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TEST SPIN | Camp Cope — How to Socialise and Make Friends

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Camp Cope’s sophomore release — How to Socialise & Make Friends — is a session beer of an album: best enjoyed in one sitting. In 2016, the Melbourne-based trio blew up with a self-titled debut that introduced listeners to their jangly strain of indie-rock. The band then jam-packed the ensuing two years with performances, tours and new music. They released a split with Philly trio Cayetana, toured with emo luminaries Against Me! and Modern Baseball and reached a larger audience with performances on Audiotree Live and triple j. “I feel like I’ve lived 10 lifetimes in the time that I’ve been in this band,” drummer Sarah Thompson told Stereogum in a February interview.

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Courtesy of Triple Crown Records

TEST SPIN | Sorority Noise — YNAAYT

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Sorority Noise’s March 2 release — YNAAYT — is almost entirely composed of stripped-down songs from their 2017 release You’re Not as _____ as You Think. Many bands have released essential demo, remastered or acoustic albums. Some present wholly new takes on fan-favorite songs. Others let listeners peek behind inside the recording process and hear the band play around with yet to be finished tracks. YNAAYT doesn’t provide any such insights or revelations. It feels rushed and underdeveloped, lacking new melodies and interesting ideas.

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Courtesy of Low Country Sound / Elektra

TEST SPIN | Brandi Carlile – By the Way, I Forgive You

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Sitting in Ithaca Bakery getting ready to listen to By the Way, I Forgive You, I thought back to the first time I heard Brandi Carlile during an episode of Grey’s Anatomy. Her song “The Story” was a major part of the musical episode in season seven and it’s been a constant in my Spotify throwback mixes since. I already associated her music with the faux cloudy Seattle of Grey’s, so I was ready to delve into the new album with my latte in hand. “The Story” showcases what folk singers and specifically Carlile do best: wrap a heartbreaking story in anthemic music. In her opening line (“All of these lines across my face / Tell you the story of who I am), Carlile makes something personal feel utterly universal.

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Courtesy of Matador

TEST SPIN | Car Seat Headrest – Twin Fantasy

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“You gotta listen to Twin Fantasy!” urged my friend to me at about the same time that Car Seat Headrest’s 2016 Teens of Denial was prompting me to reconsider whether rock was actually dead. I knew lead singer and songwriter Will Toledo had already released a whopping 12 albums under the Car Seat moniker before signing with Matador Records, but after watching Toledo shriek out “Drunk Drivers/Killer Whales” with nothing but an acoustic guitar and a toy drum set to accompany him in what must be the shrillest Tiny Desk Concert to date, I struggled to believe that his work could get any more lo-fi. When I did finally endeavor into Toledo’s 2011 homemade opus Twin Fantasy, I was torn. While I could recognize the gumption of a kid who self recorded 10 minute rock n’ roll epics about his depression and somehow had the talent to make it all sound convincing, I struggled to plod my way through the blown-out vocals and macgyvered production to find something that resonated with me. Eventually, after several more dogged listens, I finally accepted defeat and admitted to myself that I just couldn’t get into Twin Fantasy.

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TEST SPIN | AWOLNATION — Here Come the Runts

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I was fortunate enough to discover AWOLNATION early, and I continued to listen until their first album, Megalithic Symphony, caught the attention of the masses. With this, I abandoned them out of pretentious spite. Years later, I am happy to say that Aaron Bruno and company haven’t lost their ability to create unique, genre-noncomforming music. If AWOLNATION was a lesser band, they may have simply tried to recreate the sound and success of their smash-hit “Sail.” However, Here Come the Runts sees Bruno dramatically shift his instrumentation, following in the footsteps of ’80s-era rockers. This is echoed in the album’s thematic focus — Bruno’s “runts” are the successors to Springsteen’s working-class Americans, those that are pushing on despite the stress and struggle of modern America.

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TEST SPIN | Brockhampton — SATURATION III

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For a generation who practically grew up on the internet, the age-old American adage of “Do It Yourself” has never loomed so tantalizingly close overhead. Want to make a music video for Youtube? Do it yourself.  Want to organize a rally on Facebook? Do it yourself.

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TEST SPIN | Migos — Culture II

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In January of 2017 Donald Glover, better known as Childish Gambino, gave a shout out to three of music’s hottest on-the-rise M.C.s: Quavo, Offset and Takeoff. Together they formed the group Migos.  A few days after Glover’s mention of the trio, Migos dropped the album Culture, which quickly reached critical acclaim. From there, Migos saw a successful summer, playing on a massive tour with Future and making several festival appearances. In the midst of their busy summer, Offset dropped a major bomb: the announcement of Culture II.

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Test Spin: CupcakKe — Ephorize

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Ephorize, CupcakKe’s newest album, does not deliver a message or follow a theme based on the tracklist alone. It requires listening, but does not make a chore out of it, as the album is filled with fun and clever bars. CupcakKe, a female rapper from Chicago, has been in the spotlight since her 2016 mixtape, Cum Cake. After that, her 2017 album, Queen Elizabitch kept her momentum with its consistency and uniqueness. CupcakKe is nothing like Cardi B, Nicki Minaj or any other highly popular female rappers.

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From left to right: Kitty's Miami Garden Club, Kendrick Lamar's DAMN., Tyler, The Creator's Flower Boy.

The Sun’s Top 15 Albums of 2017

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Damn. — Kendrick Lamar

On his fourth studio album, Kendrick Lamar brings us back to the golden age of hip-hop with smooth flows and incredible musicianship. Over the course of fifty-five minutes, Lamar explores his struggles with sin and society and his place in a nation that often seems to be against him. Damn. dazzles and will soon prove to be a generation defining masterpiece.

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Test Spin: Paranoid Void — Literary Math

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When I first listened to all-female Japanese trio Paranoid Void, I learned of the existence of math rock. At first, it did not sound fun, as anything having to do with math is just not fun to me. Math rock, though, is a genre holding some similarities to post-rock that utilizes unconventional time signatures, rhythms and dissonance. Paranoid Void, composed of members Meguri, Yu-Ki and Mipow, is unlike most music I have listened to, and it became evident that the trio put endless effort into their first full-length album, Literary Math. On Paranoid Void’s website, the band describes Literary Math as a “three-dimensional composition of the sound and words that the female sensibility unique to women creates.” Additionally, on the album’s release date, the band published a blog entry explaining what they wanted the album to convey.