{"id":1254338,"date":"2018-12-14T06:00:00","date_gmt":"2018-12-14T03:00:00","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=1254338"},"modified":"2018-12-14T06:00:00","modified_gmt":"2018-12-14T03:00:00","slug":"the-best-experimental-albums-of-2018","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=1254338","title":{"rendered":"The Best Experimental Albums of 2018"},"content":{"rendered":"
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Lists & Guides<\/span><\/div>\n<\/div>\n<\/div>\n

The Best Experimental Albums of 2018<\/h1>\n
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Including records by Jenny Hval, Amnesia Scanner, Kelly Moran, and more<\/div>\n
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By <\/span>Pitchfork<\/span><\/span><\/span><\/div>\n

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From left to right: Amnesia Scanner photo by Satoshi Fujiwara, Klein photo by Joyce NG, Jenny Hval photo by Jenny Berger Myhre, Colin Self photo by Jonathan Grassi, 700 Bliss photo by Zubeyda Muzeyyen, Phew photo courtesy of artist<\/span><\/div>\n<\/div>\n<\/figure>\n<\/div>\n<\/div>\n<\/header>\n<\/div>\n<\/div>\n
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Experimental music means so much more than loud sounds. Is an artist trying to break new ground? Sometimes you can do that very, very quietly. This year noises loud and otherwise, across all types of music, found original ways to reinvigorate music. We took a look at the best music from the outer limits and beyond.<\/p>\n

The following list of songs and albums, sorted alphabetically, includes\u00a0experimental releases found on Pitchfork\u2019s main\u00a0year-end\u00a0tallies\u00a0as well as an additional 20 records that did not make those lists but are just as worth your time.<\/p>\n

Listen to selections from this list on our Spotify playlist and Apple Music playlist.<\/p>\n

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\"This<\/span><\/div>\n
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Halcyon Veil<\/p>\n

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700 Bliss: Spa 700<\/em><\/h2>\n

A snippet of Nicki Minaj putting Hot 97 DJ Peter Rosenberg in his place kicks off the debut statement from Moor Mother and DJ Haram\u2019s collaborative project: \u201cI never found you funny, I never found you entertaining. I never found you smart. I just found you annoying.\u201d It\u2019s an instructive tone-setter for a collection of tracks that locate Moor Mother\u2019s scathing critique of anti-blackness amid DJ Haram\u2019s sharp-footed production. Ominous bass, glacial tones, and intricate percussion circle Spa 700<\/em>\u2019s take-no-prisoners poetry in a riot of texture and context. \u2013Ruth Saxelby<\/p>\n

Listen:<\/strong> 700 Bliss, \u201cRing the Alarm\u201d<\/p>\n

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PAN<\/p>\n

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Amnesia Scanner: Another Life<\/em><\/h2>\n

An entity named Oracle sings throughout Amnesia Scanner\u2019s debut LP, Another Life<\/em>. Maybe it\u2019s a vocaloid, an artificially intelligent throat, or maybe it\u2019s just a series of effects encoded on an originally human voice; the enigmatic group describes it as \u201ca disembodied voice\u2026 which represents the sentience that has emerged from Amnesia Scanner.\u201d Whatever its provenance, Oracle\u2019s delivery jars. Its voice breaks like it\u2019s in pain, like Amnesia Scanner\u2019s jagged electronic environments actually cause it to feel distress. Another Life<\/em>\u2019s pop structures allow an entry point into the group\u2019s typically thorny arrangements, but Oracle\u2019s strained cries make the album one of their most emotionally challenging, and rewarding, works. \u2013Sasha Geffen<\/p>\n

Listen:<\/strong> Amnesia Scanner, \u201cAS A.W.O.L\u201d<\/p>\n

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\"Miasmah<\/span><\/div>\n
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Miasmah Recordings<\/p>\n

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Clarice Jensen: For This From That Will Be Filled<\/em><\/h2>\n

On her debut album, cellist Clarice Jensen lets sparse compositions bloom into nervous and frequently melancholy clusters of sound. The record\u2019s soothing opener \u201cBC,\u201d written with the late Icelandic composer J\u00f3hann J\u00f3hannsson, recalls the decaying loops of William Basinski; the music that follows it, like the abstract, synthesizer-assisted \u201cCello Constellations,\u201d feels similarly ripe with ghosts. The gaps in the compositions play as much of a role as the slashes of strings, but more importantly, the two elements play beautifully against each other: an absence and a presence, dueling in space. \u2013Sasha Geffen<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Listen:<\/strong> Clarice Jensen, \u201cBC\u201d [ft. J\u00f3hann J\u00f3hannsson]<\/p>\n

