picking just ten songs to represent an entire year in music is no easy feat, but such is the plight of a minimalist music website. the following tracks shaped the dimestore’s trajectory in 2015, from unexpected email submissions that proved riveting to a wide swath of midwest hip-hop to gorgeous post-rock soundscapes. our picks run in alphabetical order, and you can click on the title’s link to navigate away and hear each track; dig in below.
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astronauts, etc. – “shake it loose”
almost every track from mind out wandering would have pulled its weight in this slot, but “shake it loose” is a particular hallmark due to its kaleidoscopic union of pop and psychedelia. anthony ferraro and his quintet of astronauts lock into an indelible groove right on the initial downbeat, the interplay between the guitar’s rise-and-fall motif and the rhythm section’s meticulous subdivision at the end of each phrase informing both the framework of ferraro’s vocal and the ensemble’s gradual abandonment of structure in favor of a more textural exploration. if “shake it loose” sounds almost unfairly organic during its dreamlike sequence, that’s because it is; the entirety of mind out wandering was recorded straight to tape without ever passing through a computer, allowing each note on the album to resonate with an extra degree of authenticity.
chairlift – “ch-ching”
caroline polachek worked with beyoncé during chairlift’s interim between full-length projects, a fruitful partnership that may have dictated the duo’s first new single in nearly three years. “ch-ching” subverts chairlift’s penchant for constructing massive sing-along hooks by trimming the first two choruses down to sultry finger snaps and eerie vocal twists on the song’s titular sound. still, even as the final refrain hits in all its harmonized glory, “ch-ching” retains the notion that chairlift are now comfortable outside the nostalgic confines that defined their earlier work. there’s genuine potential for moth to be a truly cosmopolitan album.
day wave – “drag”
jackson phillips drew a lot of justifiable comparison to dylan baldi’s early output as cloud nothings this year: both projects hone(d) in on home-recorded pop songs and a reverence for the guitar as a pivotal melodic instrument, but phillips’ work as day wave occupies remarkably different sonic territory. to illustrate this point, look no further than “drag,” the earworm that first put day wave on the internet’s radar in 2015. phillips, a percussionist by trade, puts faith in an old drum machine to anchor the song’s robust foundation while he turns his attention to an ostinato guitar motif that molds the concrete of “drag” into a majestic skyscraper. effervescent synth countermelodies soon blossom from the track’s confident chorus, dutifully weaving throughout phillips’ slightly-downtrodden lead vocal and the bevy of arpeggios he stacks on top. day wave takes unabashed influence from the beach boys and new order; “drag” proves that to be quite the winning combination.
foxing – “the magdalene”
st. louis quintet foxing crafted one of this year’s most affecting post-rock albums. dealer is largely devoid of the agitation that pervaded its predecessor, the albatross, but the tension that is released is done so with remarkable poise. “the magdalene” is a deeply personal confessional that exposes the psychological trauma conor murphy suffered during a religious upbringing, wrought with sexual suppression and guilt. but foxing is incredibly deft at turning grief into catharsis, and “the magdalene” eventually spills over into a lush b-section where simple melodies of all timbres intertwine, propelled by a surging and syncopated rhythm section. when murphy cries out “watch me come / undone” in his falsetto, chills linger.
isaac vallentin – “stewardess”
isaac vallentin wins our informal award for best blind album submission via email; if you haven’t heard hedera yet, go listen. “stewardess” is the track that got us hooked, with its arpeggiated blueprint slowly morphing into an exquisitely subdued post-dub groove. vallentin thrives at moving fluidly between genres throughout hedera, and “stewardess” is a microcosm of that ability; his deep, sonorous lead vocal ties everything together and ushers in a chorus of chiming synth pads for a final triumphant statement. in a year when james blake remained dormant, vallentin delivered murky musings with equal aplomb.
kendrick lamar – “king kunta”
what’s left to write about to pimp a butterfly that hasn’t already been written? kendrick lamar’s lauded third album reigned relatively unchallenged as the definitive piece of hip-hop in 2015, trading out the grit of good kid, m.a.a.d. city for soul samples and jazz-inclined collaborators from a resurgent l.a. scene. “king kunta” brings the funk in the most defiant way possible, as kendrick accosts industry opportunists and fair-weather fans over a swaggering thundercat bass line while maintaining his status as a dominant lyricist in the game. but the song’s oxymoronic title is a reference to the notion that a man is only as powerful as his the color of skin; despite achieving financial and critical success, lamar’s very existence is often systemically viewed as sub-par. “king kunta” is an easily digestible snapshot of an incredibly dense and experimental personal odyssey, a suitable gateway into the strain of hip-hop kendrick lamar created for himself.
