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.
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.
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.
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.
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 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.
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.
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’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.
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 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.