment and arcane techniques employed to wrestle the novel sounds out of the ether.

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         Awakened by Decay – 1 Mile North

This recent release floats up out of a yawning gap, so let’s back up the story a little for anyone who lost the thread. 1 Mile North’s first album, Glass Wars, was a collection of pretty guitar cogitations a little reminiscent in places of some of the quieter moments on How Strange Innocence, the first album by Explosions in the Sky from a year earlier. At the time it was one of quite a few of its kind floating around at the gently lyrical end of the post-rock spectrum. It was the second album, Minor Shadows, released two years later in 2003, that made me sit up and take notice. While somewhat similar in feel to its predecessor, it achieved an increased tautness and sense of purpose and space, moving deftly from sparse beauty to wistful, melancholy drift to occasional pockets of darkness. It did not sound quite like any of its rivals, and it remains one of my most-returned-to albums from the post-rock binge that filled a chunk of my hard drive around that time. It’s a lonely, fragile, contemplative work, and the haunting opener “In 1983 he loved to fly” is to my ear perhaps its finest moment.

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