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\"Rvng<\/span><\/div>\n
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Rvng Intl.<\/p>\n

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Colin Self: Siblings<\/em><\/h2>\n

The final installment in Colin Self\u2019s six-part cycle of operettas, Siblings<\/em> ends the project on a note of communion. Oscillating between pristine pop melodies and adventurous electronic noise, the album excavates the many forms queer community can take, whether it manifests fleetingly on the dancefloor or across a relationship primarily sustained online. Sampling friends\u2019 Skype conversations and singing in a arresting countertenor, Self collages together a variety of intimacies, singing to the power of family forged among those inscribed in cultural margins, who take it upon themselves to collectively author their own stories. \u2013Sasha Geffen<\/p>\n

Listen:<\/strong> Colin Self, \u201cEmblem\u201d<\/p>\n

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World Music<\/p>\n

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Dean Blunt: Soul on Fire<\/em><\/h2>\n

Dean Blunt uses genre the way a painter uses their watercolors, bleeding one into the other, building up bruised layers that capture a mood more succinctly than any sharp line could. Soul on Fire<\/em> comes off like a series of muted vignettes about the desperation that frames life. All but two of the tracks run under two minutes; puddles of pigment that leave a lasting impression. \u2013Ruth Saxelby<\/p>\n

Listen:<\/strong> Dean Blunt, \u201cNBA\u201d<\/p>\n

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PAN<\/p>\n

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Eartheater: IRISIRI<\/em><\/h2>\n

Eartheater inhabits a sleepy, high-pitched croak for much of her third album, IRISIRI<\/em>. In its frayedness, this voice proves a compellingly raw counterpart to the refined lines of the harp and violin that accompany her stream-of-consciousness lyricism. Subverted lullabies and eerie soundscapes dance in and out of time throughout, while two guest features\u2014Moor Mother and Odwalla1221\u2014inject Eartheater\u2019s punk chamber music with their own idiosyncratic energy. \u2013Ruth Saxelby<\/p>\n

Listen:<\/strong> Eartheater, \u201cTrespasses\u201d<\/p>\n

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Break World Records<\/p>\n

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Elysia Crampton: Elysia Crampton<\/em><\/h2>\n

To listen to Elysia Crampton\u2019s self-titled fourth album is to be pulled immediately into its slipstream. At times the pace is urgent and choppy, at others a plaintive glide. Coursing and coalescing throughout are traditional Andean rhythms, sonic artifacts from contemporary club culture, and the faintest remnants of trance. Like that viral \u201cbreathing earth\u201d clip, in which a forest floor is seen to rise and fall, the tidal vibe of Elysia Crampton<\/em> is mesmerizing. \u2013Ruth Saxelby<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Listen:<\/strong> Elysia Crampton, \u201cSolilunita\u201d<\/p>\n

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\"Image<\/span><\/div>\n
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Hausu Mountain<\/p>\n

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Fire-Toolz: Skinless X-1<\/em><\/h2>\n

The intimate vocabulary of electronic devices, wide-eyed video game soundscapes, and contemplative Muzak are just a few of the digital sources that Chicago\u2019s Fire-Toolz mines on her fourth album, Skinless X-1<\/em>. Before it has a chance to get cloying, those tenets of vaporwave are spliced with industrial textures and death metal vocals. The contrasting modes bolster one another, offering a more nuanced\u2014and relatable\u2014portrait of the online experience. \u2013Ruth Saxelby<\/p>\n

Listen:<\/strong> Fire-Toolz, \u201cScreamography\u201d<\/p>\n

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Sacred Bones<\/p>\n

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Jenny Hval: The Long Sleep<\/em> EP<\/h2>\n

After releasing 2016\u2019s Blood Bitch<\/em>, an avant-pop album wound tight around a single theme, Norwegian songwriter Jenny Hval decided to step back from writing direct, cohesive lyrics. She wanted to feel a certain degree of bewilderment at her own work, threading together words that felt right but did not exactly make sense. On The Long Sleep<\/em> EP, her voice and lyrics recede, and jazz instruments, like saxophone and piano, swell to fill the space. \u201cNot even you belong to you,\u201d Hval sings on \u201cSpells.\u201d Throughout the EP, it feels like she\u2019s falling away from the sharp lines of her prior work, settling into a blurrier place where new figures can float up from the murk. \u2013Sasha Geffen<\/p>\n