![ick jenkins wave[s]](https://dimestoresaints.files.wordpress.com/2015/12/ick-jenkins-waves.jpg?w=300&h=300)
mick jenkins – “your love”
mick jenkins teamed with a handful of producers on his new ep wave[s] for a plethora of directions; perhaps not surprisingly, his union with the perpetually in-demand kaytranada yielded the most enduring results. “your love” is a far cry from the introspective consciousness that pervaded last year’s the water[s], with jenkins crooning and rapping about a potential transcontinental romance over an aqueous bass line paired with warm synth interjections. it’s the closest thing to blatant r&b that jenkins has ever proffered to his audience, and “your love” slowly became our low-key song of the summer.
sayth – “under water • under ice”
sayth’s collaborative work with north house across body pillow is the result of a budding friendship, but it’s also a glorious intersection of two critical young voices in minneapolis’ diy scene. “under water • under ice” is the ep’s resolute opening statement; north house’s wobbly arpeggios stumble through his diligent snare work while sayth constructs a grim narrative for the “generation of ‘i’m fucked when i turned twenty-seven.'” but the track’s hook fights valiantly to make the strongest impression, with sayth staring adversity and listlessness in the face and offering more positive – albeit sometimes defiant – alternatives.
scallops hotel – “lavender chunk (ft. hemlock ernst)”
it’s a testament to rory ferreira’s unwavering dedication to create provocative and indelible art that one of his projects is represented in year-end contention for the third year in a row. scallops hotel feels like a cleansing alternative to ferreira’s more recognized output as milo, a no-risk solution for him to explore new facets of production or to alter his songwriting approach. plain speaking yielded some of ferreira’s most readily accessible and pointed work to date; “lavender chunk” cycles through a simple ostinato with an extended guest verse from samuel t. herring’s alter ego hemlock ernst, but ferreira hops on just in time to deliver a remarkably fluid stream of consciousness, largely devoid of the non-sequiturs that had been his crutch. more than anything, “lavender chunk” will endure as poignant, with the outgoing statement quickly morphing into an unsettling mantra that reflects the state of things in 2015.
tame impala – “yes i’m changing”
tame impala was our shameless self-indulgence of 2015. during the waning days of summer, when the dimestore headquarters packed up again and moved back across the country, currents supplied a palette of driving music that was more than adequate. “yes i’m changing” soundtracked sunset ventures through the cascades one night and sunrise journeys through the rockies the following morning, its undeniably pristine arrangements only slightly quelled by a sub-par car stereo and a flighty aux cord. kevin parker deserves some sort of award for writing the most prominent bass lines on psychedelic records, as “yes i’m changing” rumbles through a closing chapter in life under the direction of a low-end presence that continuously flirts with melodic territory. in a year marked with a handful of new beginnings, “yes i’m changing” hit home.
chvrches – after touring relentlessly for nearly two years behind their excellent debut the bones of what you believe, glaswegian trio chvrches has returned to the drawing board to work on a follow-up. no word on when that album will show up, but new songs that showed up on the re-worked drive soundtrack and the lorde-curated hunger games: mockingjay – part 1 may be indications of what’s to come.
deafheaven – “from the kettle onto the coil” was the only offering from deafheaven in 2014, and the song yields absolutely no indication of what their impending new album will sound like. regardless of the final product, it will be interesting to see what the genre-defying san francisco outfit comes up with on their third try.
elvis depressedly – we were supposed to hear new alhambra before this year was over, but mat cothran and company chose to sign with run for cover records to allow for wider dissemination of the record, among other things. elvis depressedly’s much-anticipated new album will be out sometime in the spring of 2015, and we have the excellent “no more sad songs (n.m.s.s.)” to tide us over for the time being.
frank ocean – frank ocean’s follow-up to 2012’s channel orange was purported to be done this past april, then it was due out sometime this past summer; now, who knows. ocean did release a snippet of a new song called “memrise” last month, enough to set the internet on fire, but there’s still no concrete release date for his new album. then again, dropping something completely unannounced seems right up his alley.
james blake – james blake’s third album is reportedly seventy percent complete and should see a release sometime in the spring of 2015. blake has been quietly building anticipation, teasing the prospect of collaborations with justin vernon and kanye west along with releasing a short ep entitled 200 press. expect a single sometime early next year to dictate the aesthetic of the impending album.
kendrick lamar – kendrick delivered some promising material in 2014 but failed to provide what everyone wanted: the follow-up to good kid, m.a.a.d city. his new single, “i,” seemed to indicate a departure from the grim undertones of his masterful 2012 concept album, but the untitled track lamar revealed on the colbert report swiftly contradicted that notion and leaves the tone of his new record completely up in the air. but who knows when that will surface.
panda bear – noah lennox is releasing his fifth solo album, panda bear meets the grim reaper, on january 13th via his new home, domino records. the world always seems game for a new panda bear record, and it’s been about four years since lennox has delivered. armed with the strong singles “mr. noah” and “boys latin,” grim reaper is poised to be one of the early standouts of 2015.
their/they’re/there – this chicago trio is kind of like a birthday cake: the individual ingredients might not be significantly appetizing, but the sum of all its parts is quite desirable. their/they’re/there released a pair of eps in 2013 that hinged largely on the impeccable guitar work of matthew frank, and rumor has it that they’ll offer forth a full-length sometime next year.
Dimestore Saints 