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Washington, greater recognised as Kendrick Lamar’s go-to arranger, pulls not a one punch as he draws from massive band, fusion, swing, and bebop traditions, pays homage to Malcolm X, Ray Noble, and Claude Debussy, and overlays heavenly choral and string preparations to mail the complete enterprise into orbit. With the lone exception of Bon Iver’s "Beth/Rest," no tunes this year has better captured the glitzy, breezy, unaware attraction of ’80s air pop far better than Destroyer’s Kaputt. Yet as confoundingly esoteric as Kaputt can frequently be, it’s nevertheless a pleasure to pay attention to: Luxurious and blissful and playful in a way that conjures up the psychedelic pop storytelling of Al Stewart. This is not basically a residence album, a pop album, a dubstep album, or an R&B album. While her voice may well be a reedy variation of what it at the time was, she would make it abundantly clear on Caution that she isn’t to be fucked with in this or any other decade. By album’s close, Swift assesses her crumbling empire and tattered status, getting redemption in love-only Reputation isn’t so a lot a rebirth as it is a retreat inward. There’s an almost stark obliviousness to the album’s caricatural, shiny environment, obtuse lyricism, Chatterbates and plethora of jazzy brass, but therein lies its allure: Dan Bejar exists in his individual very little bubble, producing tracks for himself as much as some others, and leaving us narrative riddles that maybe only he can ultimately decipher.



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