Listen:<\/strong> Jenny Hval, \u201cSpells\u201d<\/p>\n

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Domino<\/p>\n

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Julia Holter: Aviary<\/em><\/h2>\n

Dense, sprawling, and hugely varied across its 90-minute length, Julia Holter\u2019s\u00a0Aviary<\/em>\u00a0is an art-pop album that unapologetically puts the emphasis on art. Like Robert Wyatt, Laurie Anderson, or Scott Walker, Holter\u2019s music is so idiosyncratic and instantly identifiable that it could come from no one else, and her admirable commitment to the form and structure of a double-album-sized idea leads to a work that is challenging and rewarding in equal measure.\u00a0Aviary<\/em>\u00a0takes strengths from Holter\u2019s earlier records\u2014an ear for delicate melody and an expert fusion of pop form and modern composition\u2014and boils them down to their essence, then twists them into gnarled and sometimes frightening new designs. \u2013Mark Richardson<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Listen:<\/strong>\u00a0Julia Holter, \u201cTurn the Light On\u201d<\/p>\n

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Warp<\/p>\n

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Kelly Moran: Ultraviolet<\/em><\/h2>\n

Born from a bout of writer\u2019s block, Ultraviolet<\/em> started flowing after composer Kelly Moran set down her sheet music and gave herself permission to improvise. She arrived at a dreamy, oblique space, playing prepared piano with the intuition of a lucid dreamer. The metallic noises of the modified piano strings cluster against smooth layers of synthesizers; tension bristles in the foreground while the background bleeds into a calming horizon. \u2013Sasha Geffen<\/p>\n

Listen:<\/strong> Kelly Moran, \u201cHelix\u201d<\/p>\n

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Self-released<\/p>\n

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Klein: cc<\/em> EP<\/h2>\n

Klein\u2019s cc<\/em> EP seems to emerge from background noise, like a figure stepping out of a fog. The UK artist manipulates snippets of voice into looping melodies, sampling bits of conversation and then turning their rough edges into song. Breath overlaps breath until a swarm of human voices takes a new, unfamiliar shape. By focusing on the detritus of vocalization\u2014not the words but the stray threads that frame them\u2014Klein isolates the raw texture of speech. \u2013Sasha Geffen<\/p>\n

Listen:<\/strong> Klein, \u201clast chance\u201d<\/p>\n

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Flying Moonlight<\/p>\n

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Laraaji \/ Arji OceAnanda \/ Dallas Acid: Arrive Without Leaving<\/em><\/h2>\n

A pioneering ambient musician and a longtime practitioner of laughter meditation, Laraaji doesn\u2019t hesitate to look for the blissful inside of the strange. His album Arrive Without Leaving<\/em>, a collaboration with longtime musical partner Arji OceAnanda and synth trio Dallas Acid, uses broad, lush instrumental strokes to carve out a peaceful haven inside the attention minefield of the present day. There\u2019s no hard line between acoustic instruments and electronic ones here; they all curl together in a radiant display of texture and melody, incubating a hard-won sense of calm. \u2013Sasha Geffen<\/p>\n

Listen:<\/strong> Laraaji \/ Arji OceAnanda \/ Dallas Acid, \u201cThis Much Now\u201d<\/p>\n

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Lolina: The Smoke<\/em><\/h2>\n

In spirit, Lolina, the artist also known as Inga Copeland, takes a free jazz approach to song composition. Dissonance and ambiguity have long been her hallmarks, but on her second album, The Smoke<\/em>, she ups the ante, flipping between acid-dipped meandering and the carving out of rhythmic cul-de-sacs. In her insouciant drawl, she narrates lyrics that sound like notes scrawled on the back of a cigarette packet, excavating all manner of unexpected feelings along the way. \u2013Ruth Saxelby<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Listen:<\/strong> Lolina, \u201cThe River\u201d<\/p>\n

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Trouble in Mind<\/p>\n

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Matchess: Sacracorpa<\/em><\/h2>\n

