By Spencer Davis. In the four years since Shadows & Noise launched, my year-end film picks have been all over the map: a heartfelt coming-of-age drama, a sci-fi think piece, a classic Hollywood musical. That kind of schizophrenia isn’t just a function of diverse tastes; it’s a sign of the scattershot directions in which film has been evolving in the past half-decade. With streaming supplanting the theater as our preferred way of watching, with Netflix and Amazon now acting as movie studios in their own right, and with the quality line between television and movies so blurred now that we might as well just call it all “film,” we’re at an inflection point in the history of the moving picture. Indeed, in 2017, we’re finally seeing film critics include shows like The Handmaid’s Tale, Twin Peaks: The Return, and even Ken Burns’s The Vietnam War on their year-end movie lists. But while I could easily list the likes of Legion or Mr. Robot here—shows that are every bit as cinematic and structurally innovative as anything on the big screen—I’m still limiting my picks to movies for just one reason: the difficulty of making meaningful comparisons between a finite film and a television show that is still an ongoing work in progress. It wouldn’t seem fair to list a show here that might, before it’s all over, take a major nose dive. But make no mistake, film and TV now bear equal claim to the mantle of creative greatness. So without losing sight of that, here are the twelve movies that defined my 2017. Continue reading
By Antony Lyon. Nothing I say is going to make you change your mind. You either want to listen to U2’s new album, Songs Of Experience, or you don’t. It really says more about you than it does U2. I have a long record of proselytizing about late-period U2, which says more about me than it does U2, I suppose. Continue reading
By Antony Lyon. This year, in a break with tradition, I’ve left my list unnumbered and included a few releases that violate the “new in 2017” selection principle. So you’ll find both a remastered anniversary deluxe edition and a 2016 album that I didn’t discover until this August on the list. This year I’ve chosen in the spirit rather than the letter of the law.
I listened to a lot of albums once, and I listened to a lot several times. I played some more often than others, but I rarely became obsessed with one. I spent a lot of time making playlists by collecting discovered single songs, rather than committing to whole albums. As a result, I don’t know how to rank these albums in a way that isn’t simply arbitrary. But to give it some sense of order, I’ve organized my reflections in genre clusters.
I don’t really have the wherewithal to bend my listening habits into a broader cultural critique, but I suspect it’s waiting there for someone more ambitious than I. This list is not hashtagged clickbait—“The Music List We Need Right Now!” It’s simply a list of what moved me and kept me moving this year. Continue reading
By Spencer Davis. Last month, I wrote a piece for this website explaining why I fear we’ve reached the end of music. Those ideas have been floating around in my head all year, and there’s a reason for that: I’ve been largely uninspired by the music that was released in 2017. After years writing about the best in indie rock, Americana, electronic, and hip-hop, I feel like every one of these genres has quietly reached a plateau—a Mobius strip of innovation in the guise of imitation, where nothing sounds new and any creativity by the artist is taking place mostly at the margins. We’ve reached points before in our musical history where a particular genre lost its ability to leave an impact. Think back to 1998 and how listless rock music had become after a decade of mopey grunge excess. The same phenomenon happened with the waning days of hair metal in 1990, or with pop music around that same time period, or with jazz in the late 50s. In each of these cases, the exhaustion of one art form made room for the birth of another, and rock-and-roll or hip-hop or grunge or indie rose to meet the challenge.
This time, though, feels different. Precisely because all of our musical forms have reached the exhaustion point simultaneously. Hip-hop has become stale, relying on minimalist beats and safe, Auto-Tuned choruses to speak to an ever-narrowing audience in clubs and on top 40 radio. Americana, once a refreshing throwback to the past, now feels increasingly forced and cliched after a wave of hipster Lumineer imitators beat the horse to death. After a decade of laughable Nashville radio filler, country momentarily offered a breath of something new by looking to the past and imitating the sounds of vintage 70s and 80s outlaw country—but the problem with looking backwards is that it gives you nowhere else to go. Electronic and EDM, while conceptually seeming like the obvious place to go if you’re looking for the music of the future, instead seem content with confining themselves to a niche of the market, endlessly looping the same sounds and textures and beats with diminishing returns. And rock music? It barely exists anymore, with most indie bands relegating the guitar to an afterthought and established rock stars like U2 doing everything they can to shoehorn elements of other genres into their music in a last desperate bid for continued relevance.
If this is a harsh way to start off a list of the year’s best music, I apologize only up to a point. The albums I’ve listed here are certainly good, listenable music—but are any of them truly great? Will we listen to any of them five years from now, or even one year from now? Looking back to my 2016 list, I can’t help but feel that the very best albums of 2017 wouldn’t have cracked the top 15 of that list. And sure, maybe that’s just a sign of a down year; after all, if we’re only a year removed from such superior work, then we may only be a year away from a renaissance. If so, I think it will require something more than repackaging the sounds of the past; it will require new voices, new ideas, and maybe some new names.
So if inclusion on this year’s list now reads like a backhanded compliment of sorts, then so be it. The true greats, including possibly even some of the artists I’ve listed here, will be more then capable of rising to the challenge—or else they’re not true greats. Continue reading
By Spencer Davis. In a lot of ways, this year’s Oscars figure to tease out the divide in taste that I examined in my Best of 2016 list: between movies that focus on grand visual spectacle and ones that prefer a more intimate, character-based approach. The battle between La La Land and Moonlight is one that is largely subjective, asking you to choose between films that are so different in their end goals that meaningful comparison is impossible. Which one you choose says more about the person you are than it does about the respective merits of the two films. And whichever film ends up taking home the Oscar won’t truly have claim to being the “best picture” in the long run; it will just be the one that struck the right nerve at this particular moment in time. Continue reading
By Spencer. While there’s been an unsurprising amount of consensus about 2016’s best music, this year’s slate of movies asks you to make some hard and very personal decisions about what exactly takes a film to the point of greatness. Do you care about first and foremost about the story? The acting? The direction? Is it bold innovation or flawless execution that moves you? Does it have to make a statement, or can it simply revel in quiet humanity? While smaller, more intimate films like Manchester By The Sea, Moonlight, and Toni Erdmann have their fierce advocates among the critics, there’s another kind of picture that achieves greatness by going for broke on the magic of cinema itself—a place where impossible fantasies can be given sight and where we can delight in the color and framing of an exquisite series of images that transcend the mundane details of what we call ordinary life. This year, it was a film of this type, a film where dreams constantly intruded upon the real world, that ultimately captured both my heart and my mind—and that film was La La Land. Continue reading
By Antony. My “Year In Music” doesn’t say anything about what was important in 2016. If it did, then Beyoncé would be #1, followed closely by several other powerful hip-hop records: A Tribe Called Quest, Chance the Rapper, Common, Solange, and Blood Orange. But this list isn’t about important things; it’s a record of what I was listening to in 2016. This year, I didn’t seek importance from music; I sought solace. I understand why people turn to music when the world is in upheaval, when they sense a darkness descending upon us. In fact, I’m often one of those people, but for some reason, this year, I didn’t. Perhaps it was because of my necessary turn toward the domestic with the birth of my first child. Whatever the reasons, I only emotionally connected with music that would return me to myself and settle my spirit even if only for a moment. So here’s my list of the albums that made my year in music: Continue reading