Every year I highlight 5 albums that didn’t end up on any critic’s top ten lists. That’s slightly misleading; I survey this Metacritic collection of lists, and if the album doesn’t appear on 3 or more lists, it gets considered for this post. If it’s a Christian album, I just search the usual way (read: Google) through some of the main Christian music publications. If I missed a list, it’s okay; no one’s life is over.
The Brilliance, All Is Not Lost: There have been several artists in Christian music history that have bucked (or set) the industry’s trends, but there are few today outside of hip-hop. The Brilliance have some of the kitchen-sink creativity that most recently blessed Gungor before that band veered into emergent-church territory. This makes sense, since one of The Brilliance’s primary members is David Gungor, the brother of Gungor’s Michael. But where Michael’s band has taken a decidedly meditative tack, David’s has set his rudder directly toward celebration. Beautifully synthesizing several genres, The Brilliance overcome worship music tropes, celebrating a God for everybody with music for everybody.
Caroline Spence, Spades & Roses: I understand Margo Price receiving all of 2017’s allotted attention for female off-the-beaten-path Nashvillians, because Price is brilliant. But now that 2017 is over, please turn your attention to its forgotten folk artist, Caroline Spence. Her 2015 album Somehow won me over with its plain-spoken heartbreak spiked with hard liquor. Spades & Roses is like Somehow, but with more liquor. This is best exemplified on standout track, “All the Beds I’ve Made,” in which beds and all their accoutrement become a metaphor not for love, but for the hope that this one will make you forget the rest.
David Ramirez, We’re Not Going Anywhere: I wrote about this album not 6 weeks ago, and I’m still on a high for the response it got. Ramirez himself retweeted the post and said it was “one of [his] favorite reviews for the new album,” and I could have cried. You write about an album you love and you hope someone reads it. You never expect the artist to read it and, much less, appreciate it. Ultimately, I just want this album to get attention, because it’s a devastatingly good folk album from one of Austin’s best resident musicians.
Hiss Golden Messenger, Hallelujah Anyhow: You’ll be forgiven if you’re not into Americana and haven’t heard of Hiss Golden Messenger, the Carolina-based outfit from the prolific M.C. Taylor. You’ll also be forgiven if you are into Americana and can’t remember which album of his is which. But holding this against him is like complaining that Cary Grant plays the same character in every movie- he does what he’s good at, and he’s the best at it. Taylor has a tried and true sound, a mélange of soul and backwoods blues befitting his scruffy look and family life. What makes Hallelujah Anyhow special in light of the rest of his discography is an unabashed celebration of life in the face of life’s mundanity.
Joan Shelley, Joan Shelley: Another Americana artist on this list, yes, but Shelley is quite unlike any other Americana artist we are familiar with. That’s partly because she doesn’t even consider herself an Americana musician, but mostly because she’s a singular artist. Her first few albums trafficked in Appalachian folk music, but Joan Shelley is a slight change in direction for the Kentucky artist. Her transfixing voice is still the focal point here, but she’s less reliant on her usual guitarists to give her voice its home. Instead, she travels outside her comfort zone to songs with barely any production at all, and more of a reliance on plinking keys rather than plucking strings, and her music has broadened with her world.