As Matchess, Whitney Johnson steps deftly between krautrock and softer, string-based experiments reminiscent of Arthur Russell. Sacracorpa<\/em>, the final work in a trilogy of albums, layers organ drones, blurred vocals, and volleys of viola over the steady tick of a drum machine, all while displaying her knack for melodies that leap off their expected paths. If the insistent percussion lends a certain sense of industrial claustrophobia to Johnson\u2019s arrangements, then her voice and strings sound as if they’re poised to break free from the cages she\u2019s built, out of the rut and into the open. \u2013Sasha Geffen<\/p>\n

Listen:<\/strong> Matchess, \u201cOf Freedom\u201d<\/p>\n

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Meitei<\/p>\n

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Meitei: Kwaidan<\/em><\/h2>\n

Kwaidan refers to Japanese ghost stories from another era, a folk tradition that hinges on a tale’s strange tone as opposed to the raw horror favored by today\u2019s generation. Across nine bewitching tracks, Hiroshima composer Meitei translates the tenor of kwaidan to music. Featuring spoken word snippets, faint field recordings, haunting half-melodies, and the accumulated dust of a century or two, it\u2019s a record that whispers into your ear long into the night. \u2013Ruth Saxelby<\/p>\n

Listen:<\/strong> Meitei, \u201cSAZANAMI\u201d<\/p>\n

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Mesh-Key<\/p>\n

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Phew: Voice Hardcore<\/em><\/h2>\n

To make Voice Hardcore<\/em>, Japanese experimental legend Phew tuned into her body as an instrument, plumbing the varied and complex sound world that can arise from the voice. Sometimes soft, sometimes harsh, and always a little disorienting, the resulting LP was made in eight hours using only vocals and electronic effects. By contouring her voice into increasingly strange shapes, Phew investigates the infinite plasticity of the exchange between singer and listener. The voice contorts, and the ear adjusts to reach out and meet it. \u2013Sasha Geffen<\/p>\n

Listen:<\/strong> Phew, \u201cJust a Familiar Face\u201d<\/p>\n

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UIQ<\/p>\n

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rkss: DJ Tools<\/em><\/h2>\n

The textures and temperament of EDM are tested and dissected on DJ Tools<\/em>, the fourth album from UK artist rkss. As the title suggests, it takes as its source material what\u2019s known as a sample pack, the kind EDM DJs use to plump out their sets. By turn, the genre\u2019s clattering charge is wound down to an extended yawn, granulated and sprinkled over ambient tones, and sliced into a stutter. The results are strangely beguiling. That\u2019s partly because rkss\u2019 recontextualization comes from a place of affection, but it also has a lot to do with the relief of hearing such a rigid format take a breather. \u2013Ruth Saxelby<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Listen:<\/strong> rkss, \u201cIncognet present you best pack for making modern, top charted EDM tracks…\u201d<\/p>\n

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Domino<\/p>\n

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Tirzah: Devotion<\/em><\/h2>\n

Tirzah\u2019s debut EP, 2013\u2019s\u00a0I\u2019m Not Dancing<\/em>, turns out to have been prophetically titled. Collaborating with her longtime friend Mica Levi\u2014the visionary, Oscar-nominated film score composer and Micachu and the Shapes mastermind\u2014the London singer-songwriter offered a rough-hewn take on dance-pop that the pair would sharpen on 2014\u2019s\u00a0No Romance<\/em>\u00a0EP. On\u00a0Devotion<\/em>, Tirzah\u2019s debut full-length and latest team-up with Levi, she again pursues a sparse, sketch-like approach that is beautifully made, though not for the dancefloor.<\/p>\n

Turning away from club-ready UK grime and garage sounds,\u00a0Devotion<\/em>\u00a0redirects Tirzah\u2019s grainy vocals and Levi\u2019s destabilizing production into an extraordinary set of pared-down and scuffed-up R&B reflections on adult love. With its unvarnished loops and disarmingly blunt lyrics,\u00a0Devotion<\/em>\u00a0dreams up a unique space somewhere between the lo-fi cello epiphanies of Arthur Russell and the digital pop futurism of Kelela. The album varies impressively within its distinct niche, finding room for crunching distortion, sad-robot vocal textures, and gritty drum shards.\u00a0Devotion<\/em>\u00a0truly is like a prayer, a hushed offering from Tirzah\u2019s private world. \u2013Marc Hogan<\/p>\n

