Going into the second week of July, the first half of 2015 has come to a close, and with it, the first half of an exciting year for modern music ends. This year really has had "something for everyone," with highlights including pop star Katy Perry's lavishly absurd Super Bowl halftime show, rapper Drake' surprise mixtape, and the reformation of psychedelic rock oddballs, the 13th Floor Elevators. While the second half of the year holds promises for new records from R&B icon Janet Jackson, Chicago hip-hop producer Kanye West, and experimental rock quintet Radiohead, this halfway point is an excellent time for a recap. Listed below are five different albums from five different genres released in 2015 that are worth a listen:
Hip Hop: Kendrick Lamar - "To Pimp a Butterfly"
The 2010s have proven to be a consistent decade for California rapper, Kendrick Lamar. From his Grammy-winning single "I" to collaborations with everyone from Big Sean to Taylor Swift to Snoop Dog, Lamar has become one of the biggest names in modern-day hip hop. 2015's "To Pimp a Butterfly" is already garnering "instant classic" status from many listeners. Lamar casted an enormous guest list for this album, with performances from funk legend George Clinton, and present-day stars Pharrel Williams and Kamasi Washington. Surrounded by such a colorful cast, "Butterfly" is an observation of Kendrick Lamar's metaphorical ascension from a cocoon to a butterfly. With a current scene divided into trap-influenced pop rap, the hazy production of cloud rap, and many self-producing rappers, hip hop is in a changing state, and Lamar's "To Pimp a Butterfly" may just be a new landmark for the genre.
Rock: Thee Oh Sees - "Mutilator Defeated at Last"
John Dwyer's prolific Thee Oh Sees is responsible for a distinct combination of garage rock, psychedelic rock, and lo-fi indie jams. On their latest, the band performs a series of nine short rock songs that have as much in common with the psychedelia of the Flower Travellin' Band or Pink Floyd. The song "Lupine Ossuary" boasts noisy distorted guitars that battle with clamoring drums. At a pace averaging more than one record per year, John Dwyer's Thee Oh Sees is surprisingly consistent, and "Mutilator" is easily of the highlights for rock music in 2015.
Pop: Bjork - "Vulnicura"
Iceland's Bjork first made waves as the singer in a pop group called the Sugarcubes. While the band broke up in 1992, it launched what became an extremely successful career for Bjork, who became known for experimenting with standard pop song structures. Fast-forward to 2015, her latest record, "Vulnicura," centers on the idea of lost love. Featuring production from guest producers Arca and the Haxan Cloak, "Vulnicura" finds some of the most emotive, but simultaneously despondent performances of the singer's career. Highlight track "Family" creates a sea of ethereal layered vocals and strings that suggest just how lost one feel after love dissolves.
Electronic: Ptaki - "Przelot"
The brand new label Transatlantyk has become a hub for European dance music, and Polish producer duo Ptaki are proving themselves to be quite the team with this full-length debut, "Przelot." Following a successful DJ set for the Boiler Room, their first album is a conglomeration of acid bass, ambient swirls, and Balearic beats. Every song present is collage of carefully detailed samples and cover a wide sonic territory. Overall, this is a diverse set of cuts from a promising debut.
Modern Classical: Kara-Lis Coverdale - "Aftertouches"
Montreal-based composer Kara-Lis Coverdale has quite an impressive resume. From conducting the MES Mixed Choir to receiving an ACNMP Contemporary Showcase award, she is constantly working. Committed to record, "Aftertouches" is a collection that aims to reconstruct the digital sounds of artists. While the album utilizes mostly live strings and wind instruments, its sound often blurs the line between real and synthesized instruments. The string section on "IMGS /R" sounds like its trying to emulate a computer starting up near its climax, and the journey there is marked by tribal percussion and wordless singing that interject themselves into the composition as they pleases.