Listen:<\/strong>\u00a0Tirzah, \u201cGladly\u201d<\/p>\n

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Yegorka<\/p>\n

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Uli K: Uliverse<\/em><\/h2>\n

This concise release from the London producer maps out the four corners of their sonic world. There are post-punk echoes, all bent out of shape: a scuffed up guitar ballad tempered by an Auto-Tune wail, a propulsive synth loop with an early \u201990s swing, and over six minutes of noise that slowly shreds its fizzy layers to reveal a pretty melody. It\u2019s a disparate bag for sure, but connecting the threads is a reflective resonance that hits square in the chest. \u2013Ruth Saxelby<\/p>\n

Listen:<\/strong> Uli K, \u201cSummoned\u201d<\/p>\n

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Tri Angle<\/p>\n

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Vessel: Queen of Golden Dogs<\/em><\/h2>\n

Meshing classical instruments with synthesizers, Sebastian Gainsborough seems to slip out of time on his third album as Vessel. On one track, we can imagine him busy behind a laptop; on another, it\u2019s as if he\u2019s conducting a chamber orchestra. Rather than contradict each other, these two worlds cohere, threaded together by vocals from Olivia Chaney. Gainsborough\u2019s nimble compositions bridge his disparate musical palettes, placing emphasis on pure kinetics over traditional forms. \u2013Sasha Geffen<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Listen:<\/strong> Vessel, \u201cArgo (For Maggie)\u201d<\/p>\n

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Young Echo Records<\/p>\n

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Young Echo: Young Echo<\/em><\/h2>\n

A 24-track album from an 11-member group could seem daunting, but Bristol\u2019s Young Echo prove there\u2019s strength in fragmentation on their self-titled second release. Hip-hop, dub, noise, and dream pop are amongst the sounds to find their way into the mix, rearranging themselves in evocative permutations that collectively work to convey a sense of transience. Nothing lasts forever, suggests Young Echo, but memories have a way of haunting us through the years. \u2013Ruth Saxelby<\/p>\n

Listen:<\/strong> Young Echo, \u201cHere\u201d<\/p>\n

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Warp<\/p>\n

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Yves Tumor: Safe in the Hands of Love<\/em><\/h2>\n

Listening to\u00a0Safe in the Hands of Love<\/em>\u00a0is like entering freefall. There are reference points, landmarks\u2014a snare drum, a funk bassline, a pop vocal\u2014but they whir past the ear. The drums tower over the mix; the bass fizzles; the vocal melodies tease but never coalesce into hooks. Samples begin midway through a note, as though someone has pressed play on a tape recorder a half-second too late. Where there should be the calming harmonies of a backup singer, anguished screams surface instead. Thorns choke the whole album.<\/p>\n

In Sean Bowie\u2019s third album as Yves Tumor, the experimental musician obscures the usual entryways to a pop song, demanding that the listener clear a new route. It\u2019s immediate and arresting work; plenty of music soothes pain, but little engages so directly with the mechanism of how the body responds to trauma, by assuming a new shape for survival.\u00a0Safe in the Hands of Love<\/em>\u00a0approaches this process with a stark, unflinching gaze, holding the promise of resilience in its chaotic, beautiful brutality. In a year when any given day could be a new opportunity to wake up and hurt,\u00a0Safe in the Hands of Love<\/em>\u00a0offered a disorienting form of reassurance. \u2013Sasha Geffen<\/p>\n

Listen:<\/strong>\u00a0Yves Tumor, \u201cLicking an Orchid\u201c [ft. James K]<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/article>\n

Source URL: https:\/\/pitchfork.com\/features\/lists-and-guides\/the-best-experimental-albums-of-2018\/<\/p>\n","protected":false},"excerpt":{"rendered":"

Lists & Guides The Best Experimental Albums of 2018 Including records by Jenny Hval, Amnesia Scanner, Kelly Moran, and more By Pitchfork December 14, 2018 From left to right: Amnesia Scanner photo by Satoshi Fujiwara, Klein photo by Joyce NG, Jenny Hval photo by Jenny Berger Myhre, Colin Self photo by Jonathan Grassi, 700 Bliss […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[54],"class_list":["post-1254338","post","type-post","status-publish","format-standard","hentry","category-politics","tag-pitchfork-com"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1254338","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1254338"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1254338\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1254338"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1254338"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1254338